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Wandering on the busy streets of Manila, I saw this compelling image of an old beggar woman. At first, I was hesitant to take a photo but the artist in me won, and so I took a shot despite the gnawing pain inside... Yes, we have to accept the fact that there are ghostly existence amid us that are personified by helplessness, poverty and abandonement... We may have seen them everyday in every corner of the street in our destitute society but dismiss them because we are too busy in our own existence. Like the old woman with her hand trying to reach out to other's existence, I asked myself, 'am I a beggar too trying to reach out toward others to affirm that I still exist?'
You'll make us wanna die
I'd cut your name in my heart
We'll destroy this world for you
And now you want me to feel your pain
Dark Demons' Night II (Kavka Antwerpen)
Video: youtu.be/aKS4rAMScPI
More: soundcloud.com/comafrequency/06-coma-frequency-feat-eufor...
And who told the light manager hat it would be a good idea to use only red lights and cut all front lights?
those were johnny's Christmas present last year. he sewed the toe socks together so i could wear them.
The parish came into existence following the decision of the Diocesan Council, in the fall of 1998, following the repeated insistence of the faithful from the Drumul Taberei neighborhood, who were disappointed by the lack of places of worship in this neighborhood.
Thus, at the initiative of the priest Nicolae Burlan, a disassembled wooden church was brought from the Vicovul de Jos commune in Suceava county and reassembled on a plot of land belonging to the Ministry of National Defense located in Brașov Street, no. 21C, sector 6.
Later, interventions were made at the City Hall of the Capital, which ceded a 3000 square meter plot of land for the purpose of building a church and which was given in exchange to the Ministry of National Defense for the equivalent area on which the wooden church is already located.
The wooden church was consecrated by His Holiness Teodosie Snagoveanul, Vicar Bishop of the Archdiocese of Bucharest at that time, on July 26, 1998.
The shrine of the church is Saint Pious Parascheva, (in Greek "paraschevi" means "Friday") whom Orthodox Christianity celebrates on October 14 and whose Holy Relics are in the Metropolitan Cathedral of Iași.
Since the wooden church proved inadequate for the more than 1,000 believers from various neighborhoods who regularly participate in the Holy services, the decision was made to build a brick church, of larger dimensions absolutely necessary for a neighborhood like Drumul Taberei.
The plan of the new church belonging to the architect Florin Bucur Crăciun is in the form of an inscribed Greek cross.
From an architectural point of view, it fits into the style prefigured by the churches "Sfânta Sofia" in Constantinople and "Sfântul Nicolae Domnesc" in Curtea de Argeș.
A large central hemispherical dome dominates the spatial composition of the edifice.
A wide porch with six free and two engaged columns precedes the entrance.
Access to the church is through a portal with an arched frame, made of finely carved stone.
The vault is made up of 25 semi-arches, resting at the ends on two metal caisson rings, with other intermediate rings unfolding between them.
The covering of the altar, similar to the apses of the proscomidiary and the diaconicon, is made by a cone connected to a semi-cylinder.
On the opposite side, on the first floor, there is the cage which is accessed by stairs placed inside, in the northwest and southwest corners of the building, which also lead to the two balconies.
For the first time in six years of existence, the P1 AquaX was hosting a World Championship event sanctioned by IJSBA and it happened in Key West, Florida December 9th and 10th 2017. Since the Thailand King's Cup was being held at the same time, only 18 of the 25 pilots that made the selection were racing this week end. Nevertheless, Key West was a beautiful destination to race, every morning brought a different colour of sunrise and the ever changing blue hues of the water made this race memorable. After marine and storm delays, day one was hard for David Chassier after experiencing mechanical problems. Day two was a little better even if the Yamaha FX SVHO was barely taking 7000 rpm, the French pilot from Blois managed to finish 12 and 13, which placed him 15 overall. A big thank you to Barefoot Billy's Jet Ski Rental that helped us train the first days in Key West as well as Redler's family that gave us assistance and support during the race. Congratulation to our friend Nicolas Rius on landing a 3rd place overall despite a bad shoulder injury and we wish him the best recovery so he can be back a the top for 2018. This was the last race of the season, see you next year :)
This photo was taken in Pirin Mountains - Bulgaria
Copyright © Mihai Sebastian Manole. All rights reserved.
