Putti
View allAll Photos Tagged Representations
than alarming representations of its approach :-)
William Benton Clulow, 1833
HPPT!! Protest Injustice! Resist! Vote!!
dahlia, j c raulston arboretum, ncsu, raleigh, north carolina
than alarming representations of its approach :-)
William Benton Clulow, Horæ Otiosæ, 1833
HBW! HGGT! RESIST! VOTE! IMPEACH our delusional president!!
zinnia, sarahp duke gardens, duke university, durham, north carolina
.
*
Wikipedia
*
Foto: La portada de la iglesia Santa María de Aranda de Duero es una obra de estilo gótico isabelino. Data de comienzos del siglo XVI. En la foto se ve uno de los cuadros monumentales que representa la Natividad.
*
Photo : Le portail de l’église Sainte-Marie de Aranda de Duero, Dans la province de Burgos est une œuvre du style gothique renaissance datant du tout début du XVIème siècle. La photo reprend un des tableaux, il représente la Nativité, d’une manière très réaliste.
From Wikipedia, the free encyclopedia
Buddha in parinirvana, Gandhara art, 2nd or 3rd century
Reclining Buddha of Galvihara at Polonnaruwa (Sri Lanka, 12th century)
A reclining Buddha is a statue that represents Buddha lying down and is a major iconographic and statuary pattern of Buddhism. It represents the historical Buddha during his last illness, about to enter the parinirvana[citation needed]. He is lying on the right flank, his head resting on a cushion or relying on his right elbow, supporting his head with his hand.
This pattern seems to have emerged at the same time as other representations of the Buddha in the Greco-Buddhist art of Gandhara.
.
*
Wikipedia
*
Photo : La Nativité tel que représenté dans un touchant tableau (non-signé) existant dans l’église (romane) de ce village auvergnat.
Foto: La Natividad representada en un emotivo cuadro existente en la iglesia (románica) de este pueblo de montaña de Auvernia – cuadro no firmado y reproducido aquí en solo su parte central).
Apu-Punchau also called Inti was the Inca sun god. A bright sun burst was just one of his many representations.
Happy Sliders Sunday!
Palacio del Marqués de Santa Cruz, Viso del Marqués, Ciudad Real, Castilla-La Mancha, España.
El palacio del Marqués de Santa Cruz es un edificio situado en el municipio de Viso del Marqués (Ciudad Real), en la Comunidad autónoma de Castilla-La Mancha, en España. Fue construido a finales del siglo XVI por Álvaro de Bazán, primer marqués de Santa Cruz. Actualmente es la sede del Archivo General de la Marina.
Fue construido entre 1564 y 1586 con modificaciones posteriores, y se trata de un edificio de planta cuadrada y estilo renacentista articulado en torno a un atrio renacentista con una tumba yacente. Los muros y techos se hallan cubiertos de frescos de doble temática: por un lado, escenas mitológicas y, por otro, batallas navales y ciudades italianas relacionadas con la trayectoria militar del marqués y de sus familiares. Los frescos se deben a unos pintores manieristas italianos, los Péroli. Al verlos, Felipe II les encargaría trabajos para El Escorial y el Alcázar de Toledo.
Para levantarlo, el marqués contrató a un equipo de arquitectos, pintores y decoradores que trabajaron en la obra desde 1564 hasta 1586. Para algunos, el diseño del edificio se debió al italiano Giovanni Battista Castello, conocido como el Bergamasco, que más tarde trabajó en El Escorial; para otros lo trazó, al menos en su plan original, Enrique Egas el Mozo.
La arquitectura se percibe como típica española, sin las arquerías italianas, con paramentos lisos y torres cuadradas en las esquinas, influidos por la austeridad de El Escorial y el Alcázar de Toledo, dentro de las relaciones armónicas características del Renacimiento. El espacio central está ocupado por un patio porticado que junto con la escalera forma un conjunto típicamente manierista entendido como estilo elegante y cortesano que desborda el marco meramente arquitectónico. Contaba con cuatro torres que, al parecer, se derrumbaron a consecuencia del Terremoto de Lisboa de 1755.
Las paredes están decoradas con 8.000 metros cuadrados de frescos manieristas elaborados por Giovanni Battista Peroli con Esteban Peroli y César de Bellis. Todos trabajaron para crear un espacio erigido a la mayor gloria de su dueño: por un lado, había que exaltar sus virtudes militares, y por el otro, enaltecer su linaje. Para lo primero, se pintaron en las paredes, las bóvedas y los techos del palacio vistas de ciudades y de puertos, así como los baluartes y las batallas en los que había conquistado su inmenso prestigio. A ambos lados de la escalera se ubicaron dos estatuas en las que aparecía representado como Neptuno (dios de los mares, con su tridente) y como Marte (dios de la guerra), y sobre las puertas del piso superior se colocaron los fanales de popa de las naves capitanas vencidas en las batallas, que eran los trofeos de los marinos. Para elogiar su linaje, y siguiendo la misma tradición renacentista de representar a hombres como dioses o semidioses de la antigüedad, se pintó a los antepasados del marqués y a sus esposas (tuvo dos) e hijos.
Estos dos grupos de representaciones se aderezaron con trampantojos, pinturas que simulaban puertas, columnas y otros elementos decorativos y arquitectónicos; y también con motivos grutescos que incluían animales mitológicos, sabandijas y follajes. Conforme una temática muy variada que se puede interpretar como defensa del catolicismo defendido en Trento.
Las estatuas sepulcrales de Alonso de Bazán (hermano de don Álvaro) y su esposa María de Figueroa, son el único ejemplo de escultura funeraria perteneciente al primer tercio del siglo XVII. Fueron ejecutados para el Monasterio de la Concepción que ocupaba la Comunidad de Religiosas Franciscas de El Viso del Marqués, ubicándose a día de hoy en el muro del Palacio más cercano a los jardines. Su creador fue Antonio de Riera, escultor relacionado con la corte de origen catalán. En ellas, aparecen los marqueses en actitud de orante, arrodillados en un reclinatorio, todo ello en mármol blanco que resalta sobre el mármol negro de los nichos. Se advierte en ellos cierta similitud con la elegancia y el clasicismo de los Leoni, a pesar de cierta rigidez formal, siendo de especial relevancia la forma en la que están ejecutadas las telas y el detalle de los vestidos.
The Palace of the Marquis of Santa Cruz is a building located in the municipality of Viso del Marqués (Ciudad Real), in the autonomous community of Castilla-La Mancha, Spain. It was built in the late 16th century by Álvaro de Bazán, the first Marquis of Santa Cruz. It currently houses the General Archive of the Navy.
Built between 1564 and 1586, with subsequent modifications, it is a square, Renaissance-style building centered around a Renaissance atrium with a recumbent tomb. The walls and ceilings are covered with frescoes depicting two themes: mythological scenes, and naval battles and Italian cities related to the military career of the Marquis and his family. The frescoes are by Italian Mannerist painters, the Pérolis. Upon seeing them, Philip II commissioned works from them for El Escorial and the Alcázar of Toledo.
