View allAll Photos Tagged AFTERWORLD
Traveling the tunnel between concourses at Detroit Metro Airport can be like an expedition to the netherworld. With Its darkly ominous lighting to its ethereally demonic music, I am reminded of the mythological River Styx.....
I love it :)
The all-famous Ancient Egyptian God of the Afterworld. Many speculations on his actual origin and role exist in the literature, so I picked the one I felt was the most sensible interpretation. Anywhoooooo, hope you like him as much as I do!
Rendered in BlueRender v.0.0.0.4 Beta
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Entry for Astronomy Photographer of the Year:
Single exposure image.
Great care and meticulous technique went into balancing lighting elements of all pieces involved!
Model has given permission for this image to be entered into the competition.
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Yolkai Nalin is the name of one of the most feared and venerated deities in Apache mythology. She is the goddess of death and the afterlife, controlling all souls that pass on to the future world. The road to this afterworld is supposed to cross her shoulders, symbolized by the Milky Way, a trail made by departing spirits. The souls of the dead follow the path for four days and finally arrive in a land of peace and plenty, where there is no disease or death.
This is a single exposure- all shot in one frame! We went to great lengths to do this in camera, as a single exposure. Combining the cold, coyotes howling, and the discomfort of standing nude in dry wheat- we are grateful for Andrea's patience and dedication to this image.
Believe it or not, I've been holding onto this shot since last summer. The winter season has been a great time to shift the effort from shooting in the field, to processing the images back at home. And even though I was floored when this shot showed up on the camera's preview screen, I knew I wanted to be patient with it to make it the best it could be before pulling the curtain back on its debut. I am damn proud of this one :-)
This summer I will be teaching workshops for people interested in learning how to shoot stars. Before you ask, no guys, there will be no nude models for the workshops! You can find information on the workshops on my website, just go to my profile for a link to the website.
For those of you looking for some tips on how to get started shooting stars, but a workshop seems like a bit much- you can watch a free video tutorial I made here:
Thanks for stopping by and let's get excited for starry summer nights coming soon!
I went hunting for souls today.
They told me to come back after midnight.
But I don't know if I have the guts.
European Bulk Services botlek
On a beautifull but dark night. The cranes who stand there looks like creatures of war of the world.
U never know what happen in the afterworld
Dark cloaked shadow-men patrol the wilderness of the Afterworld, roaming around on their tall artificial mounts. Swiftly rushing trough the densest of the forests, zig-zagging on the streets of the dead cities, they're only vulnerable to the Vultures of the Plain, out in the endless grassfields, where the Insectmen rule.
Cambria, CA | December 30, 2023
X-Pro2 • Voigtländer Macro Apo-Ultron 35mm F2
B+W Kaesemann high-transmission polarizer
RNI Films app: Agfacolor 50's HC
Fuchsia leaves highlighted in the sunset light, as the year draws toward its close, on Jason Molina's 50th birthday, as referenced in his final release.
"It's the light of the afterworld..."
I've always been fascinated by tales of sirens from Greek mythology. Creatures in the guise of female apparitions that led sailors to shipwreck with the singing sounds of their voices. Something very alluring to me about female ghosts and spirits. Perhaps that strange mix of beauty and terror. But also allowing human facial characteristics to blend with the afterworld look we equate with ghosts. It somehow makes them more relatable rather than horrific scary monstrous interpretations. Came upon this Halloween decoration in a store the other day and it just stopped me in my tracks. Deceptively simple, it perfectly conveyed everything I just wrote with just a glance. The perfect balance of woman and spirit; the features were vague but defined just enough to leave no doubt what you were looking at. The decoration was designed to light up and make weird noises at the push of a button. But to me that simply ruined the effect and made it appear like a child's toy. For my money, the designer nailed it with the overall appearance. Batteries not required!
www.radioblogclub.com/open/117926/prince/Prince - The Very Best Of Prince - Let's Go Crazy
So when u call up that shrink in Beverly Hills
U know the one - Dr Everything'll Be Alright
Instead of asking him how much of your time is left
Ask him how much of your mind, baby
'Cuz in this life
Things are much harder than in the afterworld
In this life
You're on your own
And if de-elevator tries 2 bring u down
Go crazy - punch a higher floor
If u don't like the world you're living in
Take a look around u
At least u got friends
Are we gonna let de-elevator
Bring us down
Oh, no Let's Go!
Let's go crazy
Let's get nuts
Let's look 4 the purple banana
'Til they put us in the truck, let's go!
We're all excited
But we don't know why
Maybe it's cuz
We're all gonna die
And when we do (When we do)
What's it all 4 (What's it all 4)
U better live now
Before the grim reaper come knocking on your door
Tell me, are we gonna let de-elevator bring us down
Oh, no let's go!
Let's go crazy
Let's get nuts
Look 4 the purple banana
'Til they put us in the truck, let's go!
- Prince: Let's go crazy (fragments)
*****
And yeah, the tongue, I know. It's fine now, thank you. ;-)
Our next stop on the Avalon Waterways Mekong River cruise was to Wat Hanchey.
The Wat has a Stupa garden.
These monumental structures located near pagodas are basically tomb stones that house ashes of deceased Buddhists.
The reason why some Stupas are bigger than others is the wealth of a person or family whose ashes are housed inside. The wealthier a person, the fancier, bigger and more decorated a Stupa they can afford.
Stupas oftentimes have small entrance doorways through which ashes of other members of the same family are put inside. Through this door those who are still alive also put offerings for the dead, which include food for their journey through the afterworld, flowers, money and whatever other relics may be needed.
Buddhists believe in reincarnation – death is not the end, only a transition.
In Buddhism, aside from practical use as funerary monuments, Stupas are best described as sacred monuments that symbolize enlightenment.
Stupas have square bases which symbolize four immesurables as taught by Buddhism. The immeasurables are:
Immeasurable love
Immeasurable compassion
Immeasurable joy
Immeasurable equanimity
The layout of the Toraja adat houses is imbued with symbolic meaning. The orientation of the tongkonans has cosmological connotations, and the design of the carved decorations on the front has symbolic significance since it contains a variety of messages about social hierarchy and structure, and the relations to the world of the spirits.
As described above, the creator Puang Matua is associated with the North, and therefore the tongkonan must also face North. The South of the house is associated with the afterworld (heaven, or Puya) and the ancestors. The West and the East are associated with the left and right hands of the human body, but also with the world of the gods (East) and the ancestors in their deified form (West).
The leading lines in Aberdeen Centre shopping mall are guiding you to the exit door.
In the world of atheist, there is no exit door. In the godless world, there is no other world. If you have done any evils or wrong-doings, there will be no judgment and you will not be sent to heaven or hell in the after world. You will have to carry the burden of the unethical consequences until the end of your life. In the secular view of world, there is no exit.
I have to admit that I am an atheist.
My picture is inspired by the book “Belief or Non-belief: A Confrontation” by my favorite Italian philosophy writer Umberto Eco and Cardinal Martini. It is a dialogue between the secular and religious world views.
I have not read the book yet but I am going to get one. It will be an interesting read.
The shot at Aberdeen Centre was taken with my Fuji point & shoot.
©all rights reserved.
Copyright ©Zino2009 (bob van den berg) . All my images are protected under international authors copyright laws and may not be downloaded, reproduced, kopie, transmitted or manipulated without my written explicit permission.
Visiting St Machars Cathedral today 12/5/2018, I noticed this beautiful Blossom Tree dominating the centre of the grave yard in amongst graves dating back hundreds of years , made me think life still goes on, no matter who has passed away, rank, position, fame , recognition, money etc does not matter, when its our time to fall asleep , the world will still turn and life will go on, forever.