Sunlight carried an extensive tapestry of significance in Mithraism, indicating divine strength, illumination, spiritual rebirth, and ethical instruction. It was a deep metaphor for the riddles of life, death, and the search for heavenly understanding, not just a physical phenomenon. With its sophisticated rituals and symbolic language, the Mithraic Mysteries employed sunlight as a potent tool to transmit spiritual concepts and assist initiates on their transformational journey from the dark into the bright light of Mithras. While Mithraism’s exact practices have mostly gone into history, the symbolic importance of sunshine in this ancient religion remains brilliant in religious studies, shedding light on the continuing human yearning for spiritual illumination and enlightenment. One of the most prominent and recurring symbols in Mithraism was sunlight, which held deep symbolic meaning for its practitioners. In this paper, we will explore the significance of sunlight in Mithraism, examining how it represented various aspects of this enigmatic faith. This study investigates the symbolic meaning of sunshine in the context of Mithraism, examining its various interpretations and functions in this mysterious faith’s spiritual and intellectual landscape.
Introduction
Mithraism, also known as the “Mithraic Mysteries,” is a religious cult worshipping Mithras, a deity linked to the sun and heavenly forces (Cumont, 2018). In Mithraism, sunlight was revered as the source of all life. Mithras is often depicted as emerging from a rock, holding a dagger and a torch, with rays of sunlight around. This imagery symbolises the birth of life from the primal rock, with sunlight representing the divine force that sustains all existence.
The metaphorical meaning of sunlight in Mithraism is a topic of significant interest and dispute among researchers. To grasp its significance, it is necessary to investigate the context in which it was used and the layers of symbolism surrounding it (Britannica, n.d.). The belief in Mithras as a sun deity is central to Mithraism. Because the sun is a strong and life-giving energy, it has long been cherished as a symbol of divine power and enlightenment. Mithras frequently represented fighting a bull in Mithraic imagery and are strongly associated with the sun’s energy and its role in the life-death cycle (Persoons, 2023).
Sunlight also symbolized knowledge and enlightenment in Mithraism. Mithraic initiates, known as mystai, believed that through their devotion and rituals, they could attain a higher level of understanding and insight. With its penetrating and illuminating qualities, sunlight served as a metaphor for the enlightenment that awaited those who pursued the mysteries of the faith.
The Mithraic Grades
The Mithraic Mysteries had a unique system of initiation that consisted of seven separate classes, each having significant symbolic implications and rites. This section dives into the Mithraic grades, investigating their significance in Mithraism and their function in taking initiates through a transformational spiritual journey. The seven classes are detailed, from lowest to greatest, and their symbolic significance. Mithraism, a mysterious and restricted Roman mystery religion focused on worshiping the deity Mithras, provided its followers with a systematic route of spiritual growth through seven distinct degrees. These degrees were an important part of Mithraic initiation, each one representing a symbolic step of spiritual progress.
Corax, the first grade, represented the first level of spiritual awareness. This initiator level was considered novices, marking their entrance into the Mithraic mysteries. The raven, frequently connected with darkness, functioned as a symbol for the unenlightened soul in search of heavenly understanding. Advancing to the Nymphus grade marked the transition from spiritual darkness to a deeper understanding. Initiates at this stage were seen as spiritual youths, symbolizing growth and maturation. This grade emphasized purity and the beginnings of a deeper connection with Mithras. The Nymphus grade indicated the passage from spiritual darkness to greater comprehension. Initially, initiates were viewed as spiritual youngsters, representing development and maturation. This grade emphasised purity and the start of a closer relationship with Mithras. In the Miles grade, initiates were compared to soldiers to symbolise their dedication to the Mithraic cause. This stage signified perseverance and bravery in the face of adversity. This stage signified perseverance and bravery in the face of adversity.