To build it, the Marquis hired a team of architects, painters, and decorators who worked on the project from 1564 to 1586. Some believe the building was designed by the Italian Giovanni Battista Castello, known as El Bergamasco, who later worked at El Escorial; others believe it was designed, at least in its original plan, by Enrique Egas the Younger.
The architecture is perceived as typically Spanish, lacking the Italian arches, with smooth walls and square towers at the corners, influenced by the austerity of El Escorial and the Alcázar of Toledo, within the harmonious relationships characteristic of the Renaissance. The central space is occupied by a porticoed courtyard that, together with the staircase, forms a typically Mannerist ensemble, understood as an elegant and courtly style that transcends the purely architectural framework. It had four towers that apparently collapsed as a result of the Lisbon Earthquake of 1755.
The walls are decorated with 8,000 square meters of Mannerist frescoes created by Giovanni Battista Peroli with Esteban Peroli and César de Bellis. They all worked to create a space built to the greatest glory of its owner: on the one hand, to exalt his military virtues, and on the other, to honor his lineage. To this end, views of cities and ports, as well as the bastions and battles in which he had earned his immense prestige, were painted on the walls, vaults, and ceilings of the palace. On either side of the staircase were two statues depicting him as Neptune (god of the seas, with his trident) and Mars (god of war). Above the doors on the upper floor were the stern lanterns of defeated flagships, trophies of the sailors. To praise his lineage, and following the same Renaissance tradition of depicting men as gods or demigods of antiquity, the marquis's ancestors, his wives (he had two) and children were painted.
These two groups of representations were embellished with trompe l'oeil paintings simulating doors, columns, and other decorative and architectural elements; as well as grotesque motifs that included mythological animals, vermin, and foliage. This varied theme can be interpreted as a defense of the Catholicism championed in Trent.
The sepulchral statues of Alonso de Bazán (Don Álvaro's brother) and his wife María de Figueroa are the only examples of funerary sculpture dating from the first third of the 17th century. They were executed for the Monastery of the Concepción, which was occupied by the Community of Franciscan Nuns of El Viso del Marqués, and are now located on the wall of the Palace closest to the gardens. Their creator was Antonio de Riera, a sculptor of Catalan origin associated with the court. They depict the marquises in a prayerful attitude, kneeling on a prie-dieu. All in white marble, which stands out against the black marble of the niches. There is a certain similarity to the elegance and classicism of the Leoni family, despite their formal rigidity, with the execution of the fabrics and the detail of the dresses being particularly noteworthy.
Fondée en 1146 dans la vallée de la Thyle par Bernard de Clairvaux, cette abbaye était l'une des premières filles de l'abbaye de Clairvaux. Elle fut très tôt protégée par les ducs de Brabant et ainsi rapidement féconde. Le XIIIe siècle marque son apogée. Entre les XIVe et XVIIe siècles, l'abbaye a connu une succession de périodes calmes et troublées, durant lesquelles les moines ont quitté les lieux à neuf reprises pour raisons d'insécurité. Au XVIIIe siècle, l'abbaye a connu son second âge d'or, marqué par une grande ébullition architecturale. Après la Révolution française, la communauté monastique a dû se disperser, puis l'abbaye fut vendue comme bien national.
Dès lors, aux XIXe et XXe siècles, le site a connu dégradations et restaurations. L'ancienne abbaye de Villers est devenue un lieu de visite romantique et pittoresque, mais bien que devenu touristique, le site se dégradait. L'État belge a donc procédé à l'expropriation des lieux en 1892 pour y entamer un important chantier de restauration.
Les ruines appartiennent désormais à la Région wallonne, relevant du patrimoine majeur de Wallonie. La gestion du site est confiée à une association sans but lucratif, laquelle organise depuis 1987 des représentations théâtrales, des expositions et autres manifestations.
Founded in 1146 in the valley of the Thyle by Bernard de Clairvaux, this abbey was one of the first daughters of the abbey of Clairvaux. It was very early protected by the Dukes of Brabant and thus quickly fertile. The 13th century marks its peak. Between the fourteenth and seventeenth centuries, the abbey experienced a succession of calm and troubled periods, during which the monks left the premises nine times for reasons of insecurity. In the 18th century, the abbey experienced its second golden age, marked by great architectural turmoil. After the French Revolution, the monastic community had to disperse, then the abbey was sold as national property.
From then on, in the 19th and 20th centuries, the site suffered damage and restoration. The old abbey of Villers has become a romantic and picturesque place to visit, but although it has become touristy, the site is deteriorating. The Belgian State therefore expropriated the premises in 1892 to begin a major restoration project.
The ruins now belong to the Walloon Region, belonging to the major heritage of Wallonia. The management of the site is entrusted to a non-profit association, which has been organizing theatrical performances, exhibitions and other events since 1987.
Multiple representations of the EMD SD70 series are seen here on display, making easy work of their short, 24-car LG2G2 16 local as the trio heads back toward home, sprinting east across the Fox River at Island Park in Geneva, IL along the former C&NW. This "new" transfer job, birthed from the on-going practice of PSR, peddles both intermodal and mixed freight tonnage between the yards at Global II/Proviso and Rochelle's Global III. Lifting the double-tracked rails of Union Pacific's Geneva Subdivision atop the calm waters below is this 102-year old, 486 foot deck plate girder bridge that also has a pedestrian walkway running beneath. A closer look reveals the old Chicago & NorthWestern herald still hanging on up top, serving as a subtle reminder to the now gone days of the old yellow and green.
Metropolitan Museum of Art.
By the 1890s sculptural representations of Native American and western themes have become extremely popular.While living in Chicago in the early 1890s,MacNeil had learned of a rite of passage that captured his imagination:before a boy at the threshold of manhood can become a warrior,he was required to shoot an arrow directly into the sun.If the chieftain judging the boy's prowess was so blinded by the sun's rays that he could not follow the flight of the arrow,it was said to have gone "out of sight"and the youth had passed the test.MacNeil portrayed the dramatic moment,following the arrows release,heightening both the visual impact of the composition and the sense of narrative suspense.
Fondée en 1146 dans la vallée de la Thyle par Bernard de Clairvaux, cette abbaye était l'une des premières filles de l'abbaye de Clairvaux. Elle fut très tôt protégée par les ducs de Brabant et ainsi rapidement féconde. Le XIIIe siècle marque son apogée. Entre les XIVe et XVIIe siècles, l'abbaye a connu une succession de périodes calmes et troublées, durant lesquelles les moines ont quitté les lieux à neuf reprises pour raisons d'insécurité. Au XVIIIe siècle, l'abbaye a connu son second âge d'or, marqué par une grande ébullition architecturale. Après la Révolution française, la communauté monastique a dû se disperser, puis l'abbaye fut vendue comme bien national.
