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As in the Temple, the synagogal bima is typically elevated by two or three steps. A raised bima will generally have a railing. This was a religious requirement for safety in bima more than ten handbreadths high, or between 83 and 127 centimetres (2.72 and 4.17 ft). A lower bimah (even one step) will typically have a railing as a practical ...
A pulpit is a raised stand for preachers in a Christian church. The origin of the word is the Latin pulpitum ... Equivalent platforms for speakers are the bema (bima, ...
An iconostasis with a rounded stone ambon of two steps (Beloiannisz, Hungary).. The ambon or ambo (Greek: ἄμβων, meaning "pulpit"; Slavonic: amvón) in its modern usage is a projection coming out from the soleas (the walkway in front of the iconostasis) in an Eastern Orthodox, Oriental Orthodox and Eastern Catholic church.
The pulpitum is a common feature in medieval cathedral and monastic church architecture in Europe. It is a massive screen that divides the choir (the area containing the choir stalls and high altar in a cathedral, collegiate or monastic church) from the nave and ambulatory (the parts of the church to which lay worshippers may have access). [1]
Bhima (Sanskrit: भीम, IAST: Bhīma), also known as Bhimasena (Sanskrit: भीमसेन, IAST: Bhīmasena), is a hero and one of the most prominent figures in the Hindu epic Mahabharata, renowned for his incredible strength, fierce loyalty, and key role in the epic's narrative.
The most common general plan for the interior of the synagogue is an Ark at the end opposite the entrance, and with an almemar or pulpit. In older or Orthodox synagogues with separate seating, there may be benches for the men on either side, and a women's gallery reached by staircases from the outer vestibule.
Uda pannoth bima vatelu (උඩ පැන්නොත් බිම වැටේලූ) What goes up, must come down. Anything that has been raised or has risen must eventually fall down. Unahapuluwage patiya uta manikak lu (උනහපුළුවගෙ පැටියා ඌට මැණිකක්ලූ) The loris's baby is a gem to her.
“Antependium” is the word used for elaborate fixed altar frontals, which, in large churches and especially in the Ottonian art of the Early Medieval period, were sometimes of gold studded with gems, enamels and ivories, and in other periods and churches often carved stone, painted wood panel, stucco, or other materials, such as azulejo tiling in Portugal.