View allAll Photos Tagged Humility
“I asked God for strength that I might achieve. I was made weak that I might learn humility. I asked for health that I might do greater things. I was given infirmity that I might do better things. I asked for riches that I might be happy. I was given poverty that I might be wise. I asked for power that I might have the praise of men. I was given weakness that I might feel the need of God. I asked for all things that I might enjoy life. I was given life that I might enjoy all things. I got nothing that I asked for, but everything I hoped for. Almost despite myself, my unspoken prayers were answered. I am most richly blessed.” (source unknown)
The Kiss Goodbye to MS daily photo challenge has given me such a wonderful opportunity to post images to raise awareness, share words I have rarely spoken since diagnosis, to read heartfelt words from others as they share their support and stories of chronic illness. There are many unspoken words ... there are feelings inside me right now that have no words.
My current pledge is $325.50
Share an image with the pledge to kiss goodbye group. You will help to raise awareness while boosting my personal donation to MS Australia at the end of this month.
Donate to my fund raiser's page Palo's Pledge. All funds go directly to MS Australia to further research and to provide service to those affected by MS.
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COPYRIGHT © Dragon Papillon Photography. 2013. All rights reserved.
The thunder of the falls deafens the excited cries of the tourists and the jaws of death are opened infront of us, teasing. Coursing with anger and passion the waters attempt to swallow up the Maid, but is in vein. As the rain falls heavy, soaking you to you're churning insides, you try to appreciate beauty, danger, history and raw power at the same time. Niagara Falls is without a doubt one of the most beautiful places on the planet.
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If you wish to view more of my work please visit my website www.jakemetzgerphotography.com
Have you ever made a mess of a situation and then you had to make it right? I find that having humility is the key to handling the situation. Yes, I have had to eat crow in my day. I guess that is probably an experience that I will continue to have. Life is a trip!
Pleased with Our Righteousness Until We Look to God
Luke 18:9; Philippians 3:9
So long as we do not look beyond the earth, we are quite pleased with our own righteousness, wisdom, and virtue; we address ourselves in the most flattering terms, and seem only less than demigods. But should we once begin to raise our thoughts to God, and reflect what kind of Being he is, and how absolute the perfection of that righteousness, and wisdom, and virtue, to which, as a standard, we are bound to be conformed, what formerly delighted us by its false show of righteousness will become polluted with the greatest iniquity; what strangely imposed upon us under the name of wisdom will disgust by its extreme folly; and what presented the appearance of virtuous energy will be condemned as the most miserable impotence. So far are those qualities in us, which seem most perfect, from corresponding to the divine purity. - JOHN CALVIN
Elliot Ritzema, 300 Quotations for Preachers from the Reformation (Pastorum Series; Bellingham, WA: Lexham Press, 2013).
“Humility is not thinking less of yourself, it's thinking of yourself less.
C. S. Lewis”
Macro Monday project – 09/30/13
“Knick Knack”
Normal human activity is worse for nature than the biggest nuclear bomb. With its wonder and humility, lets us hand it over to our children.
One year, two perspectives. This image is part of a 365(+1) project, my friend Tilo and I are working on. If you want to see more, check out our website zweisichtig.de.
Whether you see Nature or God here, the lesson is the same, and it needs no preacher to communicate it.
Its on the darkest of winter days with the wind and snow on your face that true humility begins to show itself. We were passing through this place in a storm's last gasp and it was beautiful, but with numb fingers and frozen toes, the warmth of our cabin eventually won out.
To hell with humility; I'm excited! After years in the wilderness, the mighty Dees looked mighty solid tonight for a big win against last year's Premiers. Undefeated after Round 6 - the last time this happened was 1965. I'm having a double malt. Woohoo!
PENTACON auto 50mm f1.8 MULTI COATING
"Will Tahu find the humility and patience to earn deeper knowledge of fire and learn that not everything can be taken by force?"
Fourth creature of the series to make the G2 creatures into large and powerful elemental masters. Ikir came to completion in one day after I began tinkering with his head design. It's a good feeling when a moc comes together straightforwardly.
As usual, I recycled the head, but gave the creature different eyes from the rest. Boat studs made for great bird eyes in this case.
With Ikir, I thought that Tahu's challenge is basically the fact that he can't reach the flying bird. Assuming Tahu is fairly hot tempered, his trial is to learn that he can't simply force and take everything he wants. Instead, with Ikir, he must learn to earn, wait, give and compromise until he finds the connection he needs with Ikir.
When you're surrounded by big and epic mountains, and you suddenly feel so small in comparison to the Universe.
#sip_humility #SiPgoes52
The hidden side of humility.
Abbaye saint michel de cuxa - France
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- Humility contains in itself the answer to all the great problems of the life of the soul. It is the only key to faith, with which the spiritual life begins: for faith and humility are inseparable.
