View allAll Photos Tagged Invokes
A large jenga-style structure which monkeys sit on or walk greets viewers as the walk into the gallery housing Stephanie Quayle’s installation. Some of her clay monkeys watch us from atop planks of wood, as if waiting our reaction – and subsequent reaction – to their plight. The jenga emits a palpable threat of instability, compounded by Quayle’s use of decaying joists from timber barns and old
wooden beams. As with the game of jenga, it appears the installation could collapse at any moment. Quayle invokes the instability inherent in jenga to highlight the precarious situation human hands have wrought upon wildlife as a result of deforestation and consequence loss of habitat.
patron saint of godparents, France, the city of Rheims, France and its inhabitants, Dhuy, Belgium, Archdiocese and City, Arignano, Italy, the Frankish Kings, the conversion of the Franks to Christianity, those who want to make good meditations, and invoked against religious indifference, snakes, snake bites, epidemics, plague, the pest, fever, neck and throat pains
能 - 百万
Noh - Hyakuman
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One of the most vivid memories of my own childhood happiness invokes the moment when the inhabitants of our family wagon would first catch a glimpse of the beach. The roads always seemed to be twisty and curvy, slowing us, thus lengthening the anticipation in the hot kid-stuffed back seat.
As these fortunate people turn into their driveway, their eyes are fixed on the blue Atlantic at the end of the way.
Today.
Cummaquid, Massachusetts.
As the time approaches for unshaven and overweight Santas to get stuck in chimneys ( extraction of which is placed on our understaffed Fire service ) apart from not setting a good example to kiddies, I thought I would post a snow scene. No reindeers to be seen sliding down clouds, just bleak snow & some mist. I went BW with this one, no attempt to pretty it up with colourful blue shadows. The texture is added to invoke a coarseness & a chilly atmosphere.
Count your blessings & stay warm.
Texture my own.
Chester Cathedral and Chester Visual Arts present ‘Our Colour Reflection’ by international artist, Liz West. The installation creates a conversation between the viewer and the setting using hundreds of mirrors made of coloured acrylic.
West creates vivid environments that mix luminous colour and radiant light. Working across a variety of mediums, West aims to provoke a heightened sensory awareness in the viewer through her works. She is interested in exploring how sensory phenomena can invoke psychological and physical responses that tap into our own deeply entrenched relationships to colour.
Open Monday to Saturday: 9am – 5pm, Sunday: 11am – 4pm
FREE ENTRY – generous donations welcome
For more information about Chester Cathedral see:
For more information about Liz West see:
#ChesterCulture #ourcolourreflection
One important ritual of Hinduism is tarpana. Tarpana means “satisfying” or “satiating”. One acknowledges the debt one has to devas (gods), rishis (sages) and pitris
(ancestral manes) and tries to satisfy them using this ritual.Just as gods are invoked in fire in a homam, pitris are invoked in water in this ritual, then held in the palm and released in a specific way conducive to freeing them.
The Kinavai ceremony, that signifies landing of Tolai people on the shores of East New Britain, starts before sunrise with Tolai secret society invoking Duk Duk (male) and Tubuan (female) spirits. The society is referred to as secret because its rituals are restricted to its members only. When we arrived on the shore at around 4am we could not see anything, we only could hear voices and people walking on the beach in both directions. We did not know what is happening. With sun rising we saw more people gathered on the shore including those wearing Duk Duk and Tubuan ceremonial costumes. After sunrise more Tolai people in Duk Duk and Tubuan costumes arrived on canoes accompanied by chanting and drumbeat. In the past, Duk Duk and Tubuan acted as sole law enforcers. These were people wearing Duk Duk and Tubuan masks believed to have spirits residing in them after the spirit was invoked. Their judgement was unquestionable and they would on occasion burn houses and kill people as a punishment. We saw Duk Duk and Tubuan dancing until shaman announced that possession by a spirit took place. After that Duk Duk and Tubuan would go to villages to administer punishment to wrongdoers including their own relatives.
Wild triangle on the ground
Mysterious darkness it is found
Between the sides, counting three
Invoking magic for all who see
What is hidden between the sides
Of the triangle that now rides
Over the day, through the night
Illuminated by the darkest light
We found this Shining Sunbeam in a polylepis forest near Lima, Peru during a visit in February of 2010. I find it to be a pretty interesting bird, but somehow the name Shining Sunbeam invokes such a powerful image in my mind that I don’t think anything could live up to it.
When I spotted this bird, I was walking around on a steep hillside which was quite challenging. It was quite interesting to walk among the stunted trees at the top of the Andes and it sure was a treat to spot this beauty when I sat down on a rock to take a break. While I was enjoying this bird and the amazing scenery that surrounded it, I could hardly imagine that only a couple of hours away was the bustling city of Lima.
_MG_4141-web
Aglaeactis cupripennis
Chester Cathedral and Chester Visual Arts present ‘Our Colour Reflection’ by international artist, Liz West. The installation creates a conversation between the viewer and the setting using hundreds of mirrors made of coloured acrylic.
West creates vivid environments that mix luminous colour and radiant light. Working across a variety of mediums, West aims to provoke a heightened sensory awareness in the viewer through her works. She is interested in exploring how sensory phenomena can invoke psychological and physical responses that tap into our own deeply entrenched relationships to colour.