As they approached the inner secrets, initiates were urged to show strength and tenacity. The Leo zodiac sign represented boldness and power. At this level, initiates were supposed to confront and overcome their anxieties, much like a lion confronting its opponents. It was a huge stride forward regarding spiritual mastery and inner power. The lion’s association with the sun was significant in Mithraism, a religion with solar solid attributes. The lion’s majestic and radiant nature paralleled the symbolism of the sun, reinforcing the belief in cosmic order and the divine power of light over darkness. This connection between the lion and the sun emphasized the celestial aspects of Mithraism.
Advancement to the Persian grade demonstrated a growing grasp of Mithraism’s Persian roots. Initiates were urged to engage with the religion’s historic Persian traditions. This stage focused on knowledge and wisdom. The Heliodromus grade was strongly tied with the sun, with initiates being referred to as “sun-runners”. At this point, the initiate was ready to accept Mithras’ heavenly light fully. They were supposed to be enlightened by the sun god’s wisdom and might. Pater, to the highest degree, represented the pinnacle of Mithraic initiation. Initiates who achieved this level were said to have been reincarnated, having acquired spiritual perfection and oneness with Mithras. The Pater was regarded as a spiritual parent, helping others to enlightenment.
The Mithraic grades provided initiates with a systematic and symbolic framework for progressing through stages of spiritual development, each filled with profound meaning and transformational potential. Individuals progressed spiritually from lower to higher grades, mirroring the ascension from darkness to divine enlightenment. While the specifics of Mithraism have largely passed into history, the symbolism of the seven Mithraic degrees lives on in the annals of ancient religious traditions, illuminating the desire for spiritual progress and enlightenment.
The Radiant Divinity: Exploring the Sun Deity in Ancient Religions
With its life-giving light, the Sun has held a central place in the spiritual and religious beliefs of diverse cultures throughout history. It has inspired awe and reverence as one of the most universally visible celestial objects. This section delves into the concept of the Sun deity in various ancient religions, shedding light on the significance and symbolism attributed to this celestial body across different civilizations.
Zoroastrianism and Mithraism share notions and spiritual similarities, representing the rich fabric of religious beliefs that arose in ancient Persia. While these two faiths had separate practices and beliefs, they also had fundamental similarities, most likely inspired by their period and place of origin’s cultural and historical environment. Understanding Zoroastrianism and Mithraism via these intersections provides insights into the ancient world’s complex and interrelated history of religious thinking.
Zoroastrianism (Boyce, 1975) and Mithraism, two ancient religious traditions that arose in the same geographical location, provide an intriguing junction of spiritual ideas and related conceptions. This section delves into the key reciprocal notions these two religions share, offering insight into the influences and links that produced their theological landscapes. The reverence of light, cosmic dualism, and ethical ideals are investigated as key areas of convergence to reveal the rich tapestry of concepts that led to the formation of both religions.
Zoroastrianism (Rose, 2014) and Mithraism, a mystery religion centred on worshiping Mithras, shared a historical and cultural setting in the Persian Empire. Because of this proximity, reciprocal conceptions and spiritual similarities arose, which fascinate historians and fans alike.
The venetration of light is central to Zoroastrianism, as Ahura Mazda represents the ultimate god commonly connected with the sun. Light represents heavenly knowledge, purity, and the never-ending struggle against darkness and evil. Mithraism emphasises light, with Mithras himself being a sun deity. Mithraic ceremonies were frequently performed in underground chambers (mithraea) lit by a central lamp, symbolising the triumph of light over darkness.
