In August 1962, while "the vault of heaven rumbled" with nuclear tests, Jósef at last enters the world—on the same day as the author.
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At the same time, space allows nearly infinite expressive freedom: From pure narrative to a more scientific, speculative, or philosophical approach, these artists have started to define new ways to confront the vault of heaven and all that is hidden beyond it.
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"Rose p. 406 The second, the Greek gamma, represents the mason's square.Rose pp. 406–407 In addition, the square represents the "vault of heaven.
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Such splendour he stretches out or diffuses. He illumines the air, heaven and earth, the world, the spaces of the earth, the vault of heaven.
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Caelum in classical Latin could refer to the sky, the heaven or the vault of heaven. In mediaeval Latin, orthographic variants like coelumNiermeyer, J.F. (1976). Mediae Latinitatis lexicon minus.Lexique Latin médiéval-Français/Anglais.
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According to the descriptions from the Book of Genesis (which was one of the main sources for Beatus), the Earth was thought to be a flat plane, and sustained the vault of heaven, where the Sun, the Moon, and other minor luminaries like planets and stars, moved. There were two water masses. The waters above the firmament were contained by the vault of heaven and occasionally fell to Earth in as rain, when the floodgates opened. The waters below, fed the rivers, the streams and the great salt water masses.
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Rahim al-Masjid meets the basic criteria of Islamic architecture . It includes a minaret, high tower from which the imam (or officer Imam) calls to prayer (the role of the muezzin is here taken by the imam ). The mosque is crowned by a single dome, symbolic representation of the vault of heaven in Islamic architecture. It also includes a Ziyada, that is to say, a patio surrounded by a double wall .
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Within the earth's spherical limit, in a cosmological sense, is a designation of the 'earth's bosom' within, ímé àlà, a hemispherical base to the earth with an opening or 'mouth' at its highest point, ónụ́ àlà. This is composed of mainly deep dark sea water (ohimiri). Ime ala is considered as the underworld. Ala in addition to embodying nature, is the cosmic base on which the vault of heaven, ígwé, rests.
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Hillalum is a miner from Elam who has been summoned to the Tower of Babylon, an enormous brick tower that has been in continuous construction for centuries. He and his colleagues have been hired to dig through the Vault of Heaven to discover Yahweh's creation. Hillalum alone passes safely through the Vault. After a perilous journey ever-upwards, he finds that he has reemerged back at the surface, some distance from the Tower, rather than in Heaven as expected.
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Bocheonism (Korean: 보천교 Bocheongyo or Pochonkyo, "religion of the vault of heaven/firmament") was one among more than 100 new religious movements of Korea of the family of religions called Jeungsanism, rooted in Korean shamanismLee Chi-ran, p. 24 and recognizing Gang Il-sun (Kang Jeungsan) as the incarnation of Sangje, the Supreme God. It was founded by Cha Gyeong-seok (1880-1936) on Ibam Mountain in Daeheung-ri, Ibam-myeon, Jeongeup, Jeollabuk- do, in the year 1911. Today this site is part of Naejangsan National Park.
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It is important to note that Shangdi is never represented with either images or idols. Instead, in the center building of the Temple of Heaven, in a structure called the "Imperial Vault of Heaven", a "spirit tablet" (, shénwèi) inscribed with the name of Shangdi is stored on the throne, Huangtian Shangdi (). During an annual sacrifice, the emperor would carry these tablets to the north part of the Temple of Heaven, a place called the "Prayer Hall For Good Harvests", and place them on that throne.
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The peacock can also symbolise the cosmos if one interprets its tail with its many 'eyes' as the vault of heaven dotted by the sun, moon, and stars. By Christian adoption of old Persian and Babylonian symbolism, in which the peacock was associated with Paradise and the Tree of Life, the bird is again associated with immortality. In Christian iconography, the peacock is often depicted next to the Tree of Life. Among Ashkenazi Jews, the golden peacock is a symbol for joy and creativity, with quills from the bird's feathers being a metaphor for a writer's inspiration.