Open Monday to Saturday: 9am – 5pm, Sunday: 11am – 4pm
FREE ENTRY – generous donations welcome
For more information about Chester Cathedral see:
For more information about Liz West see:
#ChesterCulture #ourcolourreflection
Some people have reported seeing butterflies when they invoke Archangel Raphael
shot here maps.secondlife.com/secondlife/Pebble%20Isle/51/87/80
There is a sense of hope/adventure if you stand at the edge of a cliff and look out into the wider world. Staring at a wall immediately in front of you invokes sadness/melancholy. Not to suggest that is the emotion the puffin is experiencing. It is the emotion I feel from observing the puffin. In fact, I wouldn't be surprised if the puffin is merely thinking "maybe this is a good place to build our den".
Newfoundland has much to offer, and puffins are no doubt among the best of the offerings. The Atlantic/common puffin is listed as vulnerable by the IUCN due to their rapid population decline.
The guilds of Venice started in medieval times as artisans got together to help protect and promote their industry. As with almost everything in Venice, the state soon got involved and a system was created in which the guilds were set up officially, with statutes (mariegole) approved by the government and lodged in the state archives (where they remain to this day). In the 16th century guild membership became compulsory for all artisans and shopkeepers and the guilds were given the responsibility to provide soldiers and sailors from among their membership in time of war.
Each guild, or arte had a headquarters, often in a church, but the larger and more important guilds had their own building known as a scuola. These buildings were used for meetings and ceremonies and were often decorated by famous artists. The guilds charged their members fees but membership of a guild also acted as a form of social security. Needy members received medical assistance and sometimes housing from the guild and often the guild paid for their funerals.
Saint Roch or Rocco is specially invoked against the plague.
I’m shaken, stunned & dazed. As I invoked the invincible Hand of God which did freeze up the lions deadly jaws from using Daniel for a meal, the cameraman @ the ongoing revival @ the National Biennial Conference of Christian Intellectuals @ Kwame Nkrumah University of Science & Technology captured unusual radiant supernatural Hand to Gods Glory & participants from Kwame Nkrumah University of Science & Technology, Ghana Institute of Journalism, University of Ghana, University of Development Studies, Ghana Medical School, University of Mines & Technology, University of Education, Central University College, Institute of Professional Studies, Takoradi Polytechnic, Kumasi Polytechnic, Cape Coast Polytechnic & Sunyani Polytechnic were shocked beyond description
The River Hongbao 2023 edition has something for everyone during the Lunar New Year, even for those that may not be too interested in the Chinese Zodiac decorations. For the kids and young at heart, there are always the carnival games and bumper cars to create memories and invoke nostalgia.
Sepolcro di Dante, Tumba de Dante, Tomb of Dante,
Dantis poetae sepulcrum, Tumba del poeta Dante, Tomb of Dante the poet,
La Tumba de Dante (en italiano: Sepolcro di Dante) es un monumento nacional italiano de estilo neoclásico construido en 1781 sobre la tumba del histórico poeta Dante Alighieri (1265-1321). Está situado junto a la Basílica de San Francesco, en el centro de la ciudad de Rávena.
El monumento está rodeado por el área denominada "zona dantesca", en la que los visitantes deben permanecer en silencio y mostrar respeto. Junto al monumento se encuentra un pequeño jardín, históricamente conocido como Quadrarco di Braccioforte, el cual tuvo su origen en el claustro monástico. Esta área también incluye los claustros franciscanos, el complejo de museos y la Casa Dante.
En su lecho de muerte, Dante Alighieri expresó su deseo de ser vestido con el hábito franciscano. Eligió como lugar de sepultura el convento de los Frailes Menores, establecido en Rávena en 1261. Los solemnes funerales se celebraron en la iglesia de este convento, y el poeta fue originalmente enterrado en el cementerio adyacente al mismo. Este lugar es conocido como el Quadrarco di Braccioforte, (en español: "Cuadrarco del Brazo Fuerte"), puesto que el lugar es conocido por ser el emplazamiento en el que dos personas hicieron un acuerdo importante y, para garantizar su cumplimiento, invocaron al "brazo fuerte" de Cristo como símbolo de justicia y autoridad. En ese mismo lugar, había una imagen pintada del brazo de Cristo, lo que dio origen al nombre de este lugar.
Por otro lado, la familia Da Polenta, una influyente dinastía de Rávena, tenía una pequeña celda, dentro de la cual se colocó el sarcófago que contenía los restos de Dante Alighieri después de su muerte, lo que muestra el papel destacado de la familia en la protección y custodia de los restos del Sumo poeta.
En 1441, tras la expulsión de la familia Da Polenta por la República de Venecia, la celda que albergaba los restos de Dante quedó en estado de abandono. En 1483, el podestà veneciano Bernardo Bembo emprendió la restauración y ampliación de la tumba a sus expensas. Encargó el trabajo al escultor Pietro Lombardo, quien contó con la colaboración de sus hijos para la ejecución de la obra. Cabe mencionar que, sobre el sarcófago, Lombardo esculpió un conocido bajorrelieve que representa a Dante pensativo frente a un atril.