The dual worldview of Zoroastrianism is noted for positing the perpetual fight between Ahura Mazda (the deity of righteousness, light, and truth) and Angra Mainyu (or Ahriman, the god of darkness and deception). This cosmic contradiction shapes the moral and ethical foundation of faith. While not as blatantly dualistic as Zoroastrianism, Mithraism recognises the interaction of cosmic forces, with Mithras embodying the forces of light and virtue and Chaos and Darkness. Mithraic symbols and rites reflect this dualistic contradiction.
Zoroastrianism places a high value on ethical behaviour and pursuing suitable activities. The moral code of the faith, reflected in concepts like “Good Thoughts, Good Words, Good Deeds”, corresponds with the overarching purpose of contributing to the triumph of good over evil. Mithraism encourages ethical living by encouraging initiates to live virtuous lives marked by discipline, courage, and honesty. The Mithraic degrees represent the spiritual quest for moral refinement and enlightenment. Zoroastrianism involves fire and giving ceremonies that symbolise cleansing and spiritual development. The fire altar is fundamental to the Zoroastrian religion. Mithraism is notable for its symbolic rites, such as the tauroctony, which may reflect the cosmic sacrifice required for life’s regeneration and the victory of light .The ancient Egyptians venerated the Sun as Ra, the supreme creator god and the source of all life. Ra was often depicted as a powerful falcon-headed deity. The Sun’s daily journey across the sky was seen as Ra’s journey through the underworld at night, symbolizing death and rebirth. Temples dedicated to Ra, such as the Karnak Temple in Luxor, were built to align with the Sun’s movement, emphasizing its importance in their religious practices.
In Hinduism, the Sun is personified as Surya, the god of the Sun, who rides a chariot across the sky. Surya is a symbol of illumination but also of knowledge and enlightenment. The Gayatri Mantra, one of the most sacred hymns in Hinduism, is dedicated to Surya and is recited by millions of Hindus daily, emphasizing the Sun’s spiritual significance.
The ancient Mesoamerican civilizations, including the Aztecs and Maya, worshipped the Sun as a deity. In Aztec mythology, Huitzilopochtli was the Sun god and the patron deity of the Aztecs. He was associated with war and sacrifice, and his temple, Templo Mayor, was positioned to align with the rising Sun during important ceremonies. Similarly, the Maya civilization revered Kinich Ahau as the Sun god and his presence was crucial in their agricultural and calendrical rituals.
In Norse mythology, the Sun is personified as Sol, a goddess who rides a chariot through the sky. Her brother, Mani, is the personification of the Moon. The Norse people believed Sol was chased by the wolf Skoll, symbolizing the inevitable eclipse or darkness. This mythological tale reflects the cyclical nature of day and night in the Norse worldview.
In Greek mythology, Helios was the god of the Sun, often depicted as driving a chariot across the sky. In Roman mythology, Sol was the Sun god, and his worship was closely linked with the official state religion. The Roman Emperor Aurelian even established a new cult of Sol Invictus (the Unconquered Sun) to emphasize the Sun’s role in maintaining the empire’s prosperity.
The concept of a Sun deity played a significant role in various ancient religions, symbolizing life, light, and divinity. These deities were not only celestial beings but also cultural and spiritual icons that influenced daily life, rituals, and societal structures. The universal reverence for the Sun across different civilizations reflects humanity’s profound connection to the natural world and the awe-inspiring forces that shape our existence.
Illuminating Mysteries
Mithraism strongly believed in the cosmic order and the role of celestial forces in shaping human destiny. As a celestial body, the sun was seen as a powerful force that influenced the course of events on Earth. Devotees of Mithras believed that by aligning themselves with the sun and its cycles, they could tap into this cosmic energy and achieve harmony. Sunlight in Mithraism also represented a triumph over darkness and evil. Mithras was often depicted slaying a bull, a scene known as the “tauroctony”. This act was seen as a cosmic battle between light and darkness, with Mithras representing the conquering force of light. In this context, sunlight symbolised the ultimate victory of good over evil. Mithra is frequently represented as a solar deity, representing the sun’s life-giving and purifying properties. Mithraism, also known as the “Mithraic Mysteries”, was a religious cult worshipping Mithras, a deity linked to the sun and heavenly energies. The metaphorical meaning of sunlight in Mithraism is a topic of significant interest and dispute among researchers. To grasp its significance, it is necessary to investigate the context in which it was used and the layers of symbolism surrounding it.