-Thomas Merton
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In-between or a Gentle Parting
More beautiful than a face are you
Bargaining with time to seek a liturgy
Owned is your journey without invitation
Retreating, this monk slowly disappears
Following his heart an ancient song is heard
A journey such as this can take no friend
-Robert Cowlishaw
A new Catholic tribute by expressionist artist Stephen B. Whatley, created in pastel ,on November 17, the Feast Day of Saint Elizabeth of Hungary.
From Magnificat, November 2015:
'Saint Elizabeth of Hungary.
As a young child Elizabeth, the daughter of Andrew, King of Hungary, was sent to the palace of Wartburg in Thuringia to be raised alongside her future husband, Ludwig. She was a prodigy of charity. From the age of fourteen, when she became queen, she served the poor with her own hands. It is said that on one occasion, Elizabeth hurried from the palace with her apron full of bread for the hungry, but was stopped by her angry husband. She opened the apron and a bunch of red roses tumbled out. After Ludwig's death in 1227, Elizabeth entered the Franciscan Third Order and gave herself wholly to nursing the sick. She died at the age of twenty-four.'
Saint Elizabeth of Hungary is Patron Saint of many causes, including the homeless.
More about St Elizabeth:
www.catholic.org/saints/saint.php?saint_id=45
en.wikipedia.org/wiki/Elizabeth_of_Hungary
Pastel on paper
23.4 x 16.5in/59 x 42cm
Attire, Personal Care, and the Use of Sacred Ornaments and Amulets by Rovingian Monks by Daniel Arrhakis (2026)
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Attire, Personal Care, and the Use of Sacred Ornaments and Amulets by Rovingian Monks
1 - Clothing and Presentation
Clothing, like many other aspects of Rovingianism, is not merely external appearance, but a visible expression of the monk's spirituality. Its choice is a personal matter, but should reflect humility, sobriety, utility, restraint, and dignity.
Generally, the clothing of Rovingian monks is distinguished by its sobriety and the use of neutral and earthy colors, in harmony with the simplicity of the path they profess. Among the most recurring shades are grays, browns, brick tones, oranges, dark blues, and blacks. Exceptions are reserved, above all, for the Grand Master, the Magistrath, and certain festive or shamanic rituals celebrated on special occasions.
Loose trousers that allow freedom and fluidity of movement
Long shirts and tunics of medieval inspiration
Long capes, hooded jackets, cloaks, and shawls
Stoles and scarves to wrap around the neck or complement the hood
Due to their nomadic vocation, the monk's clothing should favor functional, durable, and adaptable pieces for the journey. The hood, in particular, remains a distinctive sign of Rovingianism and should always accompany the monk, even if resting on his back, as a reminder of his state and consecration.
2 - Footwear
For a life of spiritual nomadism and continuous walking, footwear is the central pillar of survival and well-being. The concept of "Rovingian" monks (travelers/nomads) demands a perfect balance between aesthetic sobriety, extreme durability, and anatomical health.
The choice of organic materials such as the upper (genuine leather) is ideal, as this material molds to the foot over time, offers high resistance to tearing, and allows natural perspiration, preventing blisters and fungal infections common on long journeys.
Mountain and Hiking Boots (Focus on the Ankle)
For the high-top boot that protects against sprains on uneven terrain, the best options follow classic lines, without garish colors, maintaining the aesthetic versatility required by the Rovingian tradition.
Durable Sandals (For Summer and Hot Climates)
In hot regions, sandals prevent overheating, but they should have sturdy soles for traction and leather straps that don't cause painful chafing.
3 - Sacred Ornaments and Amulets
The use of sacred ornaments and amulets also belongs to the monk's personal freedom, and it is common for him to design and prepare them himself. However, these objects should arise from a righteous intention and be in keeping with the spirit of simplicity, discretion, and recollection that Rovingianism advocates.
Common woods
Leather
Shells
Dried seeds
Natural stones
Less noble metals, such as iron, copper, brass, and tin
Conversely, it is advisable to avoid precious metals, woods from endangered species, artificial materials, or elements of animal origin, such as feathers and furs, so that ornamentation does not become vanity, ostentation, or violence against creation.
4 - Personal Care and Hygiene
Care for appearance, health, and hygiene occupies a place of great importance in Rovingianism, as the monk is called to preserve the body as an instrument of service, presence, and discipline. Therefore, he must take care of himself so as not to become a burden to others or a cause of discomfort through negligence. Haircuts and the wearing, or not wearing, of a beard remain matters of personal choice, provided that cleanliness and tidiness always prevail over any form of neglect. As for perfumes, discernment is also recommended, favoring natural, discreet, and serene essences.