En 1778, cuando Luigi Valenti Gonzaga asumió el cargo de legado pontificio en Rávena, el cardenal tomó la decisión de promover la construcción de un nuevo sacello, un pequeño edificio religioso destinado al culto. Para llevar a cabo este proyecto, confió la tarea al reconocido arquitecto de Rávena, Camillo Morigia, conocido por su talento y creatividad en el diseño de espacios arquitectónicos.
Construida entre 1780 y 1781 sobre una estructura anterior del siglo XV, la tumba tiene una planta cuadrada y está diseñada en forma de un pequeño templo neoclásico coronado por una pequeña cúpula, rematada con una piña. Separada de la calle por una estrecha delimitación, su fachada exterior es muy sencilla. Incluye una puerta sobre la que se encuentra el escudo arzobispal del Cardenal Gonzaga, y en cuyo arquitrabe se lee, de manera simple y en latín: Dantis poetae sepulcrum ("Tumba del poeta Dante")
Destacan dos elementos decorativos: una serpiente que se muerde la cola (Uróboros), símbolo de la eternidad de la fama del Poeta, y el escudo del cardenal Gonzaga. Las hojas de la puerta de acceso están hechas de madera.
A la derecha del monumento funerario se encuentra un pequeño jardín que incluye, entre otros elementos, el Quadrarco di Braccioforte. Desde 1921, este jardín está cerrado con una reja de hierro forjado diseñada por el artista veneciano Umberto Bellotto.
es.wikipedia.org/wiki/Tumba_de_Dante
The Tomb of Dante (Italian: Sepolcro di Dante) is an Italian neoclassical national monument built over the tomb of the poet Dante Alighieri (1265-1321) in 1781. It is sited next to the Basilica of San Francesco in central Ravenna.
The monument is surrounded by a "zona dantesca", in which visitors have to remain silent and respectful. The small garden to the monument's right originated as the monastic cloister but now only has a colonnade on one side. The garden is traditionally named after the Quadrarco di Braccioforte, where two people invoked the "strong arm" of Christ to guarantee their contract and therefore had the image of that arm painted on the arch.
Dante spent his final years in exile in Ravenna and died there in 1321. The day after his death his funeral was held in the cloister of the basilica, then a Franciscan monastery, the Church of San Pier Maggiore, later called Basilica di San Francesco. He was then buried outside the cloister by the roadside in an ancient Roman sarcophagus, in which he still rests.
The sarcophagus was moved to the west side of the cloister by Bernardo Bembo, Venetian podestà of Ravenna, at the end of the 15th century.
A few years later Dante's hometown of Florence began making requests to have his remains returned. This had the support of two Medici popes, Pope Leo X and Pope Clement VII. The first request was supported by Michelangelo and in 1519 Leo granted Florence permission to move the sarcophagus there, but the Franciscans had enough time to make a hole in the wall and secretly move Dante's bones there. A Tuscan delegation duly arrived but found the sarcophagus empty. It was moved into the cloister and kept under guard.
Meanwhile the bones were put in a new box in 1677 by Antonio Sarti, prior of the monastery. The sarcophagus was restored under armed guard in 1692. The bones were put back in their original sarcophagus in 1781, the same year as the monument was completed, having been commissioned from the local architect Camillo Morigia by Luigi Valenti Gonzaga, the cardinal legate in Romagna. Square in plan and with a small cupola and dome, it covers the sarcophagus. Its interior is covered in marble and stucco. Morigia planned to have images of Virgil, Brunetto Latini, Cangrande della Scala and Guido Novello da Polenta in the pendentives of the dome's interior vault, but this plan was abandoned.
Behind the sarcophagus is a 1483 bas-relief by Pietro Lombardo, which also stood in this position for most of the 15th century, showing Dante reading at a lectern. From the ceiling hangs an 18th century votive lamp, continually kept burning with olive oil from the Tuscan hills donated by Florence every 14 September, the anniversary of Dante's death. The monument's facade to the street is very simple, with a gate surmounted by Cardinal Gonzaga's archiepiscopal coat of arms and the simple inscription "DANTIS POETAE SEPULCRUM" ("tomb of Dante the poet"). The friars hid the bones in the 1677 box again in 1810 during the French occupation to prevent them being confiscated. They hid the box under an old doorway between the Basilica of San Francesco and the Braccioforte Chapel before leaving the city. Florence had not given up hope of having the remains removed from Ravenna, however, and in 1829 the city erected a cenotaph in Santa Croce Basilica, showing the poet seated in thought and a personification of Poetry weeping over the sarcophagus.
The box's location was forgotten until 27 May 1865, when it was found by a worker carrying out restoration work for the 600th anniversary of Dante's birth. A young student and later a respected notary, Matteucci Anastasio, noticed the words "OSSA DANTIS" (Dante's bones) on the box and saved it from being thrown into a common grave. (The full inscription stated: "Dantis ossa a me Frate Antonio Santi hic posita 1677, die 18 Octobris", written by Friar Santi.)
The almost complete skeleton of bones were rearticulated and put on display to the public in a crystal coffin for a few months before being reburied under the monument in a walnut chest protected by a lead cover. It remains in place and has never been returned to Florence.
In 1921 a bronze garland was added to the foot of the sarcophagus in memory of the dead of World War I, as well as a marble plaque to its right describing the various restorations of the tomb and an iron gate to the neighbouring garden, designed by the Venetian artist Umberto Bellotto. The bones were hidden yet again during World War II to prevent them being destroyed by bombing. They were buried in the garden from March 1944 to 19 December 1945 until they were returned to the monument, now marked with a plaque. The monument was restored in 2006–2007, including a complete repainting of its facades.
