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"heavenwards" Definitions
  1. towards heaven or the sky

19 Sentences With "heavenwards"

How to use heavenwards in a sentence? Find typical usage patterns (collocations)/phrases/context for "heavenwards" and check conjugation/comparative form for "heavenwards". Mastering all the usages of "heavenwards" from sentence examples published by news publications.

Hrolfur, the entrepreneurial geneticist, yearns to "soar heavenwards into a world where imagination is the only law of nature that matters".
In these works, figures gaze heavenwards, as if converted to the religions of music and science, succumbing to their ecstasy and erotics.
I had often heard his breathing while admiring his performing, as if he were riding heavenwards on Pegasus and now these same sounds had to ring out, announcing the terrible end . . .
The lights turned blue, and "Orion" was unfurled in all its eight-minute-long glory; the instrumental epic's crystalline melodies soared up to the rafters as Hetfield blew a kiss heavenwards and Ulrich raised his drumsticks high.
Plato and Aristotle in The School of Athens fresco, by Raphael. Plato is pointing heavenwards to the sky, and Aristotle is gesturing to the world.
Typically of El Greco's later work the figure of Sebastian, particularly the neck, hes been enlongated for dramatic effect. He is looking heavenwards as if in quiet anticipation. The background includes a view of the town of Toledo, with which Sebastian had no connection, possibly at the request of his patron or to create an artificial association between the saint and the city.
Cyril Glasse, New Encyclopedia of Islam, p. 245. Rowman Altamira, 2001. Muhammad's Isra' is said to have taken him from the Kaaba to the Masjid al-Aqsa and heavenwards from there. Muslims initially considered Jerusalem as their qibla, or prayer direction, and faced toward it while offering prayers; however, pilgrimage to the Kaaba was considered a religious duty though its rites were not yet finalized.
His best-known works are the monument to Jane Akers at Yalding, being a relief of an angel bearing a child heavenwards, and the monument to the Aubrey brothers in Paddington depicting the figure of Victory standing next to a sarcophagus with medallion portraits of the two officers. He was buried at All Souls, Kensal Green.Roscoe, Ingrid, Hardy, Emma & Sullivan, M.G., Biographical Dictionary of Sculptors in Britain. 1660–1851. Retrieved 25 September 2012.
Then he soars across the stage heavenwards. Arriving outside the house of the gods, Trygaeus discovers that only Hermes is home. Hermes informs him that the others have packed up and departed for some remote refuge where they hope never to be troubled again by the war or the prayers of humankind. He has stayed back, he says, only to make some final arrangements and meanwhile the new occupant of the house has already moved in – War.
23): "Eat not bread in the presence of a ruler, And lunge not forward(?) with thy mouth before a governor(?). When thou art replenished with that to which thou has no right, It is only a delight to thy spittle. Look upon the dish that is before thee, And let that (alone) supply thy need." (see above) (Proverbs 23:4–5):"Toil not to become rich, And cease from dishonest gain; For wealth maketh to itself wings, Like an eagle that flieth heavenwards" (Amenemope, ch.
Bulatović began in 1956 with a book of short stories, Djavoli dolaze ("The Devils Are Coming", translated as Stop the Danube), for which he received the Serbian Writers Union Award. His novel The Red Rooster Flies Heavenwards, set in his homeland of northeastern Montenegro, was translated into more than twenty foreign languages. He then stopped publishing for a time, to protest against interference in his work. His next novel, Hero on a Donkey, "A dark hot nightmare of a war novel...", was first published abroad and only four years later (1967) in Yugoslavia.
Wiseman, 2-88 & 174, Note 82: cf Ovid's connections between the lemures and Rome's founding myth. Remus is murdered by Romulus or one of his men just before or during the founding of the city. Romulus becomes ancestor of the Romans, ascends heavenwards on his death (or in some traditions, simply vanishes) and is later identified with the god Quirinus. Murdered Remus is consigned to the oblivion of the earth and - in Ovid's variant - returns during the Lemuralia, to haunt and reproach the living; wherefore Ovid derives "Lemuria" from "Remuria".
The relief, St Catherine in Ecstasy, shows the saint in a very indeterminate stance on a cloud pushed by an angel and some putti, all in white marble (some of the flattest parts of the cloud are in plaster). The scene is embedded in an smooth, polychrome background which forms a concave curve through which it underlines the protagonist's statuesque appearance, seemingly detached from it. Its pieces of differently coloured marble are arranged in such a way that they suggest dematerialised dark clouds opening up to let St. Catherine ascend to heaven. With her floatingly light posture and upwards gaze this ascend seems inevitable, she seems to be drawn heavenwards.