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Rose p. 409 Based on this theory, the first pillar, the Greek alpha, represents the mason's compass and "God as the Architect of the Universe."Rose p. 406 The second, the Greek gamma, represents the mason's square.Rose p. 406-407 In addition, the square represents the "vault of heaven."Rose p. 407 The third, the Greek eta, represents Jacob's ladder itself and is connected to the complete idea of seven pillars.Rose p. 408 The fourth, the Greek theta, is either "the all-seeing eye or the point within a circle." The fifth letter, the Greek iota, represents a pillar and the temple.Rose p.
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The 11th-century historian Stepanos Asoghik wrote that king Abas "built the holy cathedral of the city of Kars with blocks of stone, with sandstone blocks that were polished with steel: [the church] was surmounted by a circular dome whose ornamentation resembled the vault of heaven", and that the cathedral was already completed at the time of Catholicos Ananias I (Anania of Mokk)'s tenure [943-967]. Chronicles Samuel of Ani (12th century) Mxit'ar of Ayrivank (13th century) give 931-932 as the beginning of the construction of the church. (Russian) Orthodox cross at the top.
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Chicago Press, LCCN 68016690, p.174. According to Dorson,: > A similar conception underlies the Eddaic Mundilföri, the giant who makes > the heavens turn round in its daily and yearly revolutions by moving (færa) > the handle (mundil, möndull) of the great world-mill — that being the > Teutonic idea of the revolving vault of heaven.[Rydberg, Teutonic Mythology, > 396-7; M. Müller, Contributions to the Science of Mythology, 40, 651] > Mundilföri, the axis-mover and heaven-turner, is a solar being who has his > children Máni and Sól (i,e, Sun and Moon). As fire-producer by turning, he > was identified with Lodhurr, the fire-kindler.
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Ptolemy's 1st African map, showing Roman Mauretania Tingitana The Greeks claimed that Tingis had been named for a daughter of the titan Atlas, who was supposed to support the vault of heaven nearby. They claimed that the Berber legends comported with the stories of Hercules's labors, which carried him to North Africa and the North Atlantic to retrieve the golden apples of the Hesperides. Having killed her husband Antaeus and again condemned her father to eternally supporting the firmament, Hercules slept with Tinja and fathered the Berber hero Syphax. Syphax supposedly founded the port of Tingis and named it his mother's honor after her death.. The gigantic skeleton and tomb of Antaeus were tourist attractions for ancient visitors.
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The apse has a starry sky which may have been inspired by the oratory of Galla Placidia; the vaulting has four angels arching inward to sustain the symbol of Christ: the initials I X = IesusXristos; between them, the symbols of the Evangelists and, in the vault of apse, portraits of the first Apostles Ss. Peter and Paul, James and Philip, Andrew and Jacob, with Christ, intent upon the Word and its interpretation. Even more than in the Christology of Galla Placidia, the Son of God is seen in the vault of Heaven: the Logos of the Cosmos. Robbed of earthly dominion, under Theodoric, the bishops of Ravenna contemplated celestial glory.Storia di Ravenna, Mario Pierpaoli; Longo editore, Ravenna, 1986;pp.
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The karunasiri is an old theme in Hinduism with a number of different versions of the story. In the Vedic version, Indra, the Lord of Swarga (Heaven) slays the celestial serpent, Vritra, releasing the celestial liquid, soma, or the nectar of the gods which then plunges to the earth and waters it with sustenance. In the Vaishnava version of the myth, the heavenly waters were then a river called Vishnupadi (Sanskrit: "from the foot of Vishnu"). As Lord Vishnu as the avatar Vamana completes his celebrated three strides —of earth, sky, and heaven— he stubs his toe on the vault of heaven, punches open a hole, and releases the Vishnupadi, which until now had been circling around the cosmic egg.