Planes (Hover, Erupt, Erode) by Thai artist Mit Jai Inn
In Planes (Erode) [shown here], a field of scraped impasto and pigment signposts are immersed in a sea of water and alcohol. As the spirits are absorbed and consumed over time, we will see what remains.
While his work invokes meditation on light, space and time, it also engages with Thai social-political realities.
Cockatoo Island, Sydney, Australia (Monday 26 March 2018)
(I want to point and say this photo was done by Abel Kryon. He is an amazing photographer and Beyond brilliant. Please go check out his work.)
Queen Bee
Ivanna strides onto the runway, exuding confidence and grace as the Queen Bee, her presence commanding the attention of every eye in the room. Draped in a stunning ensemble inspired by the intricate beauty of a beehive, she embodies the elegance and significance of these remarkable creatures. Bees, often hailed as the unsung heroes of our ecosystem, play a crucial role in pollinating plants, ensuring the production of fruits, vegetables, and flowers. Their tireless work supports biodiversity, sustains our food supply, and maintains the balance of nature. Ivanna's regal entrance not only celebrates her own stature but also pays homage to the vital contributions of bees to our world.
Ivanna's outfit from Irresistible is a masterclass in cohesive elegance, seamlessly integrating every detail to draw attention to her striking frame. The ensemble includes not only a meticulously crafted dress but also complementary hair , shoes, and accessories that harmonize to enhance her silhouette. Adorned with intricate bees and honeycomb jewelry, the outfit celebrates the beauty of nature's design, while the spinning bees add a refined, dynamic touch. Each element, from the golden hues to the delicate craftsmanship, culminates in a look that is both sophisticated and captivating, making Ivanna the epitome of the Queen Bee.
Ivanna feels an immense sense of pride and joy in her role as the Queen Bee, a title that resonates deeply with her appreciation for the vital work bees perform in our world. As she embodies this regal persona, she reflects on how bees tirelessly pollinate plants, contributing to the growth of our food supply and the preservation of biodiversity. This indispensable labor ensures the health of ecosystems and the sustenance of countless species, including humans. Ivanna’s pride stems not only from her own accomplishments but also from honoring the diligent bees whose efforts are crucial for life on Earth. It is this profound connection to their work that fills her with joy and a sense of purpose, reinforcing the significance of her role.
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Outfit: irrISIStible To Bee or not to Bee ( Outfit comes with hair piece, shoes, honeycomb tat, most bees attachment, and siut and skirt.)
Jewelry: Bracelet: Finesmith HoneyBee Bracelet
Necklace: @rOrO Bee Jewelry
Rings: Livia Honeycomb Rings
Nails: Livia Honeycomb Nails
Makeup: Eyeshadow: ChirppieBird Hive Queen
Lips: Opulein Glamourama Lipstick Black
Flower Petals: Persefona Floating Rose Petals (White)
Bees: SKBW Brain Full o' Bees Brown
Eyes: Opuleinm Cristiana Eyes (Honey)
142,579 items / 1,103,121 views
I had called up Mrs Punam Sinha mother of Sonakshi Sinha and wife of Mr Shatrughan Sinha that I was going for the Press conference of Lal Bagh Chya Raja and would invoke the Lord for Sonakshi Salman Arbaz and their film.
Bhabi as I call Mrs Punam Sinha requested me to offer ladoos a sum of 5100 and 5 tickets of Dabbang at the feet of Lal Bagh Chya Raja at the first Arti tomorrow before he sees the film first day first show.
So I gave all she gave me to my dear friend Raju Langewal to to the needful he spoke to Bhabiji too..
So this is the story of love and devotion of the Sinhas for Lal Bagh Chya Raja .
And every year I walk barefeet with Lal Bagh Chya Raja till his Immersion , and the coconuts the karya kartas give me I hand it over to her including a few other friends.
World-renowned street artist Rone’s latest exhibition / installation is in his hometown of Geelong.
Rone said of the installation at the Geelong Gallery; “My show is an ode to abandoned spaces and a reminder to value the original treasure they once were. Influenced by the architecture of the building and the toll of time, the central installation preserves an imagined moment of the space adorned at its finest and left to slowly deteriorate.”
“Featuring a push and pull between light and dark, viewers may be compelled to either end of the experience but are united in the same recognition of overall decay. The damage has been done and my installation invokes a longing for what is lost and cannot ever return.”
My photos will not do justice to the detail included in the work, nor to the beauty of Rone’s artwork. It is truly exceptional.
In June 1982, 4-VEG No.7910 arrives at Littlehampton station with a service from London Victoria.
Southern EMUs have always been something of an acquired taste. Particularly in the 1970s and early 1980s, the monotony of virtually all passenger trains carrying either blue or blue and grey livery and featuring a small number of similar designs ensured they were of limited interest.
Growing up on the Southern Electric network, for me, the nadir of these units were the 4-VEP units. By the late 1970s these high density, outer suburban units all carried blue and grey livery and could be guaranteed to invoke yawns across most of the Southern Region.
But... fear not: enter the 4-VEGs!