5 - Cell Phone Use
The cell phone should be understood as a communication and support tool, never as a way of life. In the present time, its use proves useful, especially in accompanying the nomadic journey; even so, it should remain limited to what is necessary, so that it does not become a source of distraction, dependence, or alienation of the spirit.
The Rovingian monk does not seek protagonism, nor does he indulge in self-exhibition. He should also not contribute to confusion or the spread of falsehood. Thus, social networks, when used, should serve positive, informative, and edifying purposes, without replacing the living reality of encounter and relationship with manipulated virtual constructions closed in bubbles of isolation.
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Traje, Cuidado Pessoal e Uso de Ornamentos e Amuletos Sagrados pelos Monges Rovingianos
1 - Traje e Apresentação
O traje, à semelhança de muitos outros aspetos do Rovingianismo, não é mera aparência exterior, mas expressão visível da espiritualidade do monge. A sua escolha pertence ao foro pessoal, devendo, porém, refletir humildade, sobriedade, utilidade, resguardo e dignidade.
De um modo geral, o traje dos monges rovingianos distingue-se pela sobriedade e pelo recurso a cores neutras e terrosas, em harmonia com a simplicidade da senda que professam. Entre as tonalidades mais recorrentes contam-se os cinzentos, os castanhos, os tons de tijolo, os alaranjados, os azuis escuros e os pretos. As exceções reservam-se, sobretudo, ao Grão-Mestre, ao Magistrath e a certos rituais festivos ou xamânicos celebrados em ocasiões singulares.
Calças largas, que permitam liberdade e fluidez de movimentos
Camisas compridas e túnicas de inspiração medieval
Capas longas, casacos com capuz, mantos e mantos-xale
Estolas e cachecóis para envolver o pescoço ou complementar o capuz
Em virtude da sua vocação nómada, o vestuário do monge deve favorecer peças funcionais, duráveis e adaptáveis ao caminho. O capuz, de modo particular, permanece como sinal distintivo do Rovingianismo e convém que acompanhe sempre o monge, ainda que repousando sobre as costas, como lembrança do seu estado e da sua consagração.
2 - Calçado
Para uma vida de nomadismo espiritual e caminhada contínua, o calçado é o pilar central da sobrevivência e do bem-estar. O conceito de monges "rovingianos" (viajantes/nómadas) exige um equilíbrio perfeito entre a sobriedade estética, a durabilidade extrema e a saúde anatómica.
A escolha de materiais orgânicos como o cabedal (couro legítimo) é ideal, pois este material molda-se ao pé com o tempo, oferece alta resistência a rasgos e permite a transpiração natural, evitando bolhas e infeções fúngicas comuns em longas jornadas.
Botas de Montanha e Caminhada (Foco no Tornozelo)
Para o cano alto que protege contra entorses em terrenos irregulares, as melhores opções seguem linhas clássicas, sem cores berrantes, mantendo a versatilidade estética exigida pela tradição rovingiana.
Sandálias Resistentes (Para o Verão e Climas Quentes)
Nas regiões quentes, as sandálias evitam o sobreaquecimento, mas devem manter solas robustas para tração e tiras de pele que não causem fricção dolorosa:
3 - Ornamentos e Amuletos Sagrados
Também o uso de ornamentos e amuletos sagrados pertence à liberdade pessoal do monge, sendo frequente que ele próprio os conceba e prepare. Todavia, esses objetos devem nascer de uma intenção reta e guardar consonância com o espírito de simplicidade, discrição e recolhimento que o Rovingianismo preconiza.
Madeiras comuns
Couro
Conchas
Sementes secas
Pedras naturais
Metais menos nobres, como ferro, cobre, latão e estanho
Em contrapartida, convém evitar metais nobres, madeiras oriundas de espécies em risco, materiais artificiais ou elementos de origem animal, como penas e peles, para que o ornamento não se converta em vaidade, ostentação ou violência sobre a criação.
4 - Cuidado Pessoal e Higiene
O cuidado com a aparência, a saúde e a higiene ocupa lugar de grande importância no Rovingianismo, pois o monge é chamado a preservar o corpo como instrumento de serviço, presença e disciplina. Deve, por isso, zelar por si mesmo para não se tornar peso para os outros nem motivo de incómodo pela negligência. O corte de cabelo e o uso, ou não, de barba permanecem matérias de escolha pessoal, desde que a limpeza e o asseio prevaleçam sempre sobre qualquer forma de abandono. Quanto aos perfumes, também aí se recomenda discernimento, privilegiando essências naturais, discretas e serenas.
5 - Uso do Telemóvel
O telemóvel deve ser entendido como instrumento de comunicação e apoio, jamais como modo de vida. No tempo presente, o seu uso revela-se útil, sobretudo no acompanhamento do percurso nómada; ainda assim, convém que permaneça limitado ao necessário, para que não se torne fonte de distração, dependência ou alienação do espírito.