Resurrection
Resurrection is the concept of coming back to life after death. In a number of ancient religions, a dying-and-rising god is a deity which dies and resurrects. The death and resurrection of Jesus, an example of resurrection, is the central focus of Christianity.
As a religious concept, it is used in two distinct respects: a belief in the resurrection of individual souls that is current and ongoing (Christian idealism, realized eschatology), or else a belief in a singular resurrection of the dead at the end of the world. The resurrection of the dead is a standard eschatological belief in the Abrahamic religions.
Some believe the soul is the actual vehicle by which people are resurrected.
Christian theological debate ensues with regard to what kind of resurrection is factual – either a spiritual resurrection with a spirit body into Heaven, or a material resurrection with a restored human body. While most Christians believe Jesus' resurrection from the dead and ascension to Heaven was in a material body, a very small minority believe it was spiritual.
There are documented rare cases of the return to life of the clinically dead which are classified scientifically as examples of the Lazarus syndrome, a term originating from the Biblical story of the Resurrection of Lazarus.
Etymology
Resurrection, from the Latin noun resurrectio -onis, from the verb rego, "to make straight, rule" + preposition sub, "under", altered to subrigo and contracted to surgo, surrexi, surrectum + preposition re-, "again", thus literally "a straightening from under again".
Religion
Ancient religions in the Near East
See also: Dying-and-rising god
The concept of resurrection is found in the writings of some ancient non-Abrahamic religions in the Middle East. A few extant Egyptian and Canaanite writings allude to dying and rising gods such as Osiris and Baal. Sir James Frazer in his book The Golden Bough relates to these dying and rising gods, but many of his examples, according to various scholars, distort the sources. Taking a more positive position, Tryggve Mettinger argues in his recent book that the category of rise and return to life is significant for the following deities: Ugaritic Baal, Melqart, Adonis, Eshmun, Osiris and Dumuzi.
Ancient Greek religion
In ancient Greek religion a number of men and women were made physically immortal as they were resurrected from the dead. Asclepius was killed by Zeus, only to be resurrected and transformed into a major deity. Achilles, after being killed, was snatched from his funeral pyre by his divine mother Thetis and resurrected, brought to an immortal existence in either Leuce, Elysian plains or the Islands of the Blessed. Memnon, who was killed by Achilles, seems to have received a similar fate. Alcmene, Castor, Heracles, and Melicertes, were also among the figures sometimes considered to have been resurrected to physical immortality. According to Herodotus's Histories, the seventh century BC sage Aristeas of Proconnesus was first found dead, after which his body disappeared from a locked room. Later he found not only to have been resurrected but to have gained immortality.
Many other figures, like a great part of those who fought in the Trojan and Theban wars, Menelaus, and the historical pugilist Cleomedes of Astupalaea, were also believed to have been made physically immortal, but without having died in the first place. Indeed, in Greek religion, immortality originally always included an eternal union of body and soul. The philosophical idea of an immortal soul was a later invention, which, although influential, never had a breakthrough in the Greek world. As may be witnessed even into the Christian era, not least by the complaints of various philosophers over popular beliefs, traditional Greek believers maintained the conviction that certain individuals were resurrected from the dead and made physically immortal and that for the rest of us, we could only look forward to an existence as disembodied and dead souls.
This traditional religious belief in physical immortality was generally denied by the Greek philosophers. Writing his Lives of Illustrious Men (Parallel Lives) in the first century CE, the Middle Platonic philosopher Plutarch's chapter on Romulus gave an account of the mysterious disappearance and subsequent deification of this first king of Rome, comparing it to traditional Greek beliefs such as the resurrection and physical immortalization of Alcmene and Aristeas the Proconnesian, "for they say Aristeas died in a fuller's work-shop, and his friends coming to look for him, found his body vanished; and that some presently after, coming from abroad, said they met him traveling towards Croton." Plutarch openly scorned such beliefs held in traditional ancient Greek religion, writing, "many such improbabilities do your fabulous writers relate, deifying creatures naturally mortal."
The parallel between these traditional beliefs and the later resurrection of Jesus was not lost on the early Christians, as Justin Martyr argued: "when we say ... Jesus Christ, our teacher, was crucified and died, and rose again, and ascended into heaven, we propose nothing different from what you believe regarding those whom you consider sons of Zeus." (1 Apol. 21). There is, however, no belief in a general resurrection in ancient Greek religion, as the Greeks held that not even the gods were able to recreate flesh that had been lost to decay, fire or consumption.
The notion of a general resurrection of the dead was therefore apparently quite preposterous to the Greeks. This is made clear in Paul's Areopagus discourse. After having first told about the resurrection of Jesus, which makes the Athenians interested to hear more, Paul goes on, relating how this event relates to a general resurrection of the dead:
"Therefore having overlooked the times of ignorance, God is now declaring to men that all everywhere should repent, because He has fixed a day in which He will judge the world in righteousness through a Man whom He has appointed, having furnished proof to all men by raising Him from the dead." Now when they heard of the resurrection of the dead, some began to sneer, but others said, `We shall hear you again concerning this."
Christianity
Resurrection of Jesus
In Christianity, resurrection most critically concerns the Resurrection of Jesus, but also includes the resurrection of Judgment Day known as the Resurrection of the Dead by those Christians who subscribe to the Nicene Creed (which is the majority or Mainstream Christianity), as well as the resurrection miracles done by Jesus and the prophets of the Old Testament. Some churches distinguish between raising the dead (a resumption of mortal life) and a resurrection (the beginning of an immortal life).
Resurrection of Jesus
Christians regard the resurrection of Jesus as the central doctrine in Christianity. Others take the Incarnation of Jesus to be more central; however, it is the miracles – and particularly his Resurrection – which provide validation of his incarnation. According to Paul, the entire Christian faith hinges upon the centrality of the resurrection of Jesus and the hope for a life after death. The Apostle Paul wrote in his first letter to the Corinthians: If only for this life we have hope in Christ, we are to be pitied more than all men. But Christ has indeed been raised from the dead, the first fruits of those who have fallen asleep.
Resurrection
Miracles of Jesus § Resurrection of the dead
During the Ministry of Jesus on earth, before his death, Jesus commissioned his Twelve Apostles to, among other things, raise the dead. In the New Testament, Jesus is said to have raised several persons from death. These resurrections included the daughter of Jairus shortly after death, a young man in the midst of his own funeral procession, and Lazarus, who had been buried for four days. According to the Gospel of Matthew, after Jesus's resurrection, many of those previously dead came out of their tombs and entered Jerusalem, where they appeared to many.
Similar resurrections are credited to Christian apostles and saints. Peter allegedly raised a woman named Dorcas (called Tabitha), and Paul the Apostle revived a man named Eutychus who had fallen asleep and fell from a window to his death, according to the book of Acts. Proceeding the apostolic era, many saints were said to resurrect the dead, as recorded in Orthodox Christian hagiographies.[citation needed] St Columba supposedly raised a boy from the dead in the land of Picts .
Most Christians understand these miraculous resurrections to be of a different nature than the resurrection of Jesus and the future resurrection of the dead. The raising of Lazarus and others from the dead could also be called "resuscitations" or "reanimations", since the life given to them is presumably temporary in nature—there is no suggestion in the Bible or hagiographic traditions that these people became truly immortal. In contrast, the resurrection of Jesus and the future resurrection of the dead will abolish death once and for all (see Isaiah 25:8, 1 Corinthians 15:26, 2 Timothy 1:10, Revelation 21:4).