The belief in Mithras as a sun deity is central to Mithraism. As a strong and life-giving force, the sun was adored as a symbol of divine might and enlightenment. Mithras, who is frequently represented fighting a bull in Mithraic art, is strongly associated with the sun’s energy and its role in the life-death cycle.
Mithraic initiation ceremonies centred on the notion of moving from darkness to light. Initiates would go through seven degrees or stages, representing the soul’s elevation to divine knowledge. The ultimate objective was to achieve the highest degree, known as “Pater,” at which point the initiate would be reborn into a new spiritual existence bathed in Mithras’ light, commonly represented as the rising sun.
Sunlight was a physical source of lighting in Mithraism and a powerful symbol of knowledge, truth, and spiritual enlightenment. It symbolised the transformation from ignorance to enlightenment, echoing the initiate’s path. Seeing the rising sun during Mithraic ceremonies was analogous to the birth of divinely bestowed wisdom. Mithraism placed a premium on cosmic order and harmony. The sun was considered an embodiment of this cosmic order, a sign of regularity and predictability in the natural world. Its daily rising and setting echoed life, death, and rebirth cycles, confirming the Mithraic belief that the soul is everlasting nature.
Conclusion
Mithraism is a pre-Zoroastrian religious system centred on worshiping Mithra, an Iranian god linked with different features such as the sun, justice, contracts, and battle. Sunlight is a major and repeating motif among its numerous metaphorical aspects. The theme of transitioning from darkness to light was central to the Mithraic initiation ceremonies. Initiates would proceed through seven degrees or levels, symbolising the soul’s ascension to divine insight. The ultimate objective was to attain the highest grade, known as “Pater”, when the beginner would experience being reborn into an entirely fresh spiritual life bathed in Mithras’ light, frequently depicted by the rising sun.
In Mithraism, sunlight held multifaceted symbolic significance. It represented the source of life, knowledge, cosmic order, and victory over darkness. The worship of Mithras and the veneration of sunlight played a central role in its adherents’ religious and spiritual lives. Although Mithraism eventually declined with the rise of Christianity, its symbolism continues to intrigue scholars and enthusiasts alike, offering a glimpse into the profound mysteries of this ancient faith.
www.ej-theology.org/index.php/theology/article/view/122
Creation of the cosmos
Both the Avesta and the Achaemenian inscriptions have little to say about creation in the sense that they contain nothing comparable to the Babylonian Enuma elish or to the traditions of the first three chapters of the book of Genesis. What is primarily emphasized is the power and majesty of Ahura Mazdā as creator of heaven and earth. However, beside Ahura Mazdā is an ancient Indo-Iranian god called Thvarshtar (Vedic Tvashtar; “Artisan”), who also appears in Zarathustra’s system of the Beneficent Immortals under the name Spenta Mainyu (“the Beneficent Spirit”). Thvarshtar functions in many ways as Ahura Mazdā’s creative aspect. While in the Gāthās and the Younger Avesta Spenta Mainyu is paired with his evil antagonist Angra Mainyu (“the Evil Spirit”; Ahriman in Middle Persian), in other, later sources it is Ohrmazd (Middle Persian for Ahura Mazdā) himself who is paired with Ahriman. Although there are cryptic allusions in the Avesta to creations of the two antagonistic spirits, the first discursive exposition of the creation of the world by the two spirits occurs in Plutarch (De Iside et Osiride 47), where he says that the Persians “tell many mythical tales about the gods, such as the following. Oromazes (i.e., Ahura Mazdā) born from the purest light, and Areimanios (i.e., Ahriman) born from gloom, strive in war with one another.” The dualistic idea of two primordial spirits, called twins by Zarathustra, goes back to an Indo-European prototype. As far as this myth can be reconstructed, it seems that there were