Dès lors, aux XIXe et XXe siècles, le site a connu dégradations et restaurations. L'ancienne abbaye de Villers est devenue un lieu de visite romantique et pittoresque, mais bien que devenu touristique, le site se dégradait. L'État belge a donc procédé à l'expropriation des lieux en 1892 pour y entamer un important chantier de restauration.
Les ruines appartiennent désormais à la Région wallonne, relevant du patrimoine majeur de Wallonie. La gestion du site est confiée à une association sans but lucratif, laquelle organise depuis 1987 des représentations théâtrales, des expositions et autres manifestations.
Founded in 1146 in the valley of the Thyle by Bernard de Clairvaux, this abbey was one of the first daughters of the abbey of Clairvaux. It was very early protected by the Dukes of Brabant and thus quickly fertile. The 13th century marks its peak. Between the fourteenth and seventeenth centuries, the abbey experienced a succession of calm and troubled periods, during which the monks left the premises nine times for reasons of insecurity. In the 18th century, the abbey experienced its second golden age, marked by great architectural turmoil. After the French Revolution, the monastic community had to disperse, then the abbey was sold as national property.
From then on, in the 19th and 20th centuries, the site suffered damage and restoration. The old abbey of Villers has become a romantic and picturesque place to visit, but although it has become touristy, the site is deteriorating. The Belgian State therefore expropriated the premises in 1892 to begin a major restoration project.
The ruins now belong to the Walloon Region, belonging to the major heritage of Wallonia. The management of the site is entrusted to a non-profit association, which has been organizing theatrical performances, exhibitions and other events since 1987.
The axe heads are not represented attached to a haft and seem to be outlined as essential form rather than actual function. Grouping each axe head with a second mirror example creates a new icon once further removed from practical use. This Gavrinis axe cluster display, from between 7 and 6000 years ago, is set within the animation that ripples from within the parallel and unbounded lines.
AJM
Said to be representations of architecture and ecology “arcology” this photo transcends the powerful and benevolent embodiment of compassion & peace that can be seen as a representation of the most sacred sounds in the Universe, including the sound of Om. Arcosanti, AZ
From a pastel workshop I attended today. Working with lights and darks on a dark paper was a new and exciting experience for me. With advice and encouragement from the tutor, I came away with a painting I am pleased with.
This is the statue on top of the Court House in Georgetown, Texas. I searched the Internet to find out more about her. Themis is untranslatable. A gift of the gods and a mark of civilized existence, sometimes it means right custom, proper procedure, social order, and sometimes merely the will of the gods. Interestingly, the blind fold and sword weren't added until around the 16th century. I couldn't find out what the blindfold represents. Here's some info from Wikipedia
Mythology[edit]
Greek deities
series
Titans
Olympians
Aquatic deities
Chthonic deities
Mycenaean deities
Personified concepts
Other deities
Titans
The Twelve Titans
Oceanus and Tethys,
Hyperion and Theia,
Coeus and Phoebe,
Cronus and Rhea,
Mnemosyne, Themis,
Crius, Iapetus
Children of Oceanus
Oceanids, Potamoi
Children of Hyperion
Helios, Selene, Eos
Children of Coeus
Lelantos, Leto, Asteria
Sons of Iapetus
Atlas, Prometheus,
Epimetheus, Menoetius
Sons of Crius
Astraeus, Pallas, Perses
v t e
Statue of Themis, Chuo University, Japan.
The personification of abstract concepts is characteristic of the greeks.|date=October 2015}} The ability of the goddess Themis to foresee the future enabled her to become one of the Oracles of Delphi, which in turn led to her establishment as the goddess of divine justice.
Some classical representations of Themis did not show her blindfolded, nor was she holding a sword. The sword is also believed to represent the ability Themis had from cutting fact from fiction; to her there was no middle ground. Themis built the Oracle at Delphi and was herself oracular. According to another legend, Themis received the Oracle at Delphi from Gaia and later gave it to Phoebe.[4]
When Themis is disregarded, Nemesis brings just and wrathful retribution; thus Themis shared the Nemesion temple at Rhamnous. Themis is not wrathful: she, "of the lovely cheeks", was the first to offer Hera a cup when she returned to Olympus distraught over threats from Zeus.[5]
Themis presided over the proper relation between man and woman, the basis of the rightly ordered family (the family was seen as the pillar of the deme), and judges were often referred to as "themistopóloi" (the servants of Themis). Such was also the basis for order upon Olympus. Even Hera addressed her as "Lady Themis." The name of Themis might be substituted for Adrasteia in telling of the birth of Zeus on Crete.
Themis was present at Delos to witness the birth of Apollo. According to Ovid, it was Themis rather than Zeus who told Deucalion to throw the bones of "his Mother" over his shoulder to create a new race of humankind after the deluge.
Hesiod's description and contrast to Dike[edit]
In Greek mythology, Hesiod mentions[6] Themis among the six sons and six daughters of Gaia and Uranus (Earth and Sky). Among these Titans of primordial myth, few were venerated at specific sanctuaries in classical times.
Themis occurred in Hesiod's Theogony as the first recorded appearance of Justice as a divine personage. Drawing not only on the socio-religious consciousness of his time but also on many of the earlier cult-religions, Hesiod described the forces of the universe as cosmic divinities. Hesiod portrayed temporal justice, Dike, as the daughter of Zeus and Themis.
Dike executed the law of judgments and sentencing and, together with her mother Themis, carried out the final decisions of Moirai. For Hesiod, Justice is at the center of religious and moral life, who, independently of Zeus, is the embodiment of divine will. This personification of Dike will stand in contrast to justice viewed as custom or law, and as retribution or sentence.[7]
🇫🇷 l ’intérieur de l’église est constitué d’une nef à vaisseau unique de trois travées, couverte d’une voûte en berceau à lunettes et comprend deux chapelles latérales en hémicycle en voûte
Les représentations présentes à l’intérieur de l’église sont de style baroque classique. Les peintures, trompe-l’œil, ont été réalisées par Nicolas Ivanoff entre 1928 et 1930. Ce dernier a ainsi réalisé la majeure partie de la décoration, ainsi que la voûte.En 1995, la décoration intérieure de l’église a été complétée par les artistes russes Anestesiya Sokolova et Valeri Tchernoritsky, à l’initiative de Monseigneur Florent Marchiano, curé des deux paroisses cargésiennes.
🇬🇧 The interior of the church consists of a single nave with three bays, covered by a barrel vault with lunettes, and includes two semicircular side chapels with vaulted ceilings.
The interior decorations are in the classical Baroque style. The trompe-l'oeil paintings were created by Nicolas Ivanoff between 1928 and 1930. He was responsible for most of the decoration, as well as the vault. In 1995, the interior decoration of the church was completed by Russian artists Anestesiya Sokolova and Valeri Tchernoritsky, on the initiative of Monsignor Florent Marchiano, parish priest of the two parishes in Cargès.