Resurrection of the Dead
Christianity started as a religious movement within 1st-century Judaism (late Second Temple Judaism), and it retains what the New Testament itself claims was the Pharisaic belief in the afterlife and Resurrection of the Dead. Whereas this belief was only one of many beliefs held about the World to Come in Second Temple Judaism, and was notably rejected by both the Sadducees and, according to Josephus, the Pharisees, this belief became dominant within Early Christianity and already in the Gospels of Luke and John included an insistence on the resurrection of the flesh. This was later rejected by gnostic teachings, which instead continued the Pauline insistence that flesh and bones had no place in heaven.
Most modern Christian churches continue to uphold the belief that there will be a final Resurrection of the Dead and World to Come, perhaps as prophesied by the Apostle Paul when he said: "...he hath appointed a day, in the which he will judge the world..." (Acts 17:31 KJV) and "...there shall be a resurrection of the dead, both of the just and unjust." (Acts 24:15 KJV).
Belief in the Resurrection of the Dead, and Jesus's role as judge, is codified in the Apostles' Creed, which is the fundamental creed of Christian baptismal faith. The Book of Revelation also makes many references about the Day of Judgment when the dead will be raised up.
Difference From Platonic philosophy
In Platonic philosophy and other Greek philosophical thought, at death the soul was said to leave the inferior body behind. The idea that Jesus was resurrected spiritually rather than physically even gained popularity among some Christian teachers, whom the author of 1 John declared to be antichrists. Similar beliefs appeared in the early church as Gnosticism. However, in Luke 24:39, the resurrected Jesus expressly states "behold my hands and my feet, that it is I myself. Handle me and see, for a spirit does not have flesh and bones as you see I have."
Islam
Belief in the "Day of Resurrection", Yawm al-Qiyāmah (Arabic: يوم القيامة) is also crucial for Muslims. They believe the time of Qiyāmah is preordained by God but unknown to man. The trials and tribulations preceding and during the Qiyāmah are described in the Qur'an and the hadith, and also in the commentaries of scholars. The Qur'an emphasizes bodily resurrection, a break from the pre-Islamic Arabian understanding of death.
Judaism and Samaritanism
There are three explicit examples in the Hebrew Bible of people being resurrected from the dead:
* The prophet Elijah prays and God raises a young boy from death (1 Kings 17:17-24)
* Elisha raises the son of the Shunammite woman (2 Kings 4:32-37); this was the very same child whose birth he previously foretold (2 Kings 4:8-16)
* A dead man's body that was thrown into the dead Elisha's tomb is resurrected when the body touches Elisha's bones (2 Kings 13:21)
During the period of the Second Temple, there developed a diversity of beliefs concerning the resurrection. The concept of resurrection of the physical body is found in 2 Maccabees, according to which it will happen through recreation of the flesh.[17] Resurrection of the dead also appears in detail in the extra-canonical books of Enoch,[18] in Apocalypse of Baruch, and 2 Esdras. According to the British scholar in ancient Judaism Philip R. Davies, there is “little or no clear reference … either to immortality or to resurrection from the dead” in the Dead Sea scrolls texts.
Both Josephus and the New Testament record that the Sadducees did not believe in an afterlife, but the sources vary on the beliefs of the Pharisees. The New Testament claims that the Pharisees believed in the resurrection, but does not specify whether this included the flesh or not. According to Josephus, who himself was a Pharisee, the Pharisees held that only the soul was immortal and the souls of good people will be reincarnated and “pass into other bodies,” while “the souls of the wicked will suffer eternal punishment.” Paul, who also was a Pharisee, said that at the resurrection what is "sown as a natural body is raised a spiritual body." Jubilees seems to refer to the resurrection of the soul only, or to a more general idea of an immortal soul.
According to Herbert C. Brichto, writing in Reform Judaism's Hebrew Union College Annual, the family tomb is the central concept in understanding biblical views of the afterlife. Brichto states that it is "not mere sentimental respect for the physical remains that is...the motivation for the practice, but rather an assumed connection between proper sepulture and the condition of happiness of the deceased in the afterlife".
According to Brichto, the early Israelites apparently believed that the graves of family, or tribe, united into one, and that this unified collectivity is to what the Biblical Hebrew term Sheol refers, the common Grave of humans. Although not well defined in the Tanakh, Sheol in this view was a subterranean underworld where the souls of the dead went after the body died. The Babylonians had a similar underworld called Aralu, and the Greeks had one known as Hades. For biblical references to Sheol see Genesis 42:38, Isaiah 14:11, Psalm 141:7, Daniel 12:2, Proverbs 7:27 and Job 10:21,22, and 17:16, among others. According to Brichto, other Biblical names for Sheol were: Abaddon (ruin), found in Psalm 88:11, Job 28:22 and Proverbs 15:11; Bor (the pit), found in Isaiah 14:15, 24:22, Ezekiel 26:20; and Shakhat (corruption), found in Isaiah 38:17, Ezekiel 28:8.
Zen Buddhism
There are stories in Buddhism where the power of resurrection was allegedly demonstrated in Chan or Zen tradition. One is the legend of Bodhidharma, the Indian master who brought the Ekayana school of India to China that subsequently became Chan Buddhism.
The other is the passing of Chinese Chan master Puhua (J., Fuke) and is recounted in the Record of Linji (J., Rinzai). Puhua was known for his unusual behavior and teaching style so it is no wonder that he is associated with an event that breaks the usual prohibition on displaying such powers. Here is the account from Irmgard Schloegl's "The Zen Teaching of Rinzai".
"One day at the street market Fuke was begging all and sundry to give him a robe. Everybody offered him one, but he did not want any of them. The master [Linji] made the superior buy a coffin, and when Fuke returned, said to him: "There, I had this robe made for you." Fuke shouldered the coffin, and went back to the street market, calling loudly: "Rinzai had this robe made for me! I am off to the East Gate to enter transformation" (to die)." The people of the market crowded after him, eager to look. Fuke said: "No, not today. Tomorrow, I shall go to the South Gate to enter transformation." And so for three days. Nobody believed it any longer. On the fourth day, and now without any spectators, Fuke went alone outside the city walls, and laid himself into the coffin. He asked a traveler who chanced by to nail down the lid.
The news spread at once, and the people of the market rushed there. On opening the coffin, they found that the body had vanished, but from high up in the sky they heard the ring of his hand bell."
Technological resurrection
Cryonics is the low-temperature preservation of humans who cannot be sustained by contemporary medicine, with the hope that healing and resuscitation may be possible in the future. Cryonics procedures ideally begin within minutes of cardiac arrest, and use cryoprotectants to prevent ice formation during cryopreservation.
However, the idea of cryonics also includes preservation of people long after death because of the possibility that brain encoding memory structure and personality may still persist or be inferable in the future. Whether sufficient brain information still exists for cryonics to successfully preserve may be intrinsically unprovable by present knowledge. Therefore, most proponents of cryonics see it as an intervention with prospects for success that vary widely depending on circumstances.
Russian Cosmist Nikolai Fyodorovich Fyodorov advocated resurrection of the dead using scientific methods. Fedorov tried to plan specific actions for scientific research of the possibility of restoring life and making it infinite. His first project is connected with collecting and synthesizing decayed remains of dead based on "knowledge and control over all atoms and molecules of the world".