Passenger growth to Gatwick Airport in the 1970s convinced the Southern to 'improve' the service between Victoria and Gatwick by dedicating 12 4-VEP units to these services. To cater for the increased luggage of airport travellers, in each coach seating bays were removed and replaced by luggage racks. The fleet were reclassified as 4-VEG (with the 'G' standing for Gatwick, of course), carried "Rapid City Link Gatwick London" logos, an aeroplane symbol and were renumbered into the 79xx sequence.
While notionally dedicated to Gatwick services, occasionally they escaped onto other Central Division workings as appears to have happened here.
The VEGs were replaced in 1984 and they faded back into obscurity being converted back into VEP units and surviving until ousted by modern units in the 21st century.
Over 40 years later, while the 4-VEG are long gone, Littlehampton looks remarkably similar to this image. While the dockside crane on the river Arun on the far left has gone, the houses, semaphore signals and even the gas holder survive.
Photograph by an unknown photographer, now part of my collection.
#AbFav_BLUE_
These little vessels never cease to invoke a happy feeling and a smile on my face.
I also love lying in the water like that, LOL.
More gathered from all over.
The light was just fabulous as you can see, M, (*_*)
For more: www.indigo2photography.com
Please do not use any of my images on websites, blogs or any other media without my explicit permission. © All rights reserved
dinghy, boat, covered, sea, seaweed, ropes, covered, reflection, moored, sunlight, light, colour, horizontal, Nikon, Magda indigo
www.youtube.com/watch?v=J3UirMxpcY4
Turn on the light
Flies abuzz abuzzing
Vultures circling overhead
Flattened on bubbling asphalt
A soul gone dead
MTP protocol invoked
V-Fib nonetheless
The shock of it all
Flat line aflutter
Obsidian blade in hand
The Gods must be fed.
...
Your hand flipped the switch.
200 Joules shook me to life.
How. How. Somehow
The other side of darkness.
Is this real?
Are you real?
We are perfect symmetry.
Evil shadows on the cave wall
Rendered visible by light,
Your light.
My phantom past splayed:
Dramatic display
Of coagulated clots.
Sunlight pirouettes,
Our soul vibrates —
Ecstasy.
Is this real?
Are you real?
A dream within a dream
Caught fire and lit the final scene:
The escape from Plato's cave.
The legend associated with building of this temple ended in tragedy for the builders. Eight monks who approached King Kyansittha seeking alms gave a graphic description of the Nandamula Cave temple in the Himalayas where they had meditated. When the king invited them to the palace to hear more details, the monks invoked their meditative psychic skills and vividly explained to the King, the landscape of the place they had lived. The King, pleased with this show of their skills, requested the monks to build a temple in the middle of the Bagan plains creating cool conditions in the temple. After the monks completed the temple construction, the King, in order to retain the uniqueness of the temple, had the monks killed to ensure that another similar structure was not built by them elsewhere.
Excerpt from torontobiennial.org:
The neon sign Visibility is a Trap invokes Michel Foucault’s theory of panopticism, which argues that a state of permanent visibility and threat of surveillance induces self-discipline. For Grasso, the viewer’s interaction with the illuminated text is key—one becomes increasingly visible as they enter the glow of the neon light.
The color yellow can be bright and intense, which is perhaps why it can often invoke such strong feelings. Yellow can quickly grab attention, but it can also be abrasive when overused. It can appear warm and bright, yet it can also lead to visual fatigue.
www.verywellmind.com/the-color-psychology-of-yellow-2795823
DSC09997
Location: Earth
Unearthed 312 solar cycles ago by explorers from Centauri Prime, this monumental figure is believed to have represented a powerful solar deity from ancient human civilization. Archaeological evidence suggests that it held deep cultural and religious significance. Positioned on its own sacred island, scholars believe the figure may have symbolized a solar deity, owing to the radiant spikes encircling the head—a likely representation of the sun’s power. The torch, interpreted as an extension of the sun itself, may have been central to rituals of illumination or renewal.
The inscription on the tablet remains undeciphered, though it is hypothesized to be an incantation or prophetic text. Some theories suggest it could have been associated with apocalyptic beliefs, possibly a chant invoking the end of the human age.
Interpretation remains speculative, as much of human culture has been lost to time.
In Pomarico there in the La Via della Luce di Francesco, in the historic center, it is said took place one of the most important miracles of St. Francis of Assisi. Here there is a house that has a limestone plaque embossed with a Franciscan symbol. That's what happened.
In the 12th century there lived a father and a mother who had an only daughter, who loved them dearly. And since they had no other heir that hoped for in the future, she was for the subject of all of their affection. When she fell ill and was in danger of death the father and mother were stunned by grief. They attended to her for days and nights without respite, but unfortunately one morning they found her dead. The parents with the loss of their daughter, lost any hope of an heir. Relatives and neighbors gathered for the funeral and prepared to bury the body, while the unhappy mother was oppressed by unspeakable pains, and all suffered great agony. The father did not even realize what happened. Meanwhile St. Francis, accompanied by one confrere, visited the grieving mother, and comforted her with kindness, saying: "Do not cry, look to your lamp, now completely dark. Behold, I give back the light!". He rose immediately and left. The woman, revealing to all what St. Francis had said, prevented the body to be moved elsewhere. Then the mother of the girl, by invoking the name of the saint, lifted her alive and she was healed. Leave to others to describe the wonder that fill the hearts of those present and the incredible joy of the parents.