🇩🇪 Das Innere der Kirche besteht aus einem einschiffigen Langhaus mit drei Jochen, das von einem Tonnengewölbe mit Lünetten überspannt wird, und umfasst zwei halbkreisförmige Seitenkapellen mit Gewölben
Die Darstellungen im Inneren der Kirche sind im klassischen Barockstil gehalten. Die Trompe-l'œil-Malereien wurden zwischen 1928 und 1930 von Nicolas Ivanoff geschaffen. Dieser schuf den größten Teil der Dekoration sowie das Gewölbe. 1995 wurde die Innenausstattung der Kirche auf Initiative von Monsignore Florent Marchiano, Pfarrer der beiden Pfarreien von Cargés, von den russischen Künstlern Anestesiya Sokolova und Valeri Tchernoritsky vervollständigt.
🇮🇹 L'interno della chiesa è costituito da una navata unica a tre campate, coperta da una volta a botte con lunette e comprende due cappelle laterali semicircolari con volta a botte.
Le decorazioni all'interno della chiesa sono in stile barocco classico. I dipinti, trompe-l'œil, sono stati realizzati da Nicolas Ivanoff tra il 1928 e il 1930. Quest'ultimo ha realizzato la maggior parte delle decorazioni, compresa la volta. Nel 1995, la decorazione interna della chiesa è stata completata dagli artisti russi Anestesiya Sokolova e Valeri Tchernoritsky, su iniziativa di Monsignor Florent Marchiano, parroco delle due parrocchie di Caruges.
🇪🇸 El interior de la iglesia consta de una nave única de tres tramos, cubierta con una bóveda de cañón con lunetas, y comprende dos capillas laterales semicirculares con bóveda
Las representaciones presentes en el interior de la iglesia son de estilo barroco clásico. Las pinturas, en trampantojo, fueron realizadas por Nicolas Ivanoff entre 1928 y 1930. Este último realizó la mayor parte de la decoración, así como la bóveda. En 1995, la decoración interior de la iglesia fue completada por los artistas rusos Anestesiya Sokolova y Valeri Tchernoritsky, por iniciativa de Monseñor Florent Marchiano, párroco de las dos parroquias de Cargés.
The lotus (Sanskrit and Tibetan padma) is one of the Eight Auspicious Symbols and one of the most poignant representations of Buddhist teaching.
The roots of a lotus are in the mud, the stem grows up through the water, and the heavily scented flower lies pristinely above the water, basking in the sunlight. This pattern of growth signifies the progress of the soul from the primeval mud of materialism, through the waters of experience, and into the bright sunshine of enlightenment.
Though there are other water plants that bloom above the water, it is only the lotus which, owing to the strength of its stem, regularly rises eight to twelve inches above the surface.
According to the Lalitavistara, "the spirit of the best of men is spotless, like the lotus in the muddy water which does not adhere to it."
According to another scholar, "in esoteric Buddhism, the heart of the beings is like an unopened lotus: when the virtues of the Buddha develop therein, the lotus blossoms; that is why the Buddha sits on a lotus bloom."
The lotus is one of Buddhism's best recognized motifs and appears in all kinds of Buddhist art across all Buddhist cultures. Scrolling lotuses often embellish Buddhist textiles, ceramics and architecture.
Every important Buddhist deity is associated in some manner with the lotus, either being seated upon a lotus in full bloom or holding one in their hands. In some images of standing Buddhas, each foot rests on a separate lotus.
The lotus does not grow in Tibet and so Tibetan art has only stylized versions of it, yet it appears frequently with Tibetan deities and among the Eight Auspicious Symbols.
The color of the lotus has an important bearing on the symbology associated with it:
White Lotus (Skt. pundarika; Tib. pad ma dkar po): This represents the state of spiritual perfection and total mental purity (bodhi). It is associated with the White Tara and proclaims her perfect nature, a quality which is reinforced by the color of her body.
Pink Lotus (Skt. padma; Tib. pad ma dmar po): This the supreme lotus, generally reserved for the highest deity. Thus naturally it is associated with the Great Buddha himself.
Red Lotus (Skt. kamala; Tib: pad ma chu skyes): This signifies the original nature and purity of the heart (hrdya). It is the lotus of love, compassion, passion and all other qualities of the heart. It is the flower of Avalokiteshvara, the bodhisattva of compassion.
Blue Lotus (Skt. utpala; Tib. ut pa la): This is a symbol of the victory of the spirit over the senses, and signifies the wisdom of knowledge. Not surprisingly, it is the preferred flower of Manjushri, the bodhisattva of wisdom.
The Southern Cross is one of the most popular representations in the sky for observers in the southern hemisphere. Four stars give the constellation its characteristic configuration:
1. Acrux, at the foot of the cross, is the brightest of the four at magnitude 0.67 (and is the 13th brightest in the sky). Although a single star is visible in the image, Acrux is a sixfold system 321 light-years (average) from Earth.
2. Mimosa (below in the image), is second in order of brightness with a magnitude of 1.15. It is also known by the name of Becrux and is a spectroscopic binary system 278 light years from Earth.
3. Gacrux, the head of the cross, is third in order of brightness with a magnitude of 1.63. It is a red giant 88 light years from Earth.
4. Delta Crucis, also known as Imai, is the least bright of the quatern, with a magnitude of 2.70. Delta Crucis is in the process of evolving into a red giant.
An important group of star clusters enrich the view of this magnificent region of the sky, such as NGC 4755, known as The Jewel Box, under Mimosa. Caldwell 97 and Caldwell 100 can be seen above in the image on the Gacrux and Delta Crucis side. But surely what is most striking are the dark areas surrounding the foot of the cross. It is the most important of the dark nebulae in our sky, known as the "coal sack."
If you visit Argentina, don't miss the opportunity to go to a dark sky and look at the stars. After the astonishment, after feeling and assuming our enormous finiteness and contingency under that magnificent starry sky, look for the Southern Cross, the smallest, but the most notable of the 88 constellations in the sky. It is always visible, not hidden, and the sack of coal can be seen with the naked eye.
---------------------------------------------------------------------------------------
Details:
nova.astrometry.net/user_images/7940925#annotated
---------------------------------------------------------------------------------------
Nikon D5600.
Nikon 75-150 lens (in 100 mm).
23 minutes of integration.
Iso 1000.
f/3.5.
Processed with Siril and Gimp.
April 30, 2023 - 00:38 UT (average time).
Rural area, Concordia, Entre Ríos, Argentina.
Symbolic representations of what's being stripped away from me. The past six weeks has been a whirlwind of fighting, anger, disappointment, resentment and circular arguments, situations that go round and round...feelings of helplessness, hopelessness and failure...a stubborn inability to just let go because no matter what is going on, I can't escape the intense love for the other, even as dreams shatter and worlds crumble beneath my feet. Crying uncontrollably every chance I get to be by myself, wondering how we could fail so miserably and praying that this is all just a test and we'll come out stronger, closer and more in love...but today...today, I stopped praying, stopped wishing, stopped wanting, started accepting.