The second method described by Fedorov is genetic-hereditary. The revival could be done successively in the ancestral line: sons and daughters restore their fathers and mothers, they in turn restore their parents and so on. This means restoring the ancestors using the hereditary information that they passed on to their children. Using this genetic method it is only possible to create a genetic twin of the dead person. It is necessary to give back the revived person his old mind, his personality. Fedorov speculates about the idea of "radial images" that may contain the personalities of the people and survive after death. Nevertheless, Fedorov noted that even if a soul is destroyed after death, Man will learn to restore it whole by mastering the forces of decay and fragmentation.
In his 1994 book The Physics of Immortality, American physicist Frank J. Tipler, an expert on the general theory of relativity, presented his Omega Point Theory which outlines how a resurrection of the dead could take place at the end of the cosmos. He posits that humans will evolve into robots which will turn the entire cosmos into a supercomputer which will, shortly before the big crunch, perform the resurrection within its cyberspace, reconstructing formerly dead humans (from information captured by the supercomputer from the past light cone of the cosmos) as avatars within its metaverse.
David Deutsch, British physicist and pioneer in the field of quantum computing, agrees with Tipler's Omega Point cosmology and the idea of resurrecting deceased people with the help of quantum computer but he is critical of Tipler's theological views.
Italian physicist and computer scientist Giulio Prisco presents the idea of "quantum archaeology", "reconstructing the life, thoughts, memories, and feelings of any person in the past, up to any desired level of detail, and thus resurrecting the original person via 'copying to the future'".
In his book Mind Children, roboticist Hans Moravec proposed that a future supercomputer might be able to resurrect long-dead minds from the information that still survived. For example, this information can be in the form of memories, filmstrips, medical records, and DNA.
Ray Kurzweil, American inventor and futurist, believes that when his concept of singularity comes to pass, it will be possible to resurrect the dead by digital recreation.
In their science fiction novel The Light of Other Days, Sir Arthur Clarke and Stephen Baxter imagine a future civilization resurrecting the dead of past ages by reaching into the past, through micro wormholes and with nanorobots, to download full snapshots of brain states and memories.
Both the Church of Perpetual Life and the Terasem Movement consider themselves transreligions and advocate for the use of technology to indefinitely extend the human lifespan.
Zombies
A zombie (Haitian Creole: zonbi; North Mbundu: nzumbe) can be either a fictional undead monster or a person in an entranced state believed to be controlled by a bokor or wizard. These latter are the original zombies, occurring in the West African Vodun religion and its American offshoots Haitian Vodou and New Orleans Voodoo.
Zombies became a popular device in modern horror fiction, largely because of the success of George A. Romero's 1968 film Night of the Living Dead and they have appeared as plot devices in various books, films and in television shows. Zombie fiction is now a sizable subgenre of horror, usually describing a breakdown of civilization occurring when most of the population become flesh-eating zombies – a zombie apocalypse. The monsters are usually hungry for human flesh, often specifically brains. Sometimes they are victims of a fictional pandemic illness causing the dead to reanimate or the living to behave this way, but often no cause is given in the story.
Disappearances (as distinct from resurrection)
As knowledge of different religions has grown, so have claims of bodily disappearance of some religious and mythological figures. In ancient Greek religion, this was a way the gods made some physically immortal, including such figures as Cleitus, Ganymede, Menelaus, and Tithonus. After his death, Cycnus was changed into a swan and vanished. In his chapter on Romulus from Parallel Lives, Plutarch criticises the continuous belief in such disappearances, referring to the allegedly miraculous disappearance of the historical figures Romulus, Cleomedes of Astypalaea, and Croesus. In ancient times, Greek and Roman pagan similarities were explained by the early Christian writers, such as Justin Martyr, as the work of demons, with the intention of leading Christians astray.
In somewhat recent years it has been learned that Gesar, the Savior of Tibet, at the end, chants on a mountain top and his clothes fall empty to the ground. The body of the first Guru of the Sikhs, Guru Nanak Dev, is said to have disappeared and flowers were left in place of his dead body.
Lord Raglan's Hero Pattern lists many religious figures whose bodies disappear, or have more than one sepulchre. B. Traven, author of The Treasure of the Sierra Madre, wrote that the Inca Virococha arrived at Cusco (in modern-day Peru) and the Pacific seacoast where he walked across the water and vanished.[46] It has been thought that teachings regarding the purity and incorruptibility of the hero's human body are linked to this phenomenon. Perhaps, this is also to deter the practice of disturbing and collecting the hero's remains. They are safely protected if they have disappeared.
The first such case mentioned in the Bible is that of Enoch (son of Jared, great-grandfather of Noah, and father of Methuselah). Enoch is said to have lived a life where he "walked with God", after which "he was not, for God took him" (Genesis 5:1–18).
In Deuteronomy (34:6) Moses is secretly buried. Elijah vanishes in a whirlwind 2 Kings (2:11). After hundreds of years these two earlier Biblical heroes suddenly reappear, and are seen walking with Jesus, then again vanish. Mark (9:2–8), Matthew (17:1–8) and Luke (9:28–33). The last time he is seen, Luke (24:51) alone tells of Jesus leaving his disciples by ascending into the sky.
St Machar's Cathedral (or, more formally, the Cathedral Church of St Machar) is a Church of Scotland church in Aberdeen, Scotland. It is located to the north of the city centre, in the former burgh of Old Aberdeen. Technically, St Machar's is no longer a cathedral but rather a high kirk, as it has not been the seat of a bishopsince 1690.
St Machar is said to have been a companion of St Columba on his journey to Iona. A fourteenth-century legend tells how God (or St Columba) told Machar to establish a church where a river bends into the shape of a bishop's crosier before flowing into the sea.
The River Don bends in this way just below where the Cathedral now stands. According to legend, St Machar founded a site of worship in Old Aberdeen in about 580. Machar's church was superseded by a Norman cathedral in 1131, shortly after David I transferred the See from Mortlach to Aberdeen.
Almost nothing of that original cathedral survives; a lozenge-decorated base for a capital supporting one of the architraves can be seen in the Charter Room in the present church.
After the execution of William Wallace in 1305, his body was cut up and sent to different corners of the country to warn other dissenters. His left quarter ended up in Aberdeen and is buried in the walls of the cathedral.
At the end of the thirteenth century Bishop Henry Cheyne decided to extend the church, but the work was interrupted by the Scottish Wars of Independence. Cheyne's progress included piers for an extended choir at the transept crossing. These pillars, with decorated capitals of red sandstone, are still visible at the east end of the present church.
Though worn by exposure to the elements after the collapse of the cathedral's central tower, these capitals are among the finest stone carvings of their date to survive in Scotland.
Bishop Alexander Kininmund II demolished the Norman cathedral in the late 14th century, and began the nave, including the granite columns and the towers at the western end. Bishop Henry Lichtoun completed the nave, the west front and the northern transept, and made a start on the central tower.
Bishop Ingram Lindsay completed the roof and the paving stones in the later part of the fifteenth century. Further work was done over the next fifty years by Thomas Spens, William Elphinstone and Gavin Dunbar; Dunbar is responsible for the heraldic ceiling and the two western spires.
The chancel was demolished in 1560 during the Scottish Reformation. The bells and lead from the roof were sent to be sold in Holland, but the ship sank near Girdle Ness.
The central tower and spire collapsed in 1688, in a storm, and this destroyed the choir and transepts. The west arch of the crossing was then filled in, and worship carried on in the nave only; the current church consists only of the nave and aisles of the earlier building.