Data Durbar Shrine, Lahore, Pakistan. Darbar-e-Jilani duthro Sharif The Shrine of Pir Hadi Hassan Bux Shah Jilani, Duthro Sharif Sindh, Pakistan Two of the oldest and notable Islamic shrines are the Dome of the Rock and the smaller Dome of the Chain built on the Temple Mount in Jerusalem. The former was built over the rock that marked the site of the Jewish Temple and according to Islamic tradition, was the point of departure of Muhammad's legendary ascent heavenwards (al-Mi'raj). More than any other shrines in the Muslim world, the tomb of Muhammad is considered a source of blessings for the visitor.
The action takes place in Battle Hill, outside London, amidst the townspeople's staging of a new play by Peter Stanhope. The hill seems to reside at the crux of time, as characters from the past appear, and perhaps at a doorway to the beyond, as characters are alternately summoned Heavenwards or descend into Hell. Pauline Anstruther, the heroine of the novel, lives in fear of meeting her own doppelgänger, which has appeared to her throughout her life. But Stanhope, in an action central to the author's own theology, takes the burden of her fears upon himself—Williams called this the Doctrine of Substituted Love—and enables Pauline, at long last, to face her true self.
When Titian painted this altarpiece, he broke with a centuries-long tradition of placing the devotional figures (the Virgin and Child) in the center of the painting and the painted space. By doing this, he allowed for a greater sense of movement through the painting, presaging the Baroque period's more complicated compositional techniques. The painting is particularly innovative and shows an example of developed High-Renaissance style, as Titian has used diagonal and triangular principles to draw the viewer's eye up to the Madonna and Child, thus creating hierarchy within the work and shows that the Pesaro family are pious. The architectural setting, involving the two large columns (which have been cropped to fit the altarpiece) draw emphasis vertically and to the height of the work; which draws the eye Heavenwards.
The Temple Mount bears significance in Islam as it acted as a sanctuary for the Hebrew prophets and the Israelites. Islamic tradition says that a temple was first built on the Temple Mount by Jacob and later rebuilt by Solomon, the son of David. Traditionally referred to as the "Farthest Mosque" (al-masjid al-aqṣa' literally "utmost site of bowing (in worship)" though the term now refers specifically to the mosque in the southern wall of the compound which today is known simply as al-haram ash-sharīf "the noble sanctuary"), the site is seen as the destination of Muhammad's nightly travel (Isrā' ), one of the most significant events recounted in the Quran and the place of his ascent heavenwards thereafter (Mi'raj). According to Seyyed Hossein Nasr, professor of Islamic Studies at George Washington University, Jerusalem (i.e.
The subject of the Magdalen as a sinner and fallen woman returned to the path of virtue by Jesus was very popular in the 16th century, allowing artists to combine eroticism and religion without courting scandal. Titian's version of the subject shows her at a moment of elation and deep repentance, with tears in her eyes (referring to her washing Jesus' feet and drying them with her hair) and her gaze raised heavenwards. Erotic though it is, as Vasari notes, her nudity refers to the medieval legend that her clothes fell apart during the thirty years she spent repenting in the desert after the Ascension of Jesus. Indeed, most of the many depictions of the subject in art showed the Magdalen with no clothing at all, or just a loose wrap, as in Titian's later treatment.
Despite her meticulous technique, luminous color palette, and eye for telling detail reminiscent of Flemish painters, she was a modernist in sensibility and subject. A painting like Resurrection of a Waitress (1984), displays a sly humor in its choice of subject matter that hearkens back to her Tribute, but also shares with the latter a modernist's assumption that the life of a waitress or working man is as deserving of our attention as any saint. The waitress is carried heavenwards—held aloft means of an eggbeater caught in her hair—by a partially nude angel, whose method of propulsion is a whirlygig rather than wings. One of her largest paintings (9 x 6 feet) is a surreal oil on canvas, entitled “Leda and the Folks,” from 1963. It is one of Sharrer’s earlier forays into surrealism, featuring three somewhat oddly proportioned figures, two of which are based on Elvis Presley 's parents, while the third, a Renaissance-like, golden-haired nude young woman, represents Sharrer’s take on the ancient Greek myth of Leda and the Swan, in which Zeus transformed himself into a swan to get close to and seduce a beautiful woman.

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