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“We are one, after all, you and I, together we suffer, together exist and forever will recreate one another.”
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The courtyard in the Chez Piggy, Toucan and Earth Spirit area of Kingston Ontario Canada has some interesting spots to take a photo.
Taken from our class "road trip" last Sunday. Again, the "dark side" of me exposed this one 1 step down.
"Earth Spirit" is another piece of digital art created in both Procreate and Photoshop. The beautiful organic textures come from the delightful Procreate brushes from Alaina Jensen.
I'm not sure where the title came from I think it was influenced more by the colour palette.
Two alert mongooses emerge from their burrow, their keen eyes scanning the arid landscape. Their expressions hold a mix of curiosity and caution, perfectly adapted to the challenges of the desert. With the golden sunlight highlighting their fur, these small yet resilient creatures embody survival and adaptability in one of nature’s harshest environments.
Sun is rising to greet us, Hear the call of the wild,
Look around at this new day, Like an Innocent Child,
Feel the world waking up now, Sacred circles complete
Like an African morning Feel the rhythm and beat.
Ma Ma hey Earth Spirit Hear you singing to me
Ma Ma hey Earth Spirit Sing to me sing to me.
Ba Ba hey loo O ma Let it be, Let it Be,
Ba Ba Hey loo O ma Come to me Come to me.
Sacred Circle of Dancers, Young and old, black and white
Sing a song for the new day. Giving thanks for the night.
Life is singing a new song Sacred circle's complete
Hear the song deep within you. Raise your hands, move your feet.
Like an African Morning, sun is rising anew
hear the song of the new day, life is calling for you.
Come give in to your passion, Time to live and let go.
Feel the power within you, It's the song of your so -oul!
An original song and video by me John William Hammond. Celebrate the life and love you bring into the world.
Ask Alexa, Siri or Spotify to play you the music of
JOHN WILLIAM HAMMOND (use all 3 names) or visit my site at
johnwilliamhammond.bandcamp.com/?from=search&search_i...
flic.kr/p/2ng41ED Try this one too - Lots of Fun!
A giant puppet of Mother Nature dwarfs attendees at the 2011 Green Fair, in Regent's Park, London.
Originating in 1982, the Camden Fair was held on the first Saturday in June, coinciding with World Environment Day. Originally held in St. James Gardens, year-on-year growth meant a move to Regent's Park in 2005, where it became one of the UK’s largest free green events. In 2011 it changed its name from the Camden Fair to the London Green Fair. However, the 2013 Fair was cancelled, and due to the challenge of running it sustainably, it has sadly never recovered.
A diptych shot with a Nikon D40, fitted with a Tamron 70-300mm F4/5.6 DI LD (Nikon AFS) lens and processed in GIMP and Photoscape.
"Earth Dance" is a collaborative acrylic art piece that was created during an Earth Dance party at Kiwanis Park in Tempe AZ. A mixture of nature and abstract ideas that merge into this organic convergence of fluid entanglement. Please leave a comment explaining what you see and think of the piece! Thanks <3 Purchase Prints @ bit.ly/earthdnc
If you remember I'm on '4 elements' mini project and I already did Fire and Water so it's time for Earth now. Tried a bit different framing for today, hope you like it :)
From left to right: Crisanto (Elchanan, faceup by Angel Toast), Andromeda (Carina, Iple faceup), and Jaelen (Theo, faceup by earthspirits)
I thought I had already added this here, but it seems not. It is another embroidered circuitboard piece - the first one I ever made that uses only 1 color of embroidery floss. (I suppose you could count my previous work of the cat and the rabbit under the trees as using only one color, except I decided to add a hamster in the border to make the piece represent my family's actual animal contingent. Oh wait, and there was the "blue and white" keychain where the blue was the color of the circuitboard so the only color thread used was white. But actually I finished that keychain AFTER I finished this piece, I just forgot to post this piece until now.)
4D SEIS Tomography photo of the Egyptian three-headed god Upuaut (4D SpaceTime Spirit, quaternion) is created by 4D SEIS Tomography transformation of NASA`s huricane satellite images.