The ruined transepts and crossing are under the care of Historic Scotland, and contain an important group of late medieval bishops' tombs, protected from the weather by modern canopies. The Cathedral is chiefly built of outlayer granite. On the unique flat panelled ceiling of the nave (first half of the 16th Century) are the heraldic shields of the contemporary kings of Europe, and the chief earls and bishops of Scotland.
The Cathedral is a fine example of a fortified kirk, with twin towers built in the fashion of fourteenth-century tower houses. Their walls have the strength to hold spiral staircases to the upper floors and battlements. The spires which presently crown the
Though worn by exposure to the elements after the collapse of the cathedral's central tower, these capitals are among the finest stone carvings of their date to survive in Scotland.
Bishop Alexander Kininmund II demolished the Norman cathedral in the late 14th century, and began the nave, including the granite columns and the towers at the western end. Bishop Henry Lichtoun completed the nave, the west front and the northern transept, and made a start on the central tower.
Bishop Ingram Lindsay completed the roof and the paving stones in the later part of the fifteenth century. Further work was done over the next fifty years by Thomas Spens, William Elphinstone and Gavin Dunbar; Dunbar is responsible for the heraldic ceiling and the two western spires.
The chancel was demolished in 1560 during the Scottish Reformation. The bells and lead from the roof were sent to be sold in Holland, but the ship sank near Girdle Ness.
The central tower and spire collapsed in 1688, in a storm, and this destroyed the choir and transepts. The west arch of the crossing was then filled in, and worship carried on in the nave only; the current church consists only of the nave and aisles of the earlier building.
The ruined transepts and crossing are under the care of Historic Scotland, and contain an important group of late medieval bishops' tombs, protected from the weather by modern canopies. The Cathedral is chiefly built of outlayer granite. On the unique flat panelled ceiling of the nave (first half of the 16th Century) are the heraldic shields of the contemporary kings of Europe, and the chief earls and bishops of Scotland.
Bishops Gavin Dunbar and Alexander Galloway built the western towers and installed the heraldic ceiling, featuring 48 coats of arms in three rows of sixteen. Among those shown are:
* Pope Leo X's coat of arms in the centre, followed in order of importance by those of the Scottish archbishops and bishops.
* the Prior of St Andrews, representing other Church orders.
* King's College, the westernmost shield.
* Henry VIII of England, James V of Scotland and multiple instances for the Holy Roman Emperor Charles V, who was also King of Spain, Aragon, Navarre and Sicily at the time the ceiling was created.
* St Margaret of Scotland, possibly as a stand-in for Margaret Tudor, James V's mother, whose own arms would have been the marshalled arms of England and Scotland.
* the arms of Aberdeen and of the families Gordon, Lindsay, Hay and Keith.
The ceiling is set off by a frieze which starts at the north-west corner of the nave and lists the bishops of the see from Nechtan in 1131 to William Gordon at the Reformation in 1560. This is followed by the Scottish monarchs from Máel Coluim II to Mary, Queen of Scots.
Notable figures buried in the cathedral cemetery include the author J.J. Bell, Robert Brough, Gavin Dunbar, Robert Laws, a missionary to Malawi and William Ogilvie of Pittensear—the ‘rebel professor’.
There has been considerable investment in recent years in restoration work and the improvement of the display of historic artefacts at the Cathedral.
The battlements of the western towers, incomplete for several centuries, have been renewed to their original height and design, greatly improving the appearance of the exterior. Meanwhile, within the building, a number of important stone monuments have been displayed to advantage.
These include a possibly 7th-8th century cross-slab from Seaton (the only surviving evidence from Aberdeen of Christianity at such an early date); a rare 12th century sanctuary cross-head; and several well-preserved late medieval effigies of Cathedral clergy, valuable for their detailed representation of contemporary dress.
A notable modern addition to the Cathedral's artistic treasures is a carved wooden triptych commemorating John Barbour, archdeacon of Aberdeen (d. 1395), author of The Brus.
Inside the wooden, beautifully shaped coffin is a mummified fish wrapped in linen. The text of the coffin tells that the fish (Mehyt in Egyptian language) was given as a gift to the lion goddess Mehyt, which is an ancient pun. The fish species was also sacred because one of its representatives was believed to have eaten the penis of Osiris, the god of Afterworld.
Wood, organic material, linen
Greek Period
Provenance Thebes (?)
Cat. 2396/1,2 Museo Egizio
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
Prince & The Revolution - Let's Go Crazy
"'Cuz in this life
Things are much harder than in the afterworld
In this life
You're on your own
And if de-elevator tries 2 bring u down
Go crazy - punch a higher floor"
(20140510 192_pp_cr.jpg)
The relief shows a centralized composition structured around a head portrait inserted inside a shaped-shell shield, "imago clipeata", put on a representation of the sea-monster Scylla. On each side of the clypeus there is a group, symmetrically arranged, consisting of a marine-centaur, ichthyocentaur, holding the clypeus itself, and a sea-bull each one carrying a Nereid. The structure of the bass-relief draws attention to the central female portrait representing the soul of the deceased brought to the Afterworld. This relief, simple and baroque at the same time, is a good example of the mannerist style in fashion at the end of the Severan dynasty. The clypeus divides the frieze in two halves where the two pairs are represented.
In the far ends, two sea-bulls are represented in three-quarters; their ears and horns are well visible, and they show up their raised fore legs and their "marine" tails. The Nereids are portrayed in profile. Their right hand is leant at the neck of bulls while their raised left hand holds a veil falling on their left thigh. Their long wavy hair held by a ribbon are tied on the neck. With an intimate gesture, these Nymphs raise their faces near those of the bulls. Below these pairs two sea monsters emerge from waves; a marine panther, right, and a sea-dragon, left.
The other two pairs consist of a sea-centaur and a Nereid portrayed astride as an Amazon. The two marine Nymphs are naked. Their veils raised over the heads form a nimbus behind their shoulders, and falling on the tails of the ichthyocentaurs, they cover the left thigh of the Nereids. The inflated veils suggest a fast movement.
The young woman is represented by means of an "imago clipeata"; here the shield, or clypeus, is replaced by a shell. A median line divides her slightly wavy hair in two parts collected on the neck and gathered in a flat mass that expands on each side of the neck. This pulled back hairstyle stresses her large ears. Her rather oval face is characterized by full cheeks, marked eyelids and quite thick eyelashes. The eyes rendered with the iris engraved in the pupil are slightly close. The nose, standing above a firmly clenched mouth, is long and straight. The deceased woman is represented draped in a cloak over a tunic and her expression is rather austere. Under the shell-shaped clypeus there is a group of three characters. At center, the powerful sea monster Scylla, terror of sailors, is standing upright in a wave; she emerges from the sea, represented as a young woman. In the space between the legs of the ichtyocentaurs and Scylla a ram with woolly fleece and a sea- bull are engraved emerging from waves .
The hairstyle exhibited by this woman is useful to set the sarcophagus dating. According to the fashionable hairstyles of the roman empresses, her hairstyle is similar to that carried by Julia Mammea, mother of Septimius Severus (193-211) or by Julia Paula, Eliogabalus' first wife, (218- 222). However, the assumption of Julia Mammea seems less suitable: on her portraits the hair is similar, but, on the contrary of this portrait, her ears are largely covered by hair.