The Crucifixion of Saint Peter is a work by Michelangelo Merisi da Caravaggio, painted in 1601 for the Cerasi Chapel of Santa Maria del Popolo in Rome. Across the chapel is a second Caravaggio work depicting the Conversion of Saint Paul on the Road to Damascus (1601). On the altar between the two is the Assumption of the Virgin Mary by Annibale Carracci.
The two lateral paintings were commissioned in September 1600 by Monsignor Tiberio Cerasi, Treasurer-General to Pope Clement VIII, who purchased the chapel from the Augustinian friars on 8 July 1600 and commissioned Carlo Maderno to rebuild the small edifice in Baroque style. The contract for the altarpiece with Carracci has not been preserved but it is generally assumed that the document had been signed somewhat earlier, and Caravaggio had to take into consideration the other artist's work and the overall iconographic programme of the chapel. Cerasi nourished a deep devotion towards Saint Peter and Paul, and invoked them in his will. Together the two saints represented the foundation of the Catholic Church, and they were called the Princes of the Apostles. Both had a strong connection to the city of Rome and the papacy. Caravaggio's paintings were thus intended to express Cerasi's attachment to the Church of Rome and his closeness to papal power. Their position in the chapel was important but the devotional focus was still on the Assumption of the Virgin Mary on the altar in the middle. The juxtaposition of the two scenes had a well-known precedent in the frescos of the Capella Paolina at the Apostolic Palace (1542–1549) but the paintings of Caravaggio were starkly different from the crowded Mannerist scenes of Michelangelo.
Although much has been said about the supposed rivalry between Carracci and Caravaggio, there is no historical evidence about any serious tensions. Both were successful and sought-after artists in Rome. Caravaggio gained the Cerasi commission right after his celebrated works in the Contarelli Chapel had been finished, and Carracci was busy creating his great fresco cycle in the Palazzo Farnese. In these circumstances there was little reason for them to regard each other as business rivals, states Denis Mahon.
The contract signed on 24 September 1600 stipulates that "the distinguished painter, Michelangelo Merisi da Caravaggio" will paint two large cypress panels, ten palms high and eight palms wide, representing the conversion of Saint Paul and the martyrdom of Saint Peter within eight months for the price of 400 scudi. The contract gave a free hand to the painter to choose the figures, persons and ornaments depicted in the way as he saw fit, "to the satisfaction however of his Lordship", and he was also obliged to submit preparatory studies before the execution of the paintings. Caravaggio received 50 scudi as advance payment from the banker Vincenzo Giustiniani with the rest earmarked to be paid on completion. The dimensions specified for the panels are virtually the same as the size of the existing canvasses.
When Tiberio Cerasi died on 3 May 1601, Caravaggio was still working on the paintings, as attested by an avviso dated 5 May which mentioned that the chapel was being decorated by the hand of the "famosissimo Pittore", Michelangelo da Caravaggio. A second avviso dated 2 June proves that Caravaggio was still at work on the paintings a month later. He completed them sometime before 10 November when he received the final instalment from the heirs of Tiberio Cerasi, the Fathers of the Ospedale della Consolazione. The total compensation for the paintings was reduced to 300 scudi for unknown reasons.
The paintings were finally installed in the chapel on 1 May 1605 by the woodworker Bartolomeo who received four scudi and fifty baiocchi from the Ospedale for his work.
Bartolomeo Schedoni (Modena, January 1578 - Parma, December 23, 1615) - Saint Sebastian cured by pious women (1615) (unfinished due to the death of the master) - oil on canvas 180x130 cm. - Museum of Capodimonte, Naples
L’opera sarebbe collegabile, insieme ad altri due dipinti (entrambi conservati nel Museo di Capodimonte), ad un ciclo, verosimilmente non concluso, raffigurante in modo allegorico le istituzioni assistenziali (gli ospedali) presenti in città, economicamente aiutate, e in parte dirette, dal Duca Ranuccio.
Il dipinto alluderebbe all’Ospedale degli Appestati (l’ospedale di San Lazzaro) infatti nella tradizionale iconografia San Sebastiano, insieme a san Rocco viene invocato e raffigurato a protezione contro la peste
The work would be connected, along with two other paintings (both preserved in the Museum of Capodimonte), to a cycle, probably not completed, allegorically depicting the welfare institutions (hospitals) in the city, economically helped, and partly directed by Duke Ranuccio.
The painting alludes to the Ospedale degli Appestati (the hospital of San Lazzaro) in fact in the traditional iconography San Sebastiano, together with San Rocco is invoked and depicted to protect against the plague.
Press L or click on the shot to see it over black background !!!
Shots of abandoned places always invoke sentiments of sorrow to the viewer, so they actually have to be photographed properly ... My goal is not to deliniate their abandoned and derelict character, but to demonstrate instead the way this degraded character fits now into its surrounding environment ...
I believe that a photograph is not what you see, but how you actually feel about what you see !!! Thus my friends, being an eternal lover of grace, nobility and elegance, I actually try to locate and show those virtues off, wherever and whenever they can actually be found ... even in abandoned but once undoubtedly lordly constructions ...