But you've seen me bare
You've seen me covered up
Maybe I'm not scared
Of what you're thinking of.
Allegorical representations of the Danube and Inn rivers as Greek gods, forming part of the Pallas Athene Fountain, outside das Parlament in Vienna, Austria,
Un ami ayant regretté 😃😃😃(que je cache des représentations de la vie de JC ), voici une autre fresque ,plus abimée que les précédentes, que j' ai contrastée légèrement dans sa partie basse).
On y constate qu'elle a subi ou bénéficié d'apports nouveaux au cours des siècles....en bas à droite on voit partiellement apparaitre la peinture précédente.
🇩🇪 Nachdem ein Freund bedauert hat (dass ich Darstellungen aus dem Leben Christi verberge 😔😉), hier ein weiteres Fresko ,das stärker beschädigt ist als die vorherigen, im unteren Teil leicht kontrastreich).
Man sieht, dass es im Laufe der Jahrhunderte neue Ergänzungen erfahren oder davon profitiert hat....unten rechts sieht man teilweise das vorherige Gemälde erscheinen.
:🇮🇹 Avendo un amico rimpianto (che nascondo le rappresentazioni della vita di JC 😔😉 ), ecco un altro affresco, più danneggiato dei precedenti, leggermente contrastato nella sua parte inferiore).
Si può notare che ha subito o beneficiato di nuove aggiunte nel corso dei secoli....in basso a destra, si può vedere parzialmente il dipinto precedente.
:🇬🇧 A friend having regretted (that I hide representations of JC's life 😔😉), here's another fresco ,more damaged than the previous ones, slightly contrasted in its lower part).
You can see that it has undergone or benefited from new additions over the centuries....at bottom right you can partially see the previous painting.
Habiéndose arrepentido un amigo (de que oculte representaciones de la vida de JC 😔😉), he aquí otro fresco, más deteriorado que los anteriores, ligeramente contrastado en su parte inferior).
Se ve que ha sufrido o se ha beneficiado de nuevos añadidos a lo largo de los siglos....en la parte inferior derecha, se ve parcialmente la pintura anterior.
A fachada plateresca da Universidade de Salamanca, datada do século XVI, destaca-se como um dos exemplares mais emblemáticos do estilo em Espanha. Edificada em pedra de Villamayor e dividida em três corpos ornamentados, a fachada exibe medalhões dos Reis Católicos, elementos heráldicos, incluindo o escudo de Carlos V, e representações mitológicas. A obra simboliza a ligação entre a universidade, fundada em 1218, e o poder régio da Coroa Hispânica. Um dos elementos mais procurados pelos visitantes é a pequena rã esculpida sobre uma caveira, cuja descoberta, segundo a tradição, traz boa sorte nos exames. A profusão de detalhes e simbolismos, característicos do plateresco, transformam a fachada num autêntico retábulo pétreo, narrando a história e a relevância da Universidade de Salamanca, classificada como Património Mundial da UNESCO, enquanto centro de educação e cultura europeia.
The Plateresque façade of the University of Salamanca, dating from the 16th century, stands out as one of the most emblematic examples of the style in Spain. Built in Villamayor stone and divided into three ornate bodies, the façade displays medallions of the Catholic Monarchs, heraldic elements, including the coat of arms of Charles V, and mythological representations. The work symbolizes the connection between the university, founded in 1218, and the royal power of the Hispanic Crown. One of the most sought-after elements by visitors is the small frog carved on a skull, whose discovery, according to tradition, brings good luck in exams. The profusion of details and symbolism, characteristic of the Plateresque style, transform the façade into an authentic stone altarpiece, narrating the history and relevance of the University of Salamanca, classified as a UNESCO World Heritage Site, as a center of European education and culture.
Representations that fall into the Uncanny Valley would not necessarily have to be mechanoid - or at least that is what I would imagine. Something which is humanoid yet clearly non-human, should also qualify. It would however have to have negative subconscious associations, such as a succubus surely must have. I am reading up on my Freud to see if I can find any substantiation for this claim in what he has to say upon the subject of the Uncanny.
So meanwhile, Flea Bussy's Smoke avatar comes with an entirely different shape and skin as well as hair. I kept the bald look and adjusted all the prims to Alpha's shape and size. And also made them semi transparent. The skin is Vry Offcourse's "Frail" skin.
This one is actually called the "Smoke Incubus" at Grendel's Children. However, since Alpha is female she cannot be an Incubus, only a Succubus.
.
*
Wikipedia
*
Photo : La Nativité vue par un artiste local et exposée en continu à côté de l’église de Bagnasco, petit village du Piedmont italien. Il s’agit d’une sculpture d’environ 5 m de long et 1 m de haut dans un magnifique tronc d’arbre, taillée sommairement et représentant à la fois la crèche et un berger censé représenter la scène biblique appelée l’Adoration des bergers.
Foto: La Natividad según un artista local expuesta en continuo al lado de la iglesia parroquial de Bagnasco, una aldea de Piedemonte italiano. Se trata de una talla tosca de unos 5 m de largo por 1 m de alto (tal vez 1,20 m) en un tronco monumental. Esta escultura representa a la vez la escena del Nacimiento y la de la Adoración de los pastores.
Citrus medica var. sarcodactylis, or the fingered citron, is a citron variety whose fruit is segmented into finger-like sections, resembling those seen on representations of the Buddha. It is called Buddha's hand in many languages including English, Chinese, Japanese, Korean, Vietnamese, and French.
The different cultivars and variations of this citron variety form a gradient from "open-hand" types with outward-splayed segments to "closed-hand" types, in which the fingers are kept together. There are also half-fingered fruits, in which the basal side is united and the apical side fingered. The origin of this kind of citron is commonly traced back to South or East Asia, probably northeastern India or China, where most domesticated citrus fruits originate.[1]
Description
Citrus medica var. sarcodactylis[2] is, like any other citron variety, a shrub or small tree with long, irregular branches covered in thorns. Its large, oblong leaves are pale green and grow about four to six inches. Its white flowers are tinted purplish from the outside and grow in fragrant clusters. The fruit's fingers contain only the white part of the fruit and sometimes a small amount of acidic pulp, but many of them are completely juiceless and some are seedless.[3]
The plant is sensitive to frost, as well as intense heat and drought. It grows best in a temperate climate. Trees can be grown from cuttings taken from branches two to four years old. It is very commonly grafted onto sufficient rootstock.
Restoration House in Rochester, Kent in England, is a fine example of an Elizabethan mansion. It is so named after the visit of King Charles II on the eve of his restoration.