Marbre sarcophagus
Height 55 cm ; length 215 cm
220-230 AD
Paris, Musée du Louvre – (MR 724; Ma 396)
The Amduat (Ancient Egyptian: jmj dwꜣt, literally "That Which Is In the Afterworld", also translated as "Text of the Hidden Chamber Which is in the Underworld" and "Book of What is in the Underworld") is an important ancient Egyptian funerary text of the New Kingdom of Egypt. Like many funerary texts, it was found written on the inside of the pharaoh's tomb for reference. Unlike other funerary texts, however, it was reserved only for pharaohs (until the Twenty-first Dynasty almost exclusively) or very favoured nobility.
It tells the story of Ra, the Egyptian sun god who travels through the underworld, from the time when the sun sets in the west and rises again in the east. It is said that the dead Pharaoh is taking this same journey, ultimately to become one with Ra and live forever.
The underworld is divided into twelve hours of the night, each representing different allies and enemies for the Pharaoh/sun god to encounter. The Amduat names all of these gods and monsters. The main purpose of the Amduat is to give the names of these gods and monsters to the spirit of the dead Pharaoh, so he can call upon them for help or use their name to defeat them.
As well as enumerating and naming the inhabitants of the Duat, both good and bad, the illustrations of the work show clearly the topography of the underworld.
Once the deceased finished their journey through the underworld, they arrived at the Hall of Maat. Here they would undergo the Weighting of the Heart ceremony where their purity would be the determining factor in whether they would be allowed to enter the Kingdom of Osiris.
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
9.10.2020-21.3.2021
Amduat: © Abdel Ghaffar Shedid 1997
EMERALD GREEN MANDALA AVATAR RAINBOW AURA PROTECTION PRESERVATION RESURRECTION REFLECTION GUARDIAN DRAGON SPIRIT WATER TEMPLE TOWER LIBRARY CASTLE MEMORY PALACE CITADEL SANCTUARY TREEOFLIFE STAIRWAYTOHEAVEN RAINBOWBRIDGE STARCASTLE HEAVENISAPLACEONEARTH RAINBOWINTHEDARK OVERTHEHILLSANDFARAWAY RAMBLEON THANKYOU 1000YEARS GODLOVESAMERICA EVERYTHINGINITSRIGHTPLACE PYRAMIDSONG WHENIGROWUP IFIHADAHEART KEEPTHESTREETSEMPTY INTRO OUTRO MIDNIGHTCITY SPIRALWIZARDTOWER NOVACITY RAINBOWTOWER MYSTICMEMORY CROSSROADSINN IMAGINATIONSTATION LABYRINTH LEGEND +++++ #TREEOFLIFE #STAIRWAYTOHEAVEN #RAINBOWBRIDGE #RAINBOWMAGIC #HEALING #TEMPLE #TOWER #LIBRARY #CASTLE #PALACE #LABYRINTH #STAIRWAY #WATERFALL #ISLAND #CONTINENT #FANTASY #SURREAL #PSYCHEDELIC #FLOWER #LIFE #HEAVEN #AURA #BUTTERFLY #CAT #TURTLE #EARTH #WATER #FIRE #AIR #SPIRIT #ELEMENTAL #BALANCE #CENTER #MANDALA #GEOMETRIC #ORDER #CREATION #DREAM #RIVER #LIGHT #SAPPHIRE #EMERALD #AMETHYST #GOLDEN #SILVER #SUN #MOON #STAR #NOSTALGIA 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#UNLESS #ODDLY #PACKAGED #DISC #UNEVEN #SLEEVE #REAL #ORIGINAL #HAPPENS #CRAYONS #CONDITION #SHELVES! +#PEACE #NEWEST #DISPLAY #AS #WELL! #OM #GIZZARD #FALLING #REVERSE #A #HREF="HTTPWWWMUSIC1978COM" #REL="NOREFERRER #NOFOLLOW"WWWMUSIC1978COMA #HREF="HTTPWWWFLICKRCOMPHOTOSMUSIC1978" #NOFOLLOW"WWWFLICKRCOMPHOTOSMUSIC1978A #HREF="HTTPWWWRHYTHMSECTIONGATLINBURGCOM" #NOFOLLOW"WWWRHYTHMSECTIONGATLINBURGCOMA #EYEOFHORUSRA #UNDERSTANDING? #MOUNTAINMALL #WHATSYOURFAVORITEPINKFLOYDSONG? #TSHIRT #33 #EQVISPRESLEY #FLOYD #J #POSSIBLE #PEACE3EARTH #SEX #MOUNTAINMALLSMASHINGPUMPKINSBUTTERFLY #IF #WELLBEING #PISTOLS #ASURA #NOT #TWENTYTWO #12" #MINDBENDING #THOUSANDARMED #377RHYTHMSECTIONGATLINBURG #MOUNTAINMALLTEMPLARS #BUTTERFLY #WWWFLICKRCOMPHOTOSMUSIC1978 @#MOUNTAINMALLTEMPLARS @#MOUNTAINMALLSMASHINGPUMPKINSBUTTERFLY #FLICKRCOMPHOTOSMUSIC1978 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"#SCARY" #FACES? #ISLAND? #DREAMS? #PEACE? #TIME? #IM #EXPERIENCESTHATS #BRUNOS #SHAPE? #SCAFFOLDING? #PURPOSE? #CANT #REVEAL? #YOURSELF? #DEVELOP? #TAKE? #EXPLORATIONS? #ALLIGATORCATFISH #EMERGE? #WORLDS #ALLIANCE? #ENVIRONMENT? #SELFUNDERSTANDING #ITS #CHINACATSUNFLOWERIKNOWYOURIDER #WWWRHYTHMSECTIONTNCOM #MTN #RECORDS #RHYTHMSECTIONGATLINBURGCOM #FLICKRCOMPHOTOSMUSIC1978 #MISTAKE #SELFDISCOVERY #TRAUMA #TRANSFORMATION #PEOPLE #WISDOM #TOGETHER #WORLD #GROWTH #THREATS #RESOURCES #SECURITY #WELLBEING #EXPLORATION #INHABITANTS #FACTIONS #LIFE #POTENTIAL #PSYCHE #NEXT #1 #TOOL #2 #DISCOVERY #3 #PURPOSE #4 #GOOD #UTILIZED #DREAMSCAPE #COSMOS #NARRATIVES #FLUID #JOURNEY #3RECORDS #TENNESSEE #HARDTOFIND #EUROPE #AUDIOPHILEQUALITY #RERELEASES #ROCKBOTTOM #PRICES #BOWIETHE #BOWIE #STICKERSTOREWWWFLICKRCOMPHOTOSMUSIC1978 #RHYTHMSECTIONTNCOM #REDBUBBLECOMPEOPLERHYTHMSECTIONTNSHOP #CITYOFLIGHT33 #GATLINBURGRECORDSTOWWWRHYTHMSECTIONGATLINBURGCOMOCHET #SMOKYMTNSRECORDS #HEARTRECORDS #PRAYERSFORRAINGREENHGOLDEN ++++ +++++#GATLINBURG #PRAYERSFORRAIN+ #SHOP #REQUESTS! #STICKERS! #RECORDS! #SOUNDTRACKS #ALBUMS! #CDS! #MOUNTAINS! #NEWVINYLRECORDS! #PEACEEARTH ++++#DAZEDANDCONFUSED ++++#RECORDSGOLDEN ++++++ #GOLD+ ++++++#NEWVINYLRECORDS! #3@THERHYTHMSECTION78DREAMREALMEXPLORATION+ #STONETEMPLEPILOTS+++++ #STATION #TREASURETROVE #DESTINATIONWWWREDBUBBLECOMPEOPLESTARLIGHTMOONSHOPBUTTERFLY #CARTOONISH #W #TROVE #LIFESAVINGPRINCE #PEACE3EARTH #INCLUDING #LIFESTATION #ARE #BUTTERFLY #LIBRARY! #ENGLAND! #2XL! #GODS! #POSTERS! #INSTAGRAM! #STORE! #ELYSIUM! #SHOPPING! #WIND! #WORLD! #MUCHMORE! #PINS! #EMBRACED! #DAYS! #MANYMORE! #PATCHES! #EMBRACED!PEACE #SEASON! #YOU! #MIDNIGHTSLODGECOSMICREFRACTIONSMAIDENFUTURISTICENAMELTHERHYTHMSECTION78THERHYTHMSECTION78KEYACDCNIRVANATSHIRT611UNICORNHEALINGISAMIRACLESECURITYBILLIERAINBOWCASTLETHERHYTHMSECTION78THERHYTHMSECTION78THERHYTHMSECTION78@THERHYTHMSECTION78!