EXIF: Panasonic Lumix DMC-ZX1 with LEICA lens, ISO 125, f 3,5, focal length 5,2 mm, manual adjusted white balance, HDR made by three original shots with shutter speeds 1/250 s, 1/500 s, 1/1000 s and relevant EV values +1, 0, -1 accurately conveying the scene's exact lighting conditions to the viewer, flash did not fire, captures were auto bracketed by DMC-ZX1 with only one click ...
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In un cortile di una casa di Genova Voltri
In an angry sea
in a sudden storm
I invoke thee, our
Loving Star....
...
This place freaked me out every time I walked by, there is a mannequin in the window and was always creepy like someone was watching you.
Below sea level. It’s a universally known topographical factoid about the otherwise flat city of New Orleans, and one that got invoked ad nauseam during worldwide media coverage of Hurricane Katrina and its catastrophic aftermath in 2005. Locally, the phrase is intoned with a mix of civic rue and dark humor.
It’s also off by half. Depending on where exactly one frames the area measured, roughly 50 percent of greater New Orleans lies above sea level. That’s the good news. The bad news: It used to be 100 percent, before engineers accidentally sank half the city below the level of the sea. Their intentions were good, and they thought they were solving an old problem. Instead, they created a new and bigger one.
These two horses are among the oldest figurative depictions found in Switzerland. In the Early Stone Age, horses were an important source of meat. To invoke good luck, the prey was depicted. The perforated antler baton might’ve been used as a scepter or as a tool. 13,000 years BCE, Schaffhausen, Switzerland
Excerpt from tourismhamilton.com:
Ode to T-Cats (11) by Shelley Locke: This is my poetic impressionistic, abstract piece dedicated to Hamilton’s Tiger-Cats and one that Hamiltonians will recognize. Mascots have been used for entertainment and spectator excitement since Roman times. This piece is meant to invoke the commuter’s unconscious pride of one’s city, home and team yet deter graffiti. Colour tones from sky to forest were rolled onto the canvas and the bold strokes of the tiger add strength and power to the piece. Non-traditional art tools continue the feel of impressionism by creating a mix of jungle and sunset palettes.
Voici une autre petite nouvelle qui rejoint mes autres poupées ^_^. C'est une cornice que j'ai makeupée :) Acryliques de PABOL EYES :)
Elle s'appelle Niodja, c'est une invoqueur comme Lynette, sa chimère étant Mimi. Elle est très puissante, et fait partie d'une grande lignée d'invoqueurs. Niodja et Lynette se disputent le titre de Grand Invoqueur depuis plusieurs années afin pour savoir laquelle des deux est la plus puissante.
Here is my new girl, ^_^ She is a cornice and I have makeup her :) acrylics from PABOL EYES :)
Her name is Niodja, she is an invoker as Lynette, her fancy is Mimi. She is very powerful, and part of a big lineage of invokers. Niodja and Lynette quarrels the title of Big Invoker for several years to know which one is the most powerful.
Öxnadalur valley is the birthplace of Jónas Hallgrímsson, an Icelandic poet and author. He was one of the founding members of the Icelandic magazine Fjölnir, which was first published in Copenhagen in 1835. The magazine was used by Jónas and other nationalistic poets to invoke nationalism in the hearts of the Icelandic people in the hopes of inciting a popular resistance against Danish rule. Jónas was one of the most beloved poets of Iceland and put into words some of its best-known poems about land and nation. He died in Copenhagen, Denmark in 1845 as a result of blood poisoning, following his refusal to go to hospital after suffering a broken leg.
Jónas is considered one of the founding fathers of romanticism in Iceland. His poetry exhibits a strong influence from the Icelandic landscape. You can find a translation of his poem "Iceland" here.
I haven't been very active on flickr for some time now. I really appreciate all the visits and comments though. And most of all; your concern for my well being. Actually I'm really fine and I have been preoccupied with various other stuff besides photography lately. I don't expect that to change much in coming months. But I hope to upload an odd image every now and then, mostly for my own enjoyment.
or 'Perched on a tree' like Maitre Corbeau in the fable ;)
May images invoke lines form songs or poems, here two came at once. Being a life-long blues fan, I tend to prefer the SOTOTW one:
Rows of sweet jars on the shelves of Sweet Corner in the small Hampshire town of Bishops Waltham invoke memories of childhood in a world of prepacked heavily marketed alternatives.
Argentinian and Spanish ambassadors (proclaimed on 29 January 1962 by Pope John XXIII)
broadcasters
Brothers of Saint Gabriel
clergy
communication
communications workers
diplomats
messengers
philatelists
Portugal
post offices
postal employees
postal services
postal workers
radio
radio workers
Seattle, Washington, archdiocese of
secular clergy
stamp collectors
telecommunications workers
telegraphs
telephones
television
television workers
Auchi, Nigeria, diocese of
He is invoked by women in child-birthing and all those hoping for good news.
As the photographer behind this tranquil scene, I was captivated by the interplay of the warm autumn hues and the cool, reflective waters of the lake. Taken during the golden hour, the contrast between the fiery leaves and the impending dusk paints a serene picture of nature's balance. The gentle ripples on the water's surface add a dynamic texture, complementing the stoic trees that line the shore. The composition is carefully framed to lead the eye through the scene, from the overhanging branches to the distant, mist-covered hills, invoking a sense of depth and vastness.