Charles had landed in Dover on 25 May 1660 and by the evening of the 28th arrived in Rochester. He was received by the Mayor and eventually retired for the night to the home of Colonel Gibbon. The following day Charles continued to London and was proclaimed King on 29 May, his 30th birthday. Although the home of Colonel Gibbon, the property was actually owned by Sir Francis Clerke (he was knighted during the visit), a fact which has led to confusion in the past.[1]
Although it is a private home, the house and garden are open to the public during the summer.[2] The house is protected as a Grade I listed building.[3]
History
Restoration House was originally two medieval buildings (1454 and 1502–22) with a space between.[1] They were joined in 1640–1660 (tree ring data from roof) by inserting a third building between the two, to create a larger house.[1][4] The first owner of the completed house was Henry Clerke, a lawyer and Rochester MP.[1] Clerke caused further works in 1670, the refacing of the entrance facade, the Great Staircase and other internal works.[1] The house was then bought by William Bockenham.[5] It was owned by Stephen T. Aveling in the late 19th century,[6] and he wrote a history of the house which was published in Vol. 15 of "Archaeologia Cantiana".[7]
The house was purchased for £270,000[8] by the English entertainer Rod Hull, in 1986, to save it from being turned into a car park;[9] and he then spent another £500,000 restoring it.[10] It was taken by the Receiver in 1994 to cover an unpaid tax bill.[9]
The current owners over the past decade have uncovered decoration schemes from the mid 17th century, which reveal the fashionable taste of the period, much influenced by the fashions on the continent.[4]
Charles Dickens
According to the biographer John Forster, the novelist Charles Dickens, who lived nearby, used Restoration House as a model for Miss Havisham's Satis House in Great Expectations.[11] The name "Satis House" belongs to the house where Rochester MP, Sir Richard Watts, entertained Queen Elizabeth I; it is now the administrative office of King's School, Rochester. Wikipedia
At Epiphany all water becomes holy, even the water in falling rain or the water in frozen form (as in snow). Snow surrounds the bas-relief of St. Michael the Archangel slaying Satan (aka Lucifer) and lower demons (or fallen angels) with his sword. The bas-relief is just beneath the South choir’s dome of The Exaltation of the Holy Cross church.
The archangel is represented as anthropomorphic, flying with wings and a halo around his head. This old bas-relief is very rare, since in Greek Orthodox churches Angels’ and Saints’ representations are almost always painted (as either icons or wall-paintings, aka frescoes), instead of being carved.
The church was once the katholikon (main church) of an Abbey (aka “Monastery”). It is a vaulted three-aisled basilica of a singular architectural style all of its own, measuring 72.8 × 43.3 ft (22.2 × 13.2 m without apses and choirs). The church is defined by its thirteen domes and still stands within a picturesque fir-trees’ forest at an altitude (elevation) of 3,609 ft (1,100 m). It was built in c.1770 or 1792. Severe damages were caused by the Nazi Germans during the occupation in WWII. The Exaltation of the Holy Cross is dependent on St. Stephen’s monastery (Meteora).
The church is located between two villages—Dholianá and Kraniá. Both villages are in the greater area of Aspropótamos (Greek for “White River,” toponym of river Acheloos) in Trikala county, Greece.
13603 Broken slab, probably from a sarcophagus with relief representations in two recessed rectangular panels: left, a female figure on a couch; right, within a pedimented frame, a male and female figure en face. Early Imperial period, 1st-2nd century AD.
The Archaeological Museum of Rhodes (Greek: Αρχαιολογικό Μουσείο Ρόδου) is located in the Medieval City of Rhodes. The museum is housed in the monumental edifice that was the hospital of the Knights of Saint John. Construction was begun in 1440 and brought to completion in the time of the Grand Master d'Aubusson (1476-1503). The Museum contains various collections of archaeological artifacts from various parts of Rhodes and the neighbouring islands, including the Statue of the Crouching Aphrodite (1st century BC), which was inspired by a famous prototype work created by the sculptor Doidalsas in the 3rd century BC, and the Pyxis of the Fikellura type (mid-6th century BC).
The museum also holds the Head of Helios, which was featured in 2011 on the album cover of Floral Shoppe by Macintosh Plus, and subsequently became famous for its association with the Vaporwave movement....Wikipedia
Under the guise of environmentalism and conservation the powers that be want to tokenize everything, including nature. They want to “monitor, preserve, and enhance the natural world.” Just like they plan to enhance (control) humans through transhumanism, they plan to enhance (control) nature. They want to enslave both man and nature.
These elitists want to integrate blockchain technology into nature and market it as biodiversity conservation. They not only want to build the Internet of Bodies (people), but also the Internet of Forests (nature). They want everything to become part of the Internet of Things. They want to connect every living thing to artificial intelligence. This trans-human-ism and trans-nature-ism would commoditize every living thing. It would be the merging of man and machine; it would be the merging of nature and machine. It would be “a world where virtually everyone and everything is intelligently connected.” Dystopia anyone?
They are marketing this tokenization of nature as “an effort to minimize negative impacts on ecosystems and species.” Snake oil anyone? If they tokenize nature, they can use nature as a financial instrument. They can then sell green bonds and derivatives based on biodiversity data. This data would be gathered via sensors, drone fleets (“swarm intelligence drones”), and satellites. Thus all the species of the forest would be monitored and data mined. They want to build an “AI-driven neural network for our planet.” They want a global AI network that monitors everyone and everything in real-time.
This system will require datafication of biodiversity. This means that they will need to create digital representations of all species and all ecosystems on earth. They want to commoditize everything. “Almost every core function in financial services will be transformed.” It’s good for the planet and good for business…buhahaha!
The scam: Carbon Markets! “Carbon markets are critical in helping the world attain net-zero greenhouse-gas emissions.” Carbon markets revolve around the buying and selling of carbon credits. These credits allow the buyer to emit a certain amount of pollution. “Carbon justice for all!”
“Carbon markets can be a powerful tool to help advance carbon justice.” – United Nations
Carbon trading was first introduced as part of the 1997 Kyoto Protocol. The Kyoto Protocol’s carbon trading system was a major step towards establishing a global market for carbon emissions. The Kyoto Protocol was adopted as the first addition to the United Nations Framework Convention on Climate Change. The Kyoto Protocol has since been replaced by the Paris Agreement.
The globalists have also been talking about “carbon emissions trading schemes under which emissions credits would be allocated to adult individuals.” To bring about a personal carbon market scheme, they must introduce digital IDs and central bank digital currencies. Then they can introduce a Chinese-style social credit score system. They will tie your “carbon footprint” to your social credit score. Therefore, you’ll own nothing, and you’ll happily eat your bugs. You won’t have enough money to buy a carbon credit to leave your 15-minute city neighbourhood prison. But then again, climate lockdowns! By the way: you may want to breathe less, because they will carbon tax your every breath.