O monge rovingiano não busca protagonismo, nem se entrega à exibição de si. Também não deve contribuir para a confusão ou para a difusão da falsidade. Assim, as redes sociais, quando usadas, devem servir propósitos positivos, informativos e edificantes, sem substituir a realidade viva do encontro e da relação por construções virtuais manipuladas e fechadas em bolhas de isolamento.
Better to be lowly in spirit and among the oppressed than to share plunder with the proud.
— Proverbs 16:19
One of my favorite spot to shoot Changi Boardwalk, Singapore.
Non-HDR
No Photoshop
Raw converted to Jpeg
Adjusted contrast and saturation
I met this young Punjabi a few weeks ago in front of the Golden Temple in Amritsar, the holiest city in Sikhism, located in the state of Punjab (India).
He was with two of his friends, they were bathing in the holy tank where I saw them for the first time and then they followed me for a while asking many things about photography.
They were really funny and full of energy.
I took many pictures, on this portrait he didn’t want to smile because he broke a tooth in the front and this is why he looks so serious.
I told him that I could fix this with Photoshop untill he goes to the dentist and I had to explain what this software is.
Like many Sikh children he is wearing a Patka.
It is is a simple cloth head covering, consisting of about two square feet of fabric with strings to secure it.
The Patka is also worn by many adult Sikhs as a under-turban as well.
It may be kept at bed-time as well, and during swimming and sports.
In Sikhism covering your head is an action with the attitude that there is something greater than you know.
Covering your head is also a declaration of humility, of your surrender to God.
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"Humility"
Voigtländer APO Skopar 90 2.8 @ Leica CL on Ilford Delta 100
Digitized with Sony A7RIII + Sigma 105 2.8 Makro + Kaiser FilmCopy
Mural by Irish urban artist Fin Dac, Bülowstraße 90, Berlin-Schöneberg
"Inspiration is a gift from the universe, talent is an ability to bring it to fruition and humility is the experience you should achieve when you share it." (Fin Dac)
The Doni Tondo or Doni Madonna, is the only finished panel painting by the mature Michelangelo to survive. (Two other panel paintings, generally agreed to be by Michelangelo but unfinished, The Entombment and the so-called Manchester Madonna, are both in the National Gallery in London.) Now in the Uffizi in Florence, Italy, and still in its original frame, the Doni Tondo was probably commissioned by Agnolo Doni to commemorate his marriage to Maddalena Strozzi, the daughter of a powerful Tuscan family. The painting is in the form of a tondo, meaning in Italian, 'round', a shape which is frequently associated during the Renaissance with domestic ideas.
The work was probably created during the period after Doni's marriage in 1503 or 1504, and before the Sistine Chapel ceiling frescoes were begun in 1508. The Doni Tondo portrays the Holy Family (the child Jesus, Mary, and Joseph) in the foreground, along with John the Baptist in the middle-ground, and contains five nude male figures in the background. The inclusion of these nude figures has been interpreted in a variety of ways.
Mary is the most prominent figure in the composition, taking up much of the center of the image. She sits directly on the ground without a cushion between herself and the grass, to better communicate the theme of her relationship to the earth. Joseph is positioned higher in the image than Mary, although this is an unusual feature in compositions of the Holy Family. Mary is seated between his legs, as if he is protecting her, his great legs forming a kind of de facto throne. There is some debate as to whether Mary is receiving the Child from Joseph or vice versa. Saint John the Baptist, the patron saint of Florence, is very commonly included in Florentine works depicting the Madonna and Child. He is in the middle-ground of the painting, between the Holy Family and the background. The scene appears to be a rural one, with the Holy Family enjoying themselves on the grass and separated from the curiously (seemingly) unrelated group at the back by a low wall.
The painting is still in its original frame, one that Michelangelo might have influenced or helped design. The frame is ornately carved and rather unusual for the five heads it contains which protrude three-dimensionally into space. Similar to the nudes of the background, the meanings of these heads has been the subject of speculation. The frame also contains carvings of crescent moons, stars, vegetation, and lions’ heads. These symbols are, perhaps, references to the Doni and Strozzi families, taken from each one's coat of arms. As depicted on the frame, “the moons are bound together with ribbons that interlock with the lions,” possibly referring to the marriage of the two families.
There is a horizontal band, possibly a wall , separating the foreground and background. The background figures are five nudes, whose meaning and function are subject to much speculation and debate. Because they are much closer to us, the viewers, the Holy Family is much larger than the nudes in the background, a device to aid the illusion of deep space in a two-dimensional image. Behind Saint John the Baptist is a semi-circular ridge, against which the 'ignudi' are leaning, or upon which they are sitting. This semi-circle reflects or mirrors the circular shape of the painting itself and acts as a foil to the vertical nature of the principal group (the Holy family). Mary and Joseph gaze at Christ, but none of the background nudes looks directly at him. The far background contains a mountainous landscape rendered in atmospheric perspective.
