“And the rich man also died: and he was buried in hell.” (Luke 16:22b): The Afterlife of Dives in Visual and Musical Representations through the Centuries
The biblical story of the rich man and Lazarus, more commonly known in tradition as Dives and Lazarus, is a parable from Luke’s Gospel (16:19–31) that does not appear in any other Gospel Regarded as “possibly the best-known account of the Afterlife in the entire New Testament,” it was written in Gre...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | German |
| Check availability: | HBZ Gateway |
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Deutsche Bibelgesellschaft
2024
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| In: |
Die Bibel in der Kunst
Year: 2024, Volume: 8, Pages: 1-35 |
| Standardized Subjects / Keyword chains: | B
Bible. Lukasevangelium 16,19-32
/ Wealth
/ Hell
/ Kerner, Justinus 1786-1862, Hades- und Höllenbilder
/ Sin
/ Miserliness
/ Iconography
/ Demon
/ Geschichte 12. - 19. Jh.
/ Early music
/ Song
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| IxTheo Classification: | HC New Testament |
| Online Access: |
Volltext (kostenfrei) |
| Summary: | The biblical story of the rich man and Lazarus, more commonly known in tradition as Dives and Lazarus, is a parable from Luke’s Gospel (16:19–31) that does not appear in any other Gospel Regarded as “possibly the best-known account of the Afterlife in the entire New Testament,” it was written in Greek, and translated into Latin – the most notable version being the Latin Vulgate. A translation of the Greek noun Hades (ᾅδης hadēs; Luke 16:23) as infernus in Latin (Vulg. Luke 16:22) and as “hell / Helle” in early English and German translations in the vernacular all contributed in later tradition to the rich man’s evil reputation as a violent, greedy, glutton who not only failed in his Christian duty to care for the poor man Lazarus but who was guilty of committing many of the seven deadly sins, most notably, the sin of avarice. This interpretation inspired a wealth of visual and musical representations depicting Dives tortured by demons in the flames of hell as punishment for his sins. Such was the biblical story’s popularity, it featured on the external walls of twelfth-century cathedrals and in illuminations of medieval manuscripts before reaching a highpoint in sixteenth, seventeenth, and early eighteenth-century paintings, engravings, and musical compositions. Focusing primarily on the rich man, this article explores the afterlife of the biblical story in visual and musical representations by well-known and lesserknown artists, engravers, composers, and songwriters through the centuries. |
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| Contains: | Enthalten in: Die Bibel in der Kunst
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