The carbon market is being introduced through public-private partnerships, which adhere to the Sustainable Development Goals of the United Nations. A low-carbon economy: degrowth. Degrowth is synonymous with poverty and depopulation.
Eventually, they will install a world leader over their new world order. Each individual will have to take this leader’s Mark (blockchain technology) in order to participate in his new world economic order. No one will be able to buy or sell unless they take his transhuman technology—the merging of man and Beast. If they receive his Mark, they will become one with the Beast’s AI-driven neural network. The public persona of this Skynet system will be the Image of the Beast. Those who refuse to take the Mark of the Beast and worship his Image will be enemies of the new world state. All such people will be hunted down and terminated—hasta la vista, baby. The new world surveillance state: you can run, but you can’t hide!
2 Timothy 3:1 “This know also, that in the last days perilous times will come.”
Now, for one of my favourite verses:
Psalm 42:1 “As the deer pants for streams of water, so my soul longs after You, O God.”
[...] "Information stellt zwar immer Verbindungen her, doch einige Arten von Information – von wissenschaftlichen Veröffentlichungen bis zu politischen Reden – können versuchen, diese Verbindung durch eine korrekte Darstellung von bestimmten Aspekten der Wirklichkeit zu knüpfen. Das verlangt allerdings einen besonderen Einsatz, den Information selbst nicht leistet. Deshalb irrt das naive Informationsverständnis, wenn es annimmt, dass leistungsfähigere Informationstechnologie automatisch zu einem wahrhaftigeren Verständnis der Welt führt. Wenn keine weiteren Maßnahmen ergriffen werden, um das Gleichgewicht zugunsten der Wahrheit zu verschieben, dann sorgt eine Zunahme und Beschleunigung der Information nur dafür, dass die relativ seltenen und kostspieligen wahrhaftigen Darstellungen unter der anschwellenden Flut minderwertiger Information verschwinden." [...]
***
[...] "While information always creates connections, some types of information—from scientific publications to political speeches—can attempt to establish this connection through an accurate representation of certain aspects of reality. However, this requires a special effort that information itself does not make. Therefore, the naive understanding of information is mistaken when it assumes that more powerful information technology automatically leads to a more truthful understanding of the world. If no additional measures are taken to shift the balance in favor of truth, an increase and acceleration of information will only ensure that the relatively rare and costly truthful representations disappear under the swelling flood of inferior information." [...]
###
(Harari, "Nexus")
Dune Varela
« Always the sun »
The exhibition shows a collection of representations of sacred places, such as temples, which have become “vestiges, backdrops, tourist sites, spaces of representation and learning.” Varela’s presentation of these places, however, challenges their use. The image of a temple is more meaningful than the temple itself.
The viewers have before their eyes the photograph of a statue splattered with paint; next come fragments, scraps of pictures cut abruptly and photoshopped onto the pottery. The image of a colonnaded wall comes to a halt at a smashed stone. The form prevails, tells us Dune Varela. But this form is manipulated. The image has taken a blow. “I wanted to destroy, to deconstruct. Fixing is inherent in the photograph: it captures. I wanted to produce something more raw, take a leap into the unknown with the material by accepting its accidents, even provoke them.” (Toujours le soleil, interview with Manon Lutanie, Éditions Trocadero.)
It is precisely this system of representation that the photographer explores and plays with. A temple is being manipulated, photographed, rephotographed, captured from a screen display. The image multiplies, transforms. First carved in stone, the image of a temple is shattered. Antiquity withdraws into the distance. The myth is far away. There remains a correspondence between these ruins visited as a proof of the past, and the finite character of photography.
Dune Varela, winner of the BMW Residency at the Musée Nicéphore Niépce, works on landscapes and their representation. Spanning various timeframes, she ponders the fragility of the photographic support with pictures culled from museum collections and the Internet or her own photographs. Printed on plaster, glass or ceramic, her images beckon us to places steeped in mythological or mystical meanings that have become part of our collective consciousness. Traces of time and history at these endlessly photographed tourist sites are eroded until the artist’s interventions finally finish them off. Photography, which fulfills the need to remember but is also a metaphor for that which is no longer there, invents new temples as vulnerable as she is.
The Wiślicka Plate or the Plate of Orans /floor size 4.1 × 2.5 meters/ from around 1175-1177 with engraved figural representations, discovered in 1959 in the crypt of the demolished church from the 12th century, whose place is now a Gothic Collegiate Church in Wiślica.
A unique monument of Romanesque art in the world.
The floor is made of screed (gypsum mass, hardening after pouring). Carvings were made on it, then filled with gypsum mass, tinted black with tar or charcoal. As a result, a black drawing was obtained on a light background, reminiscent of the effect Niello.
this image doesnt do justice the night I had. my good friend Jeroen and I went to see Clash of the Titans and Alice in Wonderland in the cinema tonight. both movies where as expected awesome!! loved them both for various reasons. Clash mostly for übercutie Sam Worthington, and I had to hear Liam Neeson say "Release the Kraken!"
Taken in the parking lot because I totally forgot to do a picture today and only had 20 minutes to shoot one. Tomorrow I'll do my Mad Hatter impression!
I didn't change my shape at all. I was always annoyed that live-action screen representations of Wonder Woman always ignore that as an ultra-fit Amazon, Wonder Woman should be muscular. In the comics and the Lynda Carter version, she's always depicted as tall as well.
Because of her height and skeletal proportions, even without a hyper-developed musculature, Lynda Carter's Wonder Woman is the best live-action visual-representation of Diana Prince.
Only the other Amazons in all the other live-action versions of the mythology actually look physically kick-ass. Hahaha... The producers/directors bend the Wonder Woman mythology to the will of men's perceptions of female-beauty. I guess "magically created" strength is the excuse. Oh well...
I had a hunch, this skin may work on my GenX body shape, as is. I didn't adjust my shape at all.
I tried it on my Lara Wonder Woman and it didn't look bad, but I had to thicken my over-all body, and slim my legs slightly. It still didn't look "quite right" with my Lara.
I had to yellow-tint this skin a little bit to attempt matching my regular skin and face. The creator of this skin doesn't give demos or a wide range of tones, so I took a chance with it.
I also took a chance that someone out there may have a Wonder Woman outfit for GenX and I got incredibly lucky.
I was willing to attempt wearing one of the versions of the costume, that I've previously used on my Lara body. Sometimes you get lucky in sizing and/or alpha-cut trickery.
Ceiling with representations of St. Peter Martyr - Church Sant'anastasia - Verona
La chiesa di Sant’Anastasia è uno splendido esempio di gotico italiano. Fu eretta a partire dal 1290 con il contributo della famiglia che governava la città, gli Scaligeri, e di altre famiglie veronesi. Prima dell’attuale edificio qui esistevano due chiese dedicate, una a Sant'Anastasia e l’altra a San Remigio.