Credits:
reaperdarkheart.blogspot.com/2023/10/398.html
Hairbase:KOKOS-HAIRBASE THOMAS-EVOX
KOKOS
Earrings:L'Emporio&PL::*Invoked*::for Swallow XL Gauged-Available at MenOnly October 2023
L'Emporio&PL
Tattoo:[F*k.InK - Until Death ]-Available at MenOnly October 2023
[ F*k.InK ]
[F*k.InK - Give Never Up ]
[ F*k.InK ]
Shirt:TR Ionia Shirt -Available at MenOnly October 2023
Short:[Mazzaro] Calleb Shorts
Mazzaro
Backdrop:blaink. - The Hall -Available at MenOnly October 2023
Drink:[TNK] EMBALMER ENERGY DRINK - DARK
TANAKA
All images are copyright Gert van Duinen / Cresk Design 2008
Bigger on #141414 - My latest work in Darckr
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Exposure settings: f/4, 3 sec (3), ISO 250, 12 mm
Pre-processing: Pre-sharpened and tone-corrected different RAW files during pre-processing stage. Multiple Tonemapped versions were used to manually blend them together with different layer modes and layer masks in Photoshop.
Post-processing: Local colour contrast enhancement with the Color Balance-, Selective Color-, and Curves Adjustment Layers in post-processing stage. In fact, more then 40 layers were used to get mood I wanted.
Final touch-ups: Post-sharpening with the High Pass filter in Vivid Color layer mode. Burning & Dodging applied to some parts on the image. [Edit:] Different textures have been removed to keep the sky clean :)
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Daily Tip: I often use Burning & Dodging on a new 50% gray filled Overlay-neutral color layer to enhance details in the lighter and darker parts of the image. If this is new to you, try it once and you will use it all the time from now on.
Hold the Alt key and click on the New Layer icon in the bottom of the Layers panel. A dialog appears for this new layer appears. Set its Mode to Overlay and click the Fill with Overlay-neutral color (50% gray) option and hit OK.
A new gray layer appears on top of your stack. Hit D first to set the foreground color to black and background color to white. Press the letter B to invoke the Brush tool and use a larger size brush - maybe about 100 for high res images - and hold the shift key and press number 1 to set its opacity on 10%. In addition, to to make the brush smaller or larger use the bracket keys: [ and ]. To harden or soften the brush by 25% use the same bracket keys and hold the Shift key simultaneously.
Use foreground color to darken and background color to lighten certain parts in your image. Press letter X to switch between fore- and background color. Try to paint with short strokes and try to play with the Flow as well by pressing number 0 for 100%, 5 for 50%, and so on. Good luck.
In addition, I'll add new Photoshop Actions to my ActionPack from time to time. When a new Action had been added, I'll add the word : update within the download link.
Download cresk actionpack for PS CS3 here
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"Our project "Identikit" deals with the matter of immigration and hence with identities and the issue of clichés. Identities are highly complex and always different, however clichés work by simplification. Under the view of immigration, more and more families and individuals have a patchwork-identity, which is often encountered by others with stereotypes. To visualize this problematic issue we have made portraits of well known German, French and American personalities, which have a migration background. Based on a technique, that is known from Childrens books or phantom view catalogs, the faces are horizontally cut in stripes, so that you can rearrange them in endless variations. In addition there are a series of words on the backside so that you can replace some parties of the face. There are so many options, some make sense, some don´t, some invoke images and even stereotypes in your head, but they give no concrete answer. It´s all in the viewer."
Various & Gould 2008
Check this gallery for more photos of the Identikit series!
www.flickr.com/photos/urban-art-berlin/galleries/72157622...
ᶠᵒʳᵐ ᶤˢ ᵉᵐᵖᵗᶤᶰᵉˢˢ˒ ᵉᵐᵖᵗᶤᶰᵉˢˢ ᶤˢ ᶠᵒʳᵐ
ᴱᵐᵖᵗᶤᶰᵉˢˢ ᶤˢ ᶰᵒᵗ ˢᵉᵖᵃʳᵃᵗᵉ ᶠʳᵒᵐ ᶠᵒʳᵐ˒ ᶠᵒʳᵐ ᶤˢ ᶰᵒᵗ ˢᵉᵖᵃʳᵃᵗᵉ ᶠʳᵒᵐ ᵉᵐᵖᵗᶤᶰᵉˢˢ
ᵂʰᵃᵗᵉᵛᵉʳ ᶤˢ ᶠᵒʳᵐ ᶤˢ ᵉᵐᵖᵗᶤᶰᵉˢˢ˒ ʷʰᵃᵗᵉᵛᵉʳ ᶤˢ ᵉᵐᵖᵗᶤᶰᵉˢˢ ᶤˢ ᶠᵒʳᵐ
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空 Kū or sora, most often translated as "Void", but also meaning "sky" or "Heaven", represents those things beyond our everyday experience, particularly those things composed of pure energy. Bodily, kū represents spirit, thought, and creative energy. It represents our ability to think and to communicate, as well as our creativity. It can also be associated with power, creativity, spontaneity, and inventiveness.
Kū is of particular importance as the highest of the elements. In martial arts, particularly in fictional tales where the fighting discipline is blended with magic or the occult, one often invokes the power of the Void to connect to the quintessential creative energy of the world. A warrior properly attuned to the Void can sense their surroundings and act without thinking, and without using their "physical senses".