Uniqueness of 4D SEIS technology is determined by algorithms that transforms digital images of physical fields into volumetric space-time models which reflects not only an internal structure, but also evolution of structures.
Lup/lupul = wolf/the wolf in Romanian; lup/lupu = to die/dead in Etruscan. Similarly, haita = wolf pack in Romanian; Aita = the god of the underworld the equivalent of Greek Hades, for the Etruscans. Etruscan funerary paintings shows Aita wearing on his head the head and fur of a wolf! It is similar to the Egyptian jackal headed Upuaut/Wepwawet or Greek Ophois. Upuaut had a double role, being the god of war (just like the wolf headed Dacian banners!) and of the funerary worship, opening the way both for the troops and for the spirits of the dead.
* Seth, the Red God, god of the desert and promulgator of thunderstorms and violence, was represented as an animal, of a kind not yet identified by Egyptologists. Upuaut (aka: Wepwawet): Upuaut is depicted as a man with the head of a wolf. “In late Egyptian mythology, Wepwawet (hieroglyphic wp-w3w.t; also rendered Upuaut, Wep-wawet, Wepawet, and Ophois) was originally a war deity, whose cult centre was Asyut in Upper Egypt (Lycopolis in the Greco-Roman period). His name means, opener of the ways and he is often depicted as a wolf standing at the prow of a solar-boat. Some interpret that Wepwawet was seen as a scout, going out to clear routes for the army to proceed forward.
Very often, in today's mythology books, the wolf-headed Upuaut is mistakenly identified as Anubis. Upuaut became considered connected to Anubis (Anupu), eventually becoming considered his son, and seen as a jackal. The jackal (or dog) – the symbol of Anubis – represented the star Sirius in Egyptian hieroglyphics perhaps as early as 3285 B.C. The Romans were said to associate Anubis with a star (Sirius) and called it a wolf star.”
The wolf was the symbol of the fugitive, and many gods who protected exiles and outlaws had wolf deities or attributes. Examples like Zeus Lykoreius, Apollo Lykeios, Romulus and Remus, sons of the wolf-god Mars and suckled by the she-wolf of the Capitol, had been “fugitives.
In a Dacian relief, Apollo/Mithra is represented standing with his knee on his sacrificial animal, the bull. Into the corners are represented his symbols: a head representing the sun, a head having a crescent above, representing the moon, a wolf, symbolizing the death, jumping at Apollo/Mithra, and a snake, Python, symbolizing the false prophecies, the delusion. The latter two symbols were joined into the Dacian wolf-dragon banner, while the moon and the sun were carved on the Valach funerary crosses, as solar rather than Christian symbols, during the entire middle age.
Thank you for your interest in supporting the work of 4D GeoSEIS Project!
If you wish to by any 3D-4D SEIST stereo-transformation of 2D images and to send your donation for the publication of more incredible stereo-images and 3D-4D SEIST Model: jeisus@mail.ru
C, 2016, 4D-7D SEIST Projects
3D-4Dseist volumetric model of rock`s resistance field (The subsurface King, quaternion) of gas-bearing formation is created by 3D-4Dseist processing of rock`s resistance date.
Using 3D-4Dseist software for multifactor volumetric (structural-geodynamic, geophysical, geochemical and mineralogical) modeling we offer:
The multifactor volumetric 3D-4Dseist models with exact ranging and forecasting of mineral deposits, low-amplitude tectonics, geophysical anomalies and geologic properties of deep structures, using volumetric interpretation methods of multispectral satellite images for cost-effective geological prospecting.
During 22 years the great number of volumetric structural-geodynamic, geological, geophysical models of ore deposits (Fe-Ti, Cu, Au, Hg, Ni-Cu-Co) and oil-gas deposits (Namibia, Kalimantan, Urals, Ukraine, Timor, Uzbekistan) are created.
Integration of the mineralogical and geochemical data, geophysical maps and multispectral satellite images (Hyperion, ASTER, LANDSAT-7ETM and others) in multifactor volumetric structural-geodynamic models.