primordial twins before the creation of the world. They came into conflict. One, whose name was “Man” (Iranian *Manuʾ, meaning “man”), killed the other, “Twin” (Iranian Yama; Avestan Yima), and from the dismembered body he fashioned the world, using the skull for the sky, the flesh for the earth, the bones for mountains, and so forth. In another Iranian variant of this myth, Yama appears as the first mortal and the first ruler. The period of his rule, described as a golden age when there was neither death nor old age, neither hot nor cold, and so on, comes to an end when falsehood enters Yama’s speech. The royal Glory (Khvarnah) flees from Yama and takes refuge in the cosmic sea. Yama is then overthrown by a serpentine tyrant named Azhi Dahāka (“Dahāka the Snake”), whose rule ushers in a period of drought, ruin, and chaos. In turn, Azhi Dahāka is defeated by the hero Thraitauna, who establishes the legendary line of kings called kavis. Zarathustra seems to have been the first religious thinker to conceive an eschatological myth concerning a future saviour who will rescue the world from evil, an idea that has been greatly elaborated in Zoroastrianism. It may have been influential in the development of the concept of the messiah in postexilic Judaism. Iranian religion also had a variant of the Noah’s Ark myth. In this myth Yama appears as the first herdsman and leader of humankind. After a long rule during which he has to enlarge the earth three times because of overcrowding, Ahura Mazdā tells him that a great winter is coming and advises him to prepare for it by building a gigantic three-story barnlike structure (vara) to hold pairs of animals and seeds of plants. From the fragmentary version of the myth that has survived, it appears that the vara is actually a sort of paradise or island of the blessed, though this story originated as a pastoralist myth about the building of the first winter cattle station by the culture hero.
Cosmography
The Iranians conceived of the cosmos as a three-tiered structure consisting of the earth below, the atmosphere, and the stone vault of heaven above. Beyond the vault of heaven was the realm of the Endless Lights, and below the earth was the realm of darkness and chaos. The earth itself rested on the cosmic sea called Varu-Karta. In the centre of the earth was the cosmic mountain Harā, down which flowed the river Ardvī. The earth was divided into six continents surrounding the central continent, Khvaniratha, the locus of Aryāna Vaijah, the Aryan land (i.e., Iran).
Day 239 out take.
Showering is the best and worst time of my day, really. I enjoy it mostly because it's the perfect place for me to escape all of my problems. I sing to myself, I hum along to whatever is in my head, I think about conversations I'm going to have with friends, I talk out lists of things I know I need to get done in the coming week.
I hate it because I sometimes forget how long I'm taking and all of a sudden I realize I've been in the freakin' shower for 35 minutes. My poor, poor roommates!
Jun: panda…Panda…PANDORA!
Pandora: What?
Jun: You've been staring at that mirror for an hour. What's going on?
Pandora: I'm trying to figure out if I'm real or not.
Jeero: You look real to me, Panda!
Moby: Yes, you look real to me, too!
Jun: You're just as real as the rest of us.
Jeero: Hey, it's not a big deal. Let's just forget about it and go have some banana bread!
When the realization dawns that there is, has been, and will be only One Being in the whole existence who plays this game in countless forms, all duality dissolve and resolve naturally. It's not even correct to say that there is only One, because there is never anything other than the One to even compare against. When the mind cannot fathom the concept of there is never Two, therefore, there cannot even be One, it will collapse in this meditation, and utter Peace is realized.
Museum of Fine Arts, Houston, 1001 Bissonnet St, Houston, TX 77005
Left on his own, he ponders the immortal questions.
My remix of original photo by etcam
Prepared for the fotogriPhone *EDITING LAB* group
Processed exclusively on an iPhone 4. No imported elements.