The Doni Tondo is believed to be the only existing panel picture Michelangelo painted without the aid of assistants; and, unlike his Manchester Madonna and Entombment (both National Gallery, London), the attribution to him has never been questioned. The juxtaposition of bright colors foreshadows the same use of color in Michelangelo's later Sistine Ceiling frescoes. The folds of the drapery are sharply modelled, and the modelling of the figures is distinctly sculptural, suggesting they are carved in medium marble. The nude figures in the background have softer modelling and look to be precursors to the ignudi, the male nude figures in the Sistine Ceiling frescoes. Michelangelo's technique includes shading from the most intense colors first to the lighter shades on top, using the darker colors as shadows. By applying the pigment in a certain way, Michelangelo created an "unfocused" effect in the background and focused detail in the foreground. The most vibrant color is located within the Virgin's garments, signifying her importance within the image. The masculinity of Mary could be explained by Michelangelo's use of male models for female figures, as was done for the Sistine Chapel.
Michelangelo used a limited palette of pigments comprising Lead White, Azurite, Verdigris and a few others. He avoided ochres and used very little vermilion.
The composition is, most likely, partially influenced by the cartoon (a term referring to a detailed later-stage preliminary drawing) for Leonardo da Vinci’s The Virgin and Child with St. Anne. Michelangelo's Holy Family forms a tight, separated group in the centre foreground of the image, with the Virgin's figure constructing a typical Renaissance pyramid or triangle. Michelangelo saw the drawing in 1501 while in Florence working on the David.
The nude figures in the tondo background are said to have been influenced by the statue of Laocoön and His Sons, found in Rome in 1506, therefore dating Michelangelo's picture later than that date.
The Doni Tondo is also associated with Luca Signorelli’s Medici Madonna in the Uffizi. Michelangelo probably knew of the work and its ideas, and he wanted to incorporate those ideas into his own work. Signorelli's Madonna similarly uses a tondo form, depicts nude male figures in the background, and displays the Virgin sitting directly on the earth.
Three aspects of the painting can be attributed to an antique sardonyx cameo and a 15th-century relief from the circle of Donatello, available to Michelangelo in the Palazzo Medici: the circular form, the masculinity of Mary, and the positioning of the Christ Child. The Virgin's right arm mirrors the arm of the satyr in the cameo, and the cameo also depicts an infant located on the shoulders of the satyr, a position similar to the Christ Child being passed over the right arm of Mary.
Additionally, some scholars suggest that Michelangelo was inspired by the famous Greco-Roman group of Laocoön and His Sons, excavated in 1506 in Rome, an event at which Michelangelo is believed to have been present . The pose of the nude figure in the background immediately behind Saint Joseph, to our right, appears to have been influenced by the twisting contortions of the figures captured by the serpent in the Laocoön (again, if this were so, it would alter the date of the Doni Tondo by several years).
Furthermore, the inclusion of the five protruding heads in the paintings frame is often seen as a reference to a similar motif found on Ghiberti's Porta del Paradiso, the bronze doors of the Florence Baptistry which Michelangelo is known to have greatly admired.
The plant in front of John the Baptist has aspects of both hyssop and cornflower, yet is most likely a hyssop because it grows from a wall. Cornflower is an attribute of Christ and symbolizes Heaven while hyssop symbolizes both the humility of Christ and baptism. There is a citron tree in the background, which represents the Cedar of Lebanon. Michelangelo uses the hyssop and tree as a visual representation of a quote by Rabanus Maurus, "From the Cedar of Lebanon to the hyssop which grows on a stony wall we have an explanation of the Divinity which Christ has in his Father and of the humanity that he derives from the Virgin Mary." The clover in the foreground represents the Trinity and salvation. The anemone plant represents the Trinity and the Passion of Christ.
There is a multitude of interpretations for the various parts of the work. Most interpretations differ in defining the relationship between the Holy Family and the figures in the background.