3Dseist software for computer processing of the ASTER and Landsat7ETM images have been used to create the volumetric structural-geodynamic models of the NW Namibia & SE Angola territory to discriminate the high potential concentration of mineral resources based on limited field data in order to aid exploration for new copper and titaniferous magnetite mineralization. The strategy adopted to facilitate this predictive modeling is to develop understanding and testing of a 4Dseist model through research. They allowed calculating the potential resources of commercially important concentration of copper and titaniferous magnetite ores. Several points of Fe-Ti-Cu mineralization predicted by the 4Dseist technology had been confirmed by field observations.
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* The results of structural-geodynamic modeling proved possibility of satellite maps creation (Landsat7ETM, ASTER, World View-2…) of low-amplitude tectonics with spatial resolution 1-20-30m/pix for horizontal lines, and 20 cm of fold’s amplitude. The spatial resolution of satellite models and maps on a concrete area exceeded the spatial resolution of mining works plan on the scale 1:5000.
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* The prime commercial focus is a consulting service to assist predictive discovery of mineral & oil-gas deposits through application of advanced multicomponent volumetric 4Dseist Tomography modeling of spectral brightness and geophysical fields to targeting problems. This emerging 4D GeoSEIS technology is starting to be utilized by exploration companies and has the potential to improve the probability of exploration success by reducing the time and cost involved in discovery.
The seeds of all my seasons come together in a soup of something I could once taste but hold in my mouth now like water. Everything is here: sweetness cupped in kernels that distill its flavors down like some old mill might do. White corn gone to tassel late in summer, hot from fire and swimming in some kind of honeyed brine that tastes like weathered wood and nothing I can name, a leftover solstice mix fierce and slow with underpinnings of rot and adventure, a taste of singe and lakewater, of a wet moon and its spell. It carries too the haunted pucker of October, the sour whimsy of collapsing things in ruined little gardens. A mystery, sliced in half when I wasn't looking and offered with one hand out and one hand hidden. Pepper plays with it well and coaxes it into almost giving itself up. When I try to say its name, it almost leaves. It tickles like I think the folds of snowflakes' edges would, a tumble of melting angles in my throat. Most times too it trails a residue of spice---shyer than nutmeg and wilder than something like paprika. It has its own wild way of warming into me, a lonesome heat gentled by the ways I get to know it and by the slick and chilly film of spring, of cool things breathing water as they birth. It wants to be raw but finally simmers. I don't season it but wait for it to tell me what it needs. Sometimes it's cream to cradle it and make it younger, to soften up its brazen twiggy heart. It might be a sprig of rosemary, nipped from the bush by the train tracks, or the green of wild young onion, raised up from feral earth and brought inside. Other days I've sensed a flush of rosehip, much too sweet for its own good, a blast of death inside it like the blasphemous hymn I found myself humming at dusk in April as a child. There's nothing written down for me to go by. I play and add and mix and stir but nothing lets me name it, and then there I am again with that drink of simple water, limned by none of the grit and gruel I'm used to getting. I cradle it against my tongue and then it's mine: an emptying fix for all my angry fullness, a hex of chaliced shadow warm as earth, my only season now its gulp of dwindling sun and ragged twilight wind.
©Laura Sorrells 2012
all rights reserved
This Kubera sculpture is solid cast bronze and of gilt - cold gold, He wears precious jewels around is neck and wears a dhoti around his waist his right hand is in teaching mudra and his left hand holds his Nakula (mongoose) who has preasuse stones falling out of his mouth, His underside has a seal mark impression of the double dorge and so maybe from a temple.
From Tibet
Material - Bronze & gold.
Size 100mm tall
Age 19-20c
Weight: 0.5 kg
Code 5420
Provenance Treasures of Wisdoms private collection.
Comments most welcome
Kubera is the guardian of the north and is usually depicted as a dwarfish figure with a large paunch, holding a money bag or a pomegranate, sometimes riding on a man. Also known as Vaishravana and Jambhala, he is a popular figure in Buddhist and Jain mythology as well. In Buddhist sculptures he is often shown accompanied by a mongoose.