@THERHYTHMSECTION78!@THERHYTHMSECTION78!@THERHYTHMSECTION78!VALLEYSTICKERS@THERHYTHMSECTION78!MUSICLOVERS #EUROPE! #PRICES!! #NOSTALGIALODGECOSMICREFRACTIONSMAIDENFUTURISTICENAMELTHERHYTHMSECTION78THERHYTHMSECTION78KEYACDCNILODGECOSMICREFRACTIONSMAIDENFUTURISTICENAMELTHERHYTHMSECTION78THERHYTHMSECTION78KEYACDCNIRVANATSHIRT611UNICORNHEALINGISAMIRACLESECURITYBILLIERAINBOWCASTLETHERHYTHMSECTION78THERHYTHMSECTION78THERHYTHMSECTION78@THERHYTHMSECTION78!@THERHYTHMSECTION78!@THERHYTHMSECTION78!@THERHYTHMSECTION78!VALLEYSTICKERS@THERHYTHMSECTION78! #ABSOLUTELY! #EMERGED #CORE #COLLABORATION #INTERPRETATIONS #EMPOWERMENT #BALANCE #PROTECTION #POTENTIAL #SYMBOLISM! #YES! #NARRATIVE #WORLD #RESOLUTION #TRANSFORMATION #MONSTERS #ISLAND #EXPLORING #EXPERIENCES!THATS #DREAMSCAPE! #INTRODUCES #EVOLUTION #RESOURCES #REFLECTION #TAKES! #NEXT! #CONTINUE #STARSHIP #REALM #HARMONY #DREAMS! #RAINBOW #CITADEL #VISIONSTICKERSTOREWWWFLICKRCOMPHOTOSMUSIC1978 #REDBUBBLECOMPEOPLERHYTHMSECTIONTNSHOP #PRAYERSFORRAINGREENHIMAGINATIONLIBRARY ++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++ #SHOP+ #TREASURES+ #ALLALONGTHEWATCHTOWER+ #HENDRIX+ #PINS+ #FORTRESS+ #BOWIE+ #MTNS+ #HEAVENANDHELL+ #BEETLEJUICE+ #PARK+ #BANDS+ #ORDERS+ #AVAILABILITY+ #BUTTONS+ #MORE+ +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ #DAFTPUNK+ #CREATION+ #MEMORY+ #HEALING+ #POSTERS+ #AVALON+ #ROXYMUSIC+ #GATLINBURG+ #GREATSMOKYMOUNTAINS+ #BRIDGE+ #TOWER+ #PEACE+ #IMAGINATION+ #VALLEY+ #TREEOFLIFE+ #SMOKYMOUNTAINS+ #MUSIC+ #TSHIRTS+ #TYLERCHILDERSINN+ #STICKERS+ #PALACE+ #MAGIC+ #LOVE+ #DIAMOND+ #REQUESTS+ #METAL+ #WATERFALL+ #TALKTALK+ #CDS+ #BARBIE+ #RECORDS+ #MUSHROOM+ #BRIANENO+ #OLYMPUS+ #REFUGE+ #ETC #MAILORDERS+ #TENNESSEE+ #ENO+ #SUN+ #BUSH+ #MOUNTAINS+ #RESTORATION+ #PATCHES+ #SHIRTS+ #DUNE+ #NIRVANA+ #COSMOS+ #DYLAN+ #RAINBOW+ #TAROT+ #EMBRACED!GOINGTOCALIFORNIA #RAINBOWTREE #RAINBOWHARDSUN #ARRIVALS! 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The temple at Osorezan, or Mt Fear. This place, with it's geothermal activity and barren rocks, symbolises the entry to the underworld or afterworld. It is guarded by the many Jizo statues, boddhisatva of th underworld and guardian of children.
I took this picture during a visit to the Egyptian Rosicrucian Museum in San Jose, California. This inscription can be found at the tomb replica of Beni Hasan, Egypt. This tomb was modeled after Khnumhotep II. The tomb reproduction was created from the photographs and measurements taken during the 1939 Rosicrucian Order Expedition, led by H. Spencer Lewis, the founder of The Ancient and Mystical Order Rosae Crucis (AMORC).
Here we see a representation of a final judgement scene.
Khumhotep II is on the left. He was an ancient Egyptian Great Chief of the Oryx nome during the reign of pharaohs Amenemhat II and Senusret II of the 12th Dynasty, Middle Kingdom circa 1900 BC.
Anubis (jackal-headed deity), who presided over the embalming process and accompanied dead kings in the afterworld is holding his hand. In his left hand, Anubis is holding the Ankh or “key of life”. Anubis is helping Khnumhotep to make it to Paradise. Khnumhotep heart is on the jar on the left, being weighed against the feather of Ma'at, the goddess of truth, which was depicted as an ostrich feather (the feather was often pictured in Ma'at's headdress).
On the right side of the feather, we can see Toth, (depicted with the head of an ibis) god of the scribes, keeper of mysteries and the initiator. In Their final judgement, everyone was asked questions and their heart was weighted against the feather of truth. If their heart was heavier than the feather, the person won’t go on to afterlife. Toth is writing down all what the person did during his life. According to the ancient Egyptians if they wrote something down, it make it truth and everlasting.
In every tomb the scales are balanced. The small double of Anubis is helping the tomb owner by tipping the scale, just in case he has made some mistakes in his life.
If the heart was judged to be not pure, Ammit would devour it, and the person undergoing judgment was not allowed to continue their voyage towards Osiris and immortality. Once Ammit swallowed the heart, the soul was believed to become restless forever; this was called "to die a second time". Ammit was also sometimes said to stand by a lake of fire.
Ammit, "devourer of the dead"; a demoness and goddess shown here with the forequarters of a lion, the hindquarters of a hippopotamus, and the head of a crocodile—the three largest "man-eating" animals known to ancient Egyptians. A funerary deity, her titles included "Devourer of the Dead", "Eater of Hearts", and "Great of Death". Ammit lived near the scales of justice in Duat, the Egyptian underworld.
Ammit was not worshipped; instead, she embodied all that the Egyptians feared, threatening to bind them to eternal restlessness if they did not follow the principle of Ma'at.
If Khnumhotep succeeded, he will be escorted by Horus (son of Osiris) (Falcon-headed god) (right) to continued existence in the Afterlife. He is shown to the right, brought into the presence of Osiris (image before). This was a standard epithet applied to dead individuals in their texts.
The original tomb was robbed by thieves looking for hidden treasures and Khnumhotep was defaced. To make it more alluring, I added his head and Horus’s head.