Apps used: Touch Retouch, Juxtaposer, Tiffen Photo fx, Filterstorm
Sarnath is the deer park where Gautama Buddha first taught the Dharma, and where the Buddhist Sangha came into existence through the enlightenment of Kondanna. Sarnath is located 13 kilometres north-east of Varanasi, in Uttar Pradesh, India.
The Buddha went from Bodhgaya to Sarnath about 5 weeks after his enlightenment. Before Gautama (the Buddha-to-be) attained enlightenment, he gave up his austere penances and his friends, the Pañcavaggiya monks, left him and went to Isipatana.
Isipatana is the name used in the Pali Canon, and means the place where holy men (Pali: isi, Sanskrit: rishi) landed.
After attaining Enlightenment the Buddha, leaving Uruvela, travelled to the Isipatana to join and teach them. He went to them because, using his spiritual powers, he had seen that his five former companions would be able to understand Dharma quickly. While travelling to Sarnath, Gautama Buddha had to cross the Ganges. Having no money with which to pay the ferryman, he crossed the Ganges through the air. When King Bimbisāra heard of this, he abolished the toll for ascetics. When Gautama Buddha found his five former companions, he taught them, they understood and as a result they also became enlightened. At that time the Sangha, the community of the enlightened ones, was founded. The sermon Buddha gave to the five monks was his first sermon, called the Dhammacakkappavattana Sutta. It was given on the full-moon day of Asalha Puja. Buddha subsequently also spent his first rainy season at Sarnath at the Mulagandhakuti. The Sangha had grown to 60 in number (after Yasa and his friends had become monks), and Buddha sent them out in all directions to travel alone and teach the Dharma. All 60 monks were Arahants.
Several other incidents connected with the Buddha, besides the preaching of the first sermon, are mentioned as having taken place in Isipatana. Here it was that one day at dawn Yasa came to the Buddha and became an Arahant. It was at Isipatana, too, that the rule was passed prohibiting the use of sandals made of talipot leaves. On another occasion when the Buddha was staying at Isipatana, having gone there from Rājagaha, he instituted rules forbidding the use of certain kinds of flesh, including human flesh. Twice, while the Buddha was at Isipatana, Māra visited him but had to go away discomfited.
A stone pillar marks the spot where the Buddha preached his first sermon. Nearby was another stupa on the site where the Pañcavaggiyas spent their time in meditation before the Buddha's arrival, and another where five hundred Pacceka Buddhas entered Nibbāna. Close to it was another building where the future Buddha Metteyya received assurance of his becoming a Buddha.
Buddhism flourished in Sarnath in part because of kings and wealthy merchants based in Varanasi. By the third century Sarnath had become an important center for the arts, which reached its zenith during the Gupta period (4th to 6th centuries CE). In the 7th century by the time Xuan Zang visited from China, he found 30 monasteries and 3000 monks living at Sarnath.
Sarnath became a major centre of the Sammatiya school of Buddhism, one of the early Buddhist schools. However, the presence of images of Heruka and Tara indicate that Vajrayana Buddhism was (at a later time) also practiced here. Also images of Brahminist gods as Shiva and Brahma were found at the site, and there is still a Jain temple (at Chandrapuri) located very close to the Dhamekh Stupa.
At the end of the 12th century Sarnath was sacked by Turkish Muslims, and the site was subsequently plundered for building materials.
Sarnath has been developed as a place of pilgrimage, both for Buddhists from India and abroad. A number of countries in which Buddhism is a major (or the dominant) religion, among them Thailand, Japan, Tibet, Sri Lanka and Myanmar, have established temples and monasteries in Sarnath in the style that is typical for the respective country. Thus, pilgrims and visitors have the opportunity to experience an overview of Buddhist architecture from various cultures.
WIKIPEDIA
Dark Demons' Night II (Kavka Antwerpen)
Video: youtu.be/aKS4rAMScPI
More: soundcloud.com/comafrequency/06-coma-frequency-feat-eufor...
And who told the light manager hat it would be a good idea to use only red lights and cut all front lights?