Paul Barolsky argues that the Doni Tondo is a "devotional image […] more than an example of style, symbolism, [or] iconography". Barolsky bases much of his thesis on the language used by Giorgio Vasari in his work Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times. His support for the idea of devotion comes from Christ being presented in the painting like a gift, which he links to the painting's patron due to a perceived pun on the Italian word for "gift," "donare," and the patron's name, Doni (meaning literally, in Italian, 'gifts'). Furthering the Christ-as-gift metaphor, Mary's holding of Christ in the painting is seen to reference the elevating of the host during mass. Mirella D’Ancona argues that the image reflects Michelangelo's views on the roles of the members of the Holy Family in human salvation and the soul's immortality. The Virgin's placement and emphasis is due to her role in human salvation. She is both the mother of Christ and the best intercessor for appealing to him. Michelangelo, who had been strongly influenced by the Dominican Fra Girolamo Savonarola in Florence, is using the picture to defend the Maculist point of view, a philosophy of the Dominican order rejecting the idea of the Immaculate Conception of Mary. The Maculist view is that the Virgin did not receive her sanctification at birth but at the moment of the incarnation of Christ; thus, the image depicts the moment of Mary's sanctification by showing the Christ Child blessing her. Michelangelo depicts Christ as if he is growing out of Mary's shoulder to take human form, one leg hanging limply and the other not visible at all, therefore making him a part of Mary. Moreover, his muscles and balance convey an upward movement, as if he is growing out of her, although he is above Mary, asserting his superiority to her. Furthermore, she argues that the nudes are to be interpreted as sinners who have removed their clothes for cleansing and purification through baptism. The water, which separates the sinners from the Holy Family, just beyond the horizontal band in the middle of the painting, can therefore be seen as the “waters of separation” mentioned in the Bible. She also argues that the five figures may represent the five parts of the soul: the higher soul (soul and intellect) on the left and the lower soul (imagination, sensation, and nourishing faculty) on the right, a visual depiction of the views of Marsilio Ficino, whom Michelangelo references in other works. Additionally, in looking at them as separate groupings, she suggests that the two figures on Mary's right represents the human and divine natures of Christ, while the three on her left represent the Trinity.
Andrée Hayum argues that the commissioning of the tondo by the Doni family helped to emphasize the "secular and domestic ideals" of the painting rather than seeing it as a "devotional object." In choosing a tondo as the format for the picture, Michelangelo is referencing the form's long association with depicting the "Adoration of the Magi, the Nativity, [and] the Madonna and Child." Hayum also finds many allusions to Noah throughout the work. She posits a referencing of the Madonna to Noah's daughter-in-law, a sibyl, which thus makes Joseph an embodiment of Noah himself. Hayum further supports this by acknowledging the direct link between Joseph and Noah as depicted in Michelangelo's Sistine Ceiling paintings. This link to Noah also gives an explanation to the nudes in the background, whose forms may have inspired the sons in the Drunkenness of Noah. The allusion to the Noah story also brings up themes of baptismal water, thus giving rise to an interpretation of the nudes similar to D’Ancona's: "catechumens awaiting baptism" from John the Baptist, whose "isolation within a pit-like space" indicates his special role as baptizer.
Roberta Olson states that the painting depicts the "importance of the family" and is related to "Doni’s hoped-for descendants." One of the ways in which the painting depicts a "good marriage" is by the seemingly "reciprocal action" of the handling of Jesus between Joseph and Mary. Much importance is given to Joseph by way of the colors of his clothes: yellow, indicating the divine aspect of the family as well as "truth," and purple, standing for royal lineage tracing from the House of David. Additionally, Joseph is important to the painting by referencing the middle name of the "Doni’s third child who lived beyond infancy." The theme of baptism is also suggested on the painting's frame through a possible reference to Ghiberti's Porta del Paradiso - being one of the three sets of doors of the Florentine Baptistry (two of which by Ghiberti) - the sculpted details indirectly referring to the rite of Baptism, important for the Donis and their desire for a child as the product of a good marriage, exemplified by the Holy Family, perhaps one reason behind the commissioning of the work.
as much as life is filled with happiness...will also be moments of sadness and conflicts...but what makes life more beautiful...is of humble forgiveness...
He sits down with holy fears
And waters the ground with tears;
Then Humility takes its root
Underneath his foot.
Soon spreads the dismal shade
Of Mystery over his head;
And the Catterpiller and Fly
Feed on the Mystery.
And it bears the fruit of Deceit,
Ruddy and sweet to eat;
And the Raven his nest has made
In its thickest shade.
The Gods of the earth and sea,
Sought thro' Nature to find this Tree,
But their search was all in vain;
There grows one in the Human Brain.
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From the poem: The Human Abstract
By: William Blake
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A Lesson From the Rice Stalks
“… Those rice stalks that stand tall and straight are empty and have nothing. It is those which are bent and lowly that are heavy with grain.."
~Fr. Jerry Orbos .
Moment with the Lord
"God resists the proud but bestows His favor on the lowly."
~James 4:16
2008-11-19 #500
On Explore! December 5, 2007! #403
Thank you very much to all of you my dear Flickr friends for your so kind comments!
Last News:
I'd an apparition near my Wild River... an interview by an angel...!!! :)))
angiereal.blogspot.com/2007/11/interview-with-my-flickr-f...
My wild river reflection!