When I have strayed in the wilderness / First come silence then you ring the bell / You can have my heart, not my secret / Shepherd girl of the afterworld / Shepherd girl of the afterworld (Jason Molina & Will Johnson)
UNMADE BEDS // Fotografien von Florian Fritsch
vom 03.04. bis 02.05.2015 in der ZustandsZone, Königstr. 16, 22767 Hamburg
see the original photograph on www.hobokollektiv.net
© Sankt Pauli, Hamburg, 2015, Florian Fritsch
Hungarian postcard. Photo: Radius. Victor Varconi in A kuruszló (Mihály Kertész aka Michael Curtiz, 1917).
Handsome Victor Varconi (1891–1976) was a highly successful matinee idol of the Hungarian-Austrian and German silent cinema in the 1910s and early 1920s. Later he was the first Hungarian actor to become a Hollywood star until the sound film completely altered the course of his career.
Victor Varconi was born Mihály Várkonyi in Kisvárda, Austria-Hungary (now Hungary) in 1891. He was born into a farming family on the Hungarian/Romanian border. He attended classes at Budapest's commercial college and at the dramatic school. The young good-looking actor thrived for a time on the Transylvanian stage, where he played leads in such productions as Liliom at the Hungarian National Theatre in Budapest. His rising popularity as a matinee idol led to film roles, and he made his debut in Sárga csikó/Son of the Pusta (Félix Vanyl, 1913). Other of his silent Hungarian films were Bánk Bán (Mihály Kertész aka Michael Curtiz, 1914) based on the play by József Katona, Mágia/Magic (Sándor Korda aka Alexander Korda, 1917), Szent Péter esernyöje/St. Peter's Umbrella (Alexander Korda, 1917) and Fehér rózsa/White Rose (Alexander Korda, 1919) starring Maria Corda, the director’s wife. Unfortunately nearly all these early films got lost. After World War I, under the Horthy regime, Korda and many other film makers fled to Vienna, and Varconi followed them. He changed his marquee name to the more internationally friendly Michael Várkonyi and branched out into German and Austrian films. He showed impressive performances in Aus den Tiefen der Großstadt/ From the depths of the big city (Fred Sauer, 1920) and Nachtbesuch in der Northernbank/Night visit in the Northernbank (Karl Grune, 1921). Then followed such films as Arme Violetta/Camille (Paul H. Stein, 1921) a silent version of La Traviata starring Pola Negri, Herren der Meere/Masters of the Sea (Alexander Korda, 1922), Versunkene Welten/Sunk worlds (Siegfried Philippi, 1922) with Ria Jende, and Namenlos/Nameless (Michael Curtiz, 1923) with Mary Kid. A huge success was the biblical epic Sodom und Gomorrha/Queen of Sin (Michael Curtiz, 1922) with Lucy Doraine. IMDb reviewer Nora Nettlerash writes about his performance in this film: “with his devilish good looks he doesn't really need to act here, and with his commanding presence he makes a great angel of the Lord”.
In 1924, because of the ever-shifting political climate of Europe, Michael Várkonyi moved to America to try his luck in Hollywood. First he played a supporting part in Poisoned Paradise (Louis J. Gasnier, 1924) starring It-girl Clara Bow. Then he was signed by Cecil B. DeMille's company on his exceptional performance in Sodom und Gomorrha (1922). DeMille cast him as a wealthy American tin factory manager in Triumph (Cecil B. DeMille, 1924) opposite established star Leatrice Joy. He was billed now as Victor Varconi. For DeMille's company, the smoothly handsome Varconi then played in the comedy Changing Husbands (Frank Urson, 1924) again opposite Leatrice Joy, had a character role as a bookkeeper in the afterworld in Feet of Clay (Cecil B. DeMille, 1924), later he was a Russian prince in The Volga Boatman (Cecil B. DeMille, 1926) starring William Boyd, and finally, a disgruntled Pontius Pilate in the biblical epic The King of Kings (Cecil B. DeMille, 1929). Temporarily he returned to Europe. In Germany he reunited with director Alexander Korda and his wife Maria Corda for the comedy-drama Der Tänzer meiner Frau/Dance Fever (Alexander Korda, 1925). With Corda he also acted in the two Italian productions L'uomo piu allegro di Vienna/The happiest man in Vienna (Amleto Palermi, 1926) and the lavish spectacle Gli ultimi giorni di Pompeii/The Last Days of Pompeii (Carmine Gallone, Amleto Palermi, 1926) starring Italian diva Rina De Liguoro. Back in Hollywood, the elegant and impeccably mannered Varconi went on to share the screen with some of the loveliest and talented ladies of silent Hollywood, including Agnes Ayres, Marie Prevost, and Jetta Goudal. Notable is his portrayal of cuckolded husband Amos opposite Phyllis Haver's wild jazz-loving and boozing Roxie Hart in the silent Chicago (Frank Urson, 1927). His last major silent role was that of Lord Horatio Nelson in The Divine Lady (Frank Lloyd, 1929) co-starring Oscar-nominated Corinne Griffith as Lady Emma Hamilton.
At the peak of his career as a romantic leading man, Victor Varconi had to face transition from the silent movies to the talkies. It completely altered the course of his career. He had a nice decent voice for sound film but his accent was noticeably thick. He no longer did become offers for leading parts. Temporarily he worked in European silent films, such as the Polish Kult ciala/The Cult of the Body (Michal Waszynski, 1930) and the German Mein Herz gehört Dir.../My heart belongs to you (Max Reichmann, 1930) with Camilla Horn. Back in Hollywood, he regressed slightly to suave ethnic character roles, such as in the Charlie Chan mystery The Black Camel (Hamilton MacFadden, 1931) starring Warner Oland. He often played foreign or royal dignitaries, European adventurers or roguish gigolos. He also starred in English-language versions of Anglo-German co-productions, such as Der Rebell/The Rebel (Luis Trenker, Edwin H. Knopf, 1933) starring Luis Trenker. The forced move to character roles probably added years to his Hollywood life. During World War II Hollywood utilised his talents playing nefarious Axis commanders in spy intrigue and war dramas. In The Hitler Gang (John Farrow, 1944), he was quite skillful portraying Nazi Deputy Rudolf Hess. Varconi also appeared in many of his old boss Cecil DeMille's sound epics such as The Plainsman (Cecil B. DeMille, 1936) (as Indian chief Painted Horse), Reap the Wild Wind (Cecil B. DeMille, 1942) starring Ray Milland, Unconquered (1947, Cecil B. DeMille) with Gary Cooper, and Samson and Delilah (Cecil B. DeMille, 1949) starring Hedy Lamarr. After 1949 Varconi scaled down his workload. He also worked on the New York City stage and wrote for radio. Among his Shakespearean theatre endeavours were roles in Hamlet, Romeo and Juliet, Antony and Cleopatra and Richard III. He also moved occasionally into TV in the 1950s. Varconi did another film part in the Sci-Fi movie The Man Who Turned to Stone (László Kardos, 1957) starring Victor Jory. The plot was about a group of 18th-century scientists, who have remained young after all these centuries by using electricity to suck the life out of young women. After a supporting part in another Sci-Fi thriller, The Atomic Submarine (Spencer Gordon Bennet, 1960), he retired. Victor Varconi had appeared in 120 films. He published his memoirs It's Not Enough to Be Hungarian, just before his death. In 1976, Victor Varconi died from a heart attack in Santa Barbara, California, at the age of 85. He was married twice. His second wife was stage actress Anna Aranyosy.
Sources: Hal Erickson (AllMovie), Thomas Staedeli (Cyranos), Gary Brumburgh (IMDb), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.