Joel 2:30,31 «And I saw when he opened the sixth seal, and a great earthquake occurred; and the sun became black
as sackcloth made of hair, and the entire moon became as blood, and the stars of heaven fell to the earth as when a fig tree shaken by a high wind drops its unripe figs.»
12 I looked when He opened the sixth seal, and behold, [e] there was a great earthquake; and the sun became black
as sackcloth of hair, and the moon [f] became like blood.
6:12 Then I looked when the Lamb opened the sixth seal, and a huge earthquake took place; the sun became as black
as sackcloth made of hair, and the full moon became blood red; 6:13 and the stars in the sky fell to the earth like a fig tree dropping its unripe figs when shaken by a fierce wind.
I looked when He broke the sixth seal, and there was a great earthquake; and the sun became black
as sackcloth made of hair, and the whole moon became like blood; and the stars of the sky fell to the earth, as a fig tree casts its unripe figs when shaken by a great wind.
Not exact matches
her pride in her «great sense of modesty,» her insistence that we all don
sackcloth, preferably after shaving our heads (like a novice, she marked her arrival in Paris by bobbing her hair) remind me of no one
as much
as Pope Francis.
In the New Testament, Jesus refers to the use of
sackcloth and ashes
as signs of repentance: «Woe to you, Chorazin!
This is not a book without humour,
as for instance when he says the same scientists are «exchanging their messianic crowns for the
sackcloth of Jeremiah.
He went
as far
as the front of the king's gate, for no one might enter the king's gate clothed with
sackcloth.
«Put on
sackcloth, my people, and roll in ashes,» said the prophet Jeremiah, «mourn with bitter wailing
as for an only son, for suddenly the destroyer will come upon us» (Jeremiah 6:26).
Thank you, a couple of years ago I wouldn't have known what you meant by burlap
as we call it hessian,
sackcloth or jute over here in the UK.
About a week ago it was all ashes and
sackcloth as DBS stealthily uploaded a new set of T&C to its website.
Mahama's large - scale public installations, such
as the one currently on view at the Venice Biennale, explore how capital and labour manifest themselves through industrial materials such
as worn - out
sackcloth.
But just
as important was the physicality and materiality of the paintings, resulting from his preference for using
sackcloth and raw jute with a very open weave for his supports and raw pigment, soil and ash
as his medium.