What a beautiful third eye she had the little Queen of my wild river!!! :)))
Acceptance, openness, responsiveness, flexibility… prerequisite to be the host of the little Queen who lives in us… to peacefully observe the glory of her Kingdom! Building on the vision of others to address the narrowness of his own views… smallness becomes greatness… According to the Tao… the greatness through the humility!
Reflet de ma rivière sauvage!
Quel troisième œil elle a la petite Reine de ma rivière sauvage!!! :)))
Acceptation, ouverture, réceptivité, souplesse… condition indispensable pour être l’hôte de la petite Reine qui vit en chacun de nous … pour pouvoir observer paisiblement la gloire de son Royaume! S’appuyer sur la vision d’autrui pour remédier à l’étroitesse de ses propres vues… la petitesse devient grandeur… Selon le Tao … la grandeur par la voie de l’humilité!
Kleine Queen of Hearts… Juliane Werding!!!
When I reached up the mountain top
Alone I was for certain
Till higher yet, 2 vultures shot
Out of the blue azure
They came between the sun and me
And cast their lumbering shadows
A rush of blood then stitched my cheek,
Humility was sown.
Here you can see there has been three entrances that have changed over time including a crusader arch.
"Humility is the only defense against humiliation."
Ohyan is a Ko-Matoran who once served as a Captain in Yerinn’s standing military force, the Overguard.
Unlike most other Ko-Matoran who tend to avoid mingling with other Matoran types and who generally have no taste for battle, Ohyan stood a head above his brothers as both a competent field official and an even more competent warrior.
[Osaka Summer Siege - Sengoku Basara 3]
~
Not too much is different from the original (with more story, if you're into that).
This time he's a bit closer to the 'Samurai' look I was going for, plus I cleaned his a lot up while cutting a tonne of his bulk (though I must say he still looks real fat, bother).
So busy for now and so slow to flickr .These two pics are " post and run" but will be back on Friday to catch up see your photos :) Thank you all for your past views and comments on my photostream ,they're well appreciated :)
Take care and God bless you friends :)
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Here are tidbits of news ,videos ,opinions etc that may interests people
especially those who have waken up and watching the times :
*Unbelievable Madness In The Fast Lane - Extraordinary and creepy ,perhaps spiritually demonically possessed twins and was defined in secular /pyschiatric terms as mental illness or puff of madness .
* New York's CANNIBAL COP Accused of Plotting to Kidnap 100 Women ,Wanted " girl meat " for Thanks Giving Dinner Note : The demons had been loosed and their appetites are being made manifest !
* Cameras Inside Mannequins Spying on Shoppers
* Why Are We Being Kept In The Dark Over GMOs ?
* Zombie Apocalypse Upon Us? Human Brain-Eating Fungus Kills 30 Americans
* Genitically Modified Humans ?New Gene-Altering Drug Paves Way For Mass Modification
* The Nephilim Built the Pyramids -The Great Separation - Patrick Heron ~ Coast to Coast AM
* The Antichrist & Prophecy- Patrick Heron 05_21_2009 ~ Coast to Coast AM - Interview with Richard ... and Patric Heron from C2C
Superstorm hits Australia's east coast with 4000 lightning strikes in one hour in Brisbane
* Bizarre muppet-like beast discovered
* Europa goddess to feature on Euro notes from May
* GMO Babies now Being Engineered in Labs Under Guise of Preventing Incurable Disease
* Santa Monica " US District Judge" Rejects Jesus!! ~Paul Begley Video
We can't even argue the fact that majority of today's generation are godless and ,blasphemous .....
* "MOUNT DOOM" NZ Volcano Erupts While Clinton Meets Mursi? Is this an omen that all their peace talks is doomed ? That everything starting from this confideration of nations against Israel is sign post towards world doom ....
* "Texas Pileup" 140 Vehicles 2 Dead 80 Injured Thanksgiving
* Bible Prophecy signs in our face November 21, 2012
Bus Explosion at Tel Aviv Israel
* Israel Responds "Hits Gaza Hard" (Live Video) After Bus Explosion In Tel Aviv
Israel retaliated after the Bus Explosion .What can Israel do but to defend themselves and defend the covenant land given by God unto the descendants of Abram , Isaac ,Jacob and so on.
God is with Israel .
* "Green Jacket" Anderson Cooper Shaken Blast! Clinton!
The ceasefire failed . The enemies of the "land" carried on their assaults on Israel with their raging anger.There will never be real peace in Jerusalem brokered by men /governments .This conflict will possibly grow bigger and boom - the one spoken in Psalm 83 which is prophetic .In Zechariah 12 (you can read the whole chapter )
that Israel will be as a trembling cup ,burdensome stone to nations and many will hate Israel.
