Artist Richard Carpenter made this bear from "hundreds of thousands of pine needles. The pine needles were gathered off the ground, sorted, washed, trimmed and hand woven, over 8 months, in making the life size bear." Via Cellar
Most Buddhist schools of thought . . . would acknowledge several Hells, which are places of great suffering for those who commit evil actions, such as cold Hells and hot Hells.
Like all the different realms within cyclic existence, an existence in Hell is temporary for its inhabitants. Those with sufficiently negative karma are reborn there, where they stay until their specific negative karma has been used up, at which point they are reborn in another realm, such as that of humans, of hungry ghosts, of animals, of asuras, of devas, or of Naraka (Hell) all according to the individual's karma.
Whatever hell you choose, though, Dante would probably have been at home there. Compare this "river of blood" illustration with the one above:
The Chauvet Cave . . . is located in the Ardèche département, southern France. It became famous in 1994 after a trio of speleologists found that its walls were richly decorated with Paleolithic artwork, that it contained the fossilized remains of many animals, including those that are now extinct, and that the floor preserved the footprints of animals and humans. The Chauvet Cave was soon regarded as one of the most significant pre-historic art sites in the world. . . .
Most of the artwork dates to the earlier, Aurignacian, era (30,000 to 32,000 years ago).
Whoever did these specific drawings was a superb artist, not just for the stunning representation of the animals but for the highly sophisticated, interlocking composition of the murals as well. You can "visit" the cave at this wonderful interactive site.
Professor Margaret Livingstone, a Harvard neurobiologist, explains why the effect of the Mona Lisa's smile is so hard to pin down:
The separate processing of color and form information has a parallel in
artists' idea that color and luminance play very different roles in art
(Livingstone, Vision and Art, Abrams Press, 2002). The elusive quality
of the Mona Lisa's smile can be explained by the fact that her smile is
almost entirely in low spatial frequencies, and so is seen best by your
peripheral vision (Science, 290, 1299). These three images show her
face filtered to show selectively lowest (left) low (middle) and high
(right) spatial frequencies.
So when you look at her eyes or the background, you see a smile like
the one on the left, or in the middle, and you think she is smiling.
But when you look directly at her mouth, it looks more like the panel
on the right, and her smile seems to vanish. The fact that the degree
of her smile varies so much with gaze angle makes her expression
dynamic, and the fact that her smile vanishes when you look directly at
it, makes it seem elusive.