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At the centre of the dome is a foreshortened beardless Jesus descending to meet his mother. Correggio's Assumption would eventually serve as a catalyst and inspiration for the dramatically- illusionistic, di sotto in su ceiling paintings of the 17th-century Baroque period. In Correggio's work, and in the work of his Baroque heirs, the entire architectural surface is treated as a single pictorial unit of vast proportions and opened up via painting, so that the dome of the church is equated with the vault of heaven. The illusionistic manner in which the figures seem to protrude into the spectators' space was, at the time, an audacious and astounding use of foreshortening, though the technique later became common among Baroque artists who specialized in illusionistic vault decoration.
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In Homer, Rhea is the mother of the gods, although not a universal mother like Cybele, the Phrygian Great Mother, with whom she was later identified. In the Argonautica by Apollonius of Rhodes, the fusion of Rhea and Phrygian Cybele is completed. "Upon the Mother depend the winds, the ocean, the whole earth beneath the snowy seat of Olympus; whenever she leaves the mountains and climbs to the great vault of heaven, Zeus himself, the son of Cronus, makes way, and all the other immortal gods likewise make way for the dread goddess," the seer Mopsus tells Jason in Argonautica; Jason climbed to the sanctuary high on Mount Dindymon to offer sacrifice and libations to placate the goddess, so that the Argonauts might continue on their way. For her temenos they wrought an image of the goddess, a xoanon, from a vine-stump.
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From early childhood, long before she undertook her public mission or even her monastic vows, Hildegard's spiritual awareness was grounded in what she called the umbra viventis lucis, the reflection of the living Light. Her letter to Guibert of Gembloux, which she wrote at the age of seventy-seven, describes her experience of this light with admirable precision: > From my early childhood, before my bones, nerves and veins were fully > strengthened, I have always seen this vision in my soul, even to the present > time when I am more than seventy years old. In this vision my soul, as God > would have it, rises up high into the vault of heaven and into the changing > sky and spreads itself out among different peoples, although they are far > away from me in distant lands and places. And because I see them this way in > my soul, I observe them in accord with the shifting of clouds and other > created things.
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For example, in 1999, for the "Wheel of Time" theme, and again in 2004 for "The Vault of Heaven" theme, the streets were named after the planets of the solar system. The radial streets are usually given a clock designation, for example, 6:00 or 6:15, in which the Man is at the center of the clock face and 12:00 is in the middle of the third of the arc lacking streets (usually at a bearing of 60° true from the Man). These avenues have been identified in other ways, notably in 2002, in accordance with "The Floating World" theme, as the degrees of a compass, for example 175 degrees, and in 2003 as part of the Beyond Belief theme as adjectives ("Rational, Absurd") that caused every intersection with a concentric street (named after concepts of belief such as "Authority, Creed") to form a phrase such as "Absurd Authority" or "Rational Creed". However, these proved unpopular with participants due to difficulty in navigating the city without the familiar clock layout.
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In the Old Testament period, the Earth was most commonly thought of as a flat disc floating on water. The concept was apparently quite similar to that depicted in a Babylonian world-map from about 600 BCE: a single circular continent bounded by a circular sea, and beyond the sea a number of equally spaced triangles called nagu, "distant regions", apparently islands although possibly mountains. The Old Testament likewise locates islands alongside the Earth; () these are the "ends of the earth" according to , the extreme edge of Job's circular horizon (Job 26:10) where the vault of heaven is supported on mountains. Other OT passages suggest that the sky rests on pillars (Psalm 75:3, 1 Samuel 2:8, Job 9:6), on foundations (Psalms 18:7 and 82:5), or on "supports" (Psalm 104:5), while the Book of Job imagines the cosmos as a vast tent, with the Earth as its floor and the sky as the tent itself; from the edges of the sky God hangs the Earth over "nothing", meaning the vast Ocean, securely supported by being tied to the sky (Job 26:7).
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