But take note God will continually defend Israel .God ordained this conflict to draw in all of them that hate Israel from the beginning into their destruction ,as God wrath is upon those wh are unto dividing his land . When we see the total destruction ,that people of the world will see Him as the only God Almighty,and His words are true.
A warning of those wishing and those acting upon the destruction of Israel/Jerusalem ,
Here's from Zachariah 12 :9 a prophetic word from the God of Israel .
" It shall be in that day that I will seek to destroy all the nations that come against Jerusalem."
If God is your enemy ,you think you can withstand his coming wrath ? Rather be very afraid,
as a word of warning .
Madraza de Granada - Madrasa of Granada
Esta calle, llena de historia y de visitantes, arranca en la Gran Vía de Colón, importante arteria que desde finales del siglo XIX permite el paseo por el centro con sus amplias aceras.
A nuestra izquierda se levanta un bonito edificio de sillares oscuros, rejerías y farolas: es la antigua Madraza, escuela o universidad coránica que fue fundada por Yusuf I en 1349. Fue en su momento uno de los más bonitos edificios de la ciudad y estaba decorado con atauriques e inscripciones relativas al conocimiento.
En 1500 se destinó a casa del Cabildo y más adelante la fachada se pintó al temple. Ya en el siglo XVIII adquiere la actual apariencia, repleta de detalles barrocos. Del edificio árabe original se conserva la sala de oración con magníficos elementos decorativos. Tras una importante restauración entre 2006 y 2011, ha sido reabierta al público. El edificio, en la actualidad, pertenece a la Universidad de Granada.
Casi frente a la Madraza se abre un pequeño ensanchamiento de la calle. Aquí se encuentra uno de los monumentos más importantes de la ciudad: la Capilla Real.
Fundada en 1504 para albergar sus restos, fue fundada por los Reyes Católicos, Isabel y Fernando. Se construyó entre 1505 y 1517, y fue en 1521 cuando los cuerpos de los monarcas fueron trasladados allí por orden de su nieto Carlos I desde la iglesia de San Francisco, en la Alhambra.
Se edificó en estilo gótico tardío con toques renacentistas, y si el exterior es espectacular con sus remates de tracerías, enrejados y columnas historiadas, el interior es una auténtica belleza. Una maravillosa reja de hierro separa los sepulcros reales del resto de la capilla. El de los Reyes Católicos, obra de Domenico Fancelli, fue realizado en Italia en mármol de Carrara y tiene forma de tronco de pirámide.
Fernando aparece representado con armadura y manto, mientras Isabel lleva un sencillo atuendo y cruza las manos en señal de humildad. El de doña Juana y su esposo, Felipe el Hermoso, sitúa las dos estatuas sobre un lecho sepulcral, innovando en cierta manera respecto al monumento funerario de los monarcas Católicos.
www.idayvueltablogdeviajes.com/2014/05/calle-oficios-gran...
es.wikipedia.org/wiki/Madraza_de_Granada
es.wikipedia.org/wiki/Capilla_Real_de_Granada
This street, full of history and visitors, starts at the Gran Vía de Colón, an important artery that since the end of the 19th century has allowed visitors to stroll through the centre with its wide pavements.
On our left stands a beautiful building of dark ashlars, latticework and street lamps: it is the old Madrasa, a Koranic school or university founded by Yusuf I in 1349. It was once one of the most beautiful buildings in the city and was decorated with atauriques and inscriptions relating to knowledge.
In 1500 it was used as a town hall and later the façade was painted in tempera. In the 18th century it acquired its current appearance, full of Baroque details. The prayer room with its magnificent decorative elements has been preserved from the original Moorish building. After a major restoration between 2006 and 2011, it was reopened to the public. The building now belongs to the University of Granada.
Almost opposite the Madrasa is a small widening of the street. Here we find one of the most important monuments in the city: the Royal Chapel.
Founded in 1504 to house their remains, it was founded by the Catholic Monarchs, Isabella and Ferdinand. It was built between 1505 and 1517, and it was in 1521 that the bodies of the monarchs were transferred there by order of their grandson Charles I from the church of San Francisco, in the Alhambra.
It was built in late Gothic style with Renaissance touches, and if the exterior is spectacular with its tracery, latticework and historiated columns, the interior is a real beauty. A marvellous iron grille separates the royal tombs from the rest of the chapel. The tomb of the Catholic Monarchs, the work of Domenico Fancelli, was made in Italy in Carrara marble and is shaped like the trunk of a pyramid.
Ferdinand is depicted wearing armour and a cloak, while Isabella wears a simple garment and crosses her hands in a sign of humility. The statue of Juana and her husband, Philip the Handsome, places the two statues on a sepulchral bed, which is somewhat innovative with respect to the funerary monument of the Catholic monarchs.
www.idayvueltablogdeviajes.com/2014/05/calle-oficios-gran...