Kubera, in Hindu mythology, the king of the yakshas (nature spirits) and the god of wealth. He is associated with the earth, mountains, all treasures such as minerals and jewels that lie underground, and riches in general. According to most accounts, he first lived in Lanka (Sri Lanka), but his palace was taken away from him by his half brother, Ravana, and he now resides in a beautiful mountain residence near the god Shiva’s home on Mount Kailasa, where he is attended by all manner of demigods.
37/365
Holy smokes. Today was the biggest day of Doing of the Year of Doing -- we went into the City early in the morning to see the Zorn At The Met event at the Metropolitan Museum of Art. The event was a dozen performances of John Zorn compositions in various galleries throughout the day. We were interested in many of them, but most excited for Mike Patton's solo performance of "Litany IV (for Heliogabalus)" in the evening at the Temple of Dendur. We were worried there would be a lot of downtime or footsoreness or tiredness trying to get from 10 in the morning to Patton's appearance at 7 pm, but you know what? Zorn At The Met is pure awesome.
The day just floated by in a steady stream of pure delightfulness. It started with the transcendent, beautiful "Gnostic Preludes" and just continued on from there. Our other favorite pieces were the string trio "All Hallows' Eve" and the vocal trio "Earthspirit". And then the big ticket event (tons more people showed up for the Patton appearance) was just stunning. This is the sort of thing that we never could have imagined that we'd ever be put-together enough to see in person, but Year of Doing has been all about payoff. It's easy to say that this is going to end up being our best day of the entire year.
--Schn.
The qilin ([tɕʰǐ.lǐn]; Chinese: 麒麟) is a mythical hooved chimerical creature known in Chinese and other East Asian cultures, said to appear with the imminent arrival or passing of a sage or illustrious ruler. It is a good omen thought to occasion prosperity or serenity.
From China
Bronze
Age 20c
Size approx 100mm x100mm
Provenance, Treasures of Wisdoms private collection.
Comments welcome.
The qilin may be described or depicted in a variety of ways.
Qilin generally have Chinese dragon-like features. Most notably their heads, eyes with thick eyelashes, manes that always flow upward and beards. The body is fully or partially scaled and often shaped like an ox, deer, or horse. They are always shown with cloven hooves. In modern times, the depictions of qilin have often fused with the Western concept of unicorns.
The Chinese dragon has antlers, so it is most common to see qilin with antlers. Dragons in China are also most commonly depicted as golden, therefore the most common depictions of qilin are also golden, but are not limited to just gold, and can be any color of the rainbow, multicolored, and various colors of fur or hid
The qilin ([tɕʰǐ.lǐn]; Chinese: 麒麟) is a mythical hooved chimerical creature known in Chinese and other East Asian cultures, said to appear with the imminent arrival or passing of a sage or illustrious ruler. It is a good omen thought to occasion prosperity or serenity.
From China
Bronze
Age 20c
Size approx 100mm x100mm
Provenance, Treasures of Wisdoms private collection.
Comments welcome.
The qilin may be described or depicted in a variety of ways.
Qilin generally have Chinese dragon-like features. Most notably their heads, eyes with thick eyelashes, manes that always flow upward and beards. The body is fully or partially scaled and often shaped like an ox, deer, or horse. They are always shown with cloven hooves. In modern times, the depictions of qilin have often fused with the Western concept of unicorns.
The Chinese dragon has antlers, so it is most common to see qilin with antlers. Dragons in China are also most commonly depicted as golden, therefore the most common depictions of qilin are also golden, but are not limited to just gold, and can be any color of the rainbow, multicolored, and various colors of fur or hid
The qilin ([tɕʰǐ.lǐn]; Chinese: 麒麟) is a mythical hooved chimerical creature known in Chinese and other East Asian cultures, said to appear with the imminent arrival or passing of a sage or illustrious ruler. It is a good omen thought to occasion prosperity or serenity.
From China
Bronze
Age 20c
Size approx 100mmx100mm
Code 1490
Provenance, Treasures of Wisdoms private collection.
Comments welcome.
The qilin may be described or depicted in a variety of ways.
Qilin generally have Chinese dragon-like features. Most notably their heads, eyes with thick eyelashes, manes that always flow upward and beards. The body is fully or partially scaled and often shaped like an ox, deer, or horse. They are always shown with cloven hooves. In modern times, the depictions of qilin have often fused with the Western concept of unicorns
The Chinese dragon has antlers, so it is most common to see qilin with antlers. Dragons in China are also most commonly depicted as golden, therefore the most common depictions of qilin are also golden, but are not limited to just gold, and can be any color of the rainbow, multicolored, and various colors of fur or hide,
Bronze Burmese Dog of Fo.
Hongshan Sculpture With Pig Dragon On His Head, Sometimes known as Earth Spirits.
This is one of a few Jade sculptures from a Chinese private collection. The last owner said that they had been broken in the Chinese Cultural Revolution by the Red Guard.
The mysterious ancient Hongshan culture vanished thousands of years ago, but they left behind a number of absolutely astonishing jade figurines that we have the privilege to admire today.
Interestingly, some of the produced figures are very alien-looking. Whom do they depict? Did the Hongshan people encounter ancient aliens perhaps?
Hongshan Sculpture With Pig Dragon On His Head.
From North China
Material Jade
Size 250mm tall
Age Unknown
Now in the Treasures of Wisdoms private collection.
Comments most welcome.
In the Neolithic period (5000-2000 B.C.), priests and military men used jade pieces in the worship of deities and ancestors. The most common ornaments of round pi discs and square ts'ung tubes symbolized the round heaven and the square earth. Jade ornaments in ancient China were used as authority objects and emblems of power. Ancient Chinese believed that their ancestors originated with God and communicated through supernatural beings and symbols, whose images were placed on jade ornaments. Shamans most likely used jade ornaments with divine markings to command mystical forces and communicate with gods and ancestors. Jade was also used in ancient burial ceremonies. In ancient times jade was wedged or cracked from a stone and most likely shaped by artisans using grind stones. Metal tools had not yet been invented. It took a considerable amount of time to shape, polish and engrave the elaborate pieces though to have been created for royalty or nobility.
Neolithic Jade CarvingsCircular jades were fairly common in the Neolithic period. Although they were usually discs with a hole in the middle there were pronounced regional differences. Northern jades from the Hongshan culture (4000-3000 B.C) were transparent green in color, thin on the outer and inner edges, and decorated with images of interlocking clouds and linked circular shapes. Northern jades pieces were mainly worn as ornaments. Southern circular jades from the lower-Yangtze Liang-chu culture (3200-2300 B.C.) were mostly green and often dotted with white spots. Used primarily as ritual objects, these circular jades were about 20 centimeters in diameter with a central hole drilled from both sides. Raised edges lined the central hole, while the outer edges were flat and circular. The small arc-curves sometimes seen on the surface are remnants of the cutting and carving process.
Northwestern circular jades from the Lungshan culture (2500-2000 B.C.) and Shensi and Kansu Qichian culture (2000-1600 B.C.) have a surface with straight lines and a central hole drilled from one side with an angled wall and an upper rim larger than the lower rim. Eastern jades from the lower Yellow River Ta-wen-kou culture (4300-2300 B.C.) were mostly small sized objects influenced by northern and southern styles.
Neolithic Jade CarvingsShang Dynasty (1700-1100 B.C.) circular jades are generally similar to northwestern circular jades. Later Shang pieces featured raised inner rims and thin outer edges, sets of carved concentric circles and images of curling dragons, fish, tigers and birds. During the Zhou Dynasty (1100-221 B.C.) jade pendants were very popular and the level of their craftsmanship was unmatched in any future period.
Shang and Zhou dynasties jade objects were important objects in ceremonies and rituals. In the Western Zhou period (1100-700 B.C.) the type and number of circular jades used in ceremonies represented a person's social status. Circular jades from this period were often cut into symmetrical pieces to form sets of two or three pieces. Circular jades made during the Spring and Autumn and Warring States period (722-221 B.C.) were smaller than those from the Shang and early Zhou periods. They contained carved images of curling chih dragons, grain seeds, and cloud patterns. During this period circular jades were commonly worn by people. Materials other than jade, such as agate and glass were used to make jade ornaments.
Info form Leadtochina.com