Nel 1290 i domenicani chiamati a custodirle, decisero di costruire al loro posto un’unica chiesa dedicata a San Pietro da Verona detto anche San Pietro Martire, ma il popolo continuò a chiamarla Sant'Anastasia. Accanto alla chiesa i monaci domenicani avevano un grande convento.
L’opera di costruzione del sacro edificio continuò per tutto il 1300 e il 1400 e finalmente nel 1500 si ebbe l’ultima fase dei lavori per il suo completamento. La facciata è l'unico elemento mai portato a termine.
Sant’Anastasia è la chiesa più grande di Verona. La basilica si sviluppa in tre grandi navate sorrette da 12 imponenti colonne di marmo rosso di Verona. Sul transetto si aprono 5 cappelle. Sul lato sinistro si apre l’antico oratorio del convento, Cappella Giusti.
La chiesa, ricchissima di opere d’arte, custodisce anche il celebre affresco del Pisanello San Giorgio e la Principessa, tornato nella sua collocazione originaria sopra la Cappella Pellegrini.
All’esterno la facciata incompiuta con lo splendido portale gotico e la zona absidale, posta sulla riva del fiume Adige. All’interno: gli altari con le cappelle con opere di Pietro da Porlezza, Cattaneo, Michele da Firenze, Liberale da Verona, Girolamo Dai Libri, Giolfino, Brusasorzi, Altichiero, e Pisanello. All’ingresso i singolari gobbi che reggono l'acquasantiera.
The church of St. Anastasia is a fine example of Italian Gothic architecture. It was designed by two Dominican friars and work began on it as from 1290 AD. Work lasted throughout the 14th and 15th centuries and by the early years of the 16th century the final stages of building showed that the end was in sight. The only thing never to be completed was the façade. St. Anastasia is the largest church in Verona.
The Basilica extends over three large aisles supported by twelve impressive pillars in red Veronese marble. To the left of the transept a splendid marble entrance opens onto the Giusti chapel which was at one time the oratory of the Dominican monastery.
The church soars to a great height and the interior is impressive; it is virtually an art gallery which contains many of the works of art Masters often mentioned in art history books. The most important is Pisanello’s well known fresco (St. George and the Princess) above Pellegrini Chapel. Note outside he unfinished façade with the splendid Gothic portal. Inside, you can see altars and chapels with works by Pietro da Porlezza, Cattaneo, Michele da Firenze, LiIberale da Verona, Girolamo dai Libri, Giolfino, Brusasorzi, Altichiero and Pisanello; at the entrance the singular hunchbacks of the holy water stoup.
I've always loved visual representations of things. When we say words like "forever" and "infinity"… how can we visually represent something like that? It's challenging. When I say I write a lot, I wanted to be able to visually capture that.
I have the pages of my journal yes to represent my writing, but there's much more writing I do than just in my journal. I wanted to collect the pens that I used for all of my writing and be able to showcase them. This trio of display boxes allows me to display what I have written, while giving room for the future.
Theme: Re-Creation
Year Thirteen Of My 365 Project
Antinoüs, Emperor Hadrian's lover. Artistic representations of Antinous have multiplied after his mysterious death by drowning in the Nile, 130. Most statues are identifiable by the specific features of the boy and his attitude : his head turned and bent, his eyes looking down.
I first heard of him when I read the "Mémoires d'Hadrien" by French Author Marguerite Yourcenar. Antinous also inspired various writings, poems and songs including the beautiful, melancholic song by HF Thiefaine : "Automne à Tanger (Antinous Nostalgia)"
.
.
.
Decaris was preparing large plates, mostly for his own pleasure, on a wide variety of subjects: careful (almost technical) representations of monuments and places of interest, scenes of history, real life or imaginary; scenes of mythology or imagination, verging on surrealism; mere caricatures, with a sense of humor. Some are collected in albums, such as The Apocalypse or The Zodiac.
Three representations of street art (big fan) found on the streets of Kensington Market in Toronto, Canada. The thought of combining them into a single image with a matching psychedelic look stemmed from my inability to consider posting snap shots.
Excerpt from nbto.com:
In a direct reference to historical representations of Mary cradling the body of Christ, an initial aversion to the plight of the sufferer, (Pietà) is a series of larger than life-sized portraits which challenge dominant representations of Black and Brown male bodies by exploring alternative ideas of tenderness and vulnerability.
Pietà is an ongoing meditation on masculinity, race and humanity. The compositions juxtapose living flesh against a human skeleton, which is approximately the same age as the men who carry it, creating a work of tension and pathos. In this reconfiguration of a universally known icon, aspects of the spiritual are mixed with the macabre, and a quiet reverence meets a hint of danger. By holding the anonymous skeleton, the group powerfully presents images of what it means to care. The portraits subtly evoke a sense of the rituals associated with loss, recovery and recollection. feldman-kiss’ work examines not only recent issues of Black male genocide, global terrorism and Black Lives Matter, but also prompts the viewer to embark on journeys of recognition and association which transcend both time and context.
Pietà is purposefully exhibited in a semi-enclosed rooftop zone to invite a momentary pause for personal meditation and public reflection.
During my last day of shooting in Le Puy-en-Velay (March 9, 2023), I managed to complete all the subjects that required additional photography, and to extensively shoot the last item on my bucket list, i.e., the spectacular Saint-Michel d’Aiguilhe chapel which I will show in a few days.
My first goal was to photograph the “inner” statuary in the canons’ cloister, i.e. the items that are only visible from the central space (préau in French), as opposed to the galleries. In monasteries, that space was often used as an herb garden, particularly when safe space was at a premium elsewhere. However, in the case of Le Puy and its secular canons, very often the offspring from the wealthiest families, there were other sources of supply, should herbs be needed, and aside from framing the central well, the purpose assigned to that space was most probably very similar to what it is now: a pleasure garden.
Bearing that in mind (and, no doubt, the designers of the cloister did), it is not surprising that we should find, on this inner side, one of the wildest collections of monsters, devils and sinners ever devised by the fertile imagination of Mediæval sculptors: while meditation in the galleries took place among virtuous and God-pleasing representations, the canons (or those who cared, at least) were reminded by that gallery of monsters and vices that basking leisurely in the sun in the garden wasn’t too good for their karma, if I dare say.
As I mentioned before, some of the keystones are decorated; maybe all of them were in the 1100s when the cloister was built. Here there is a unusual representation of a dead man having his soul sucked by a dæmon because he has sinned and not properly repented.
D'autres représentations auront lieu, dont une le 30 avril à Paris 1900. Ne les ratez pas.
Pour plus d'information Merci de contacter Ciske Auster (ciskederat.auster) inworld.
This April 2 took place in Magdeburg a performance of the Moonshine Dancers ballet "The Magic World of Dreams".
A dreamlike and enchanting spectacle which draws in part its inspiration from Celtic legends.
The Magic World of Dreams takes the audience into a variety of dreamlike landscapes, a whirlwind of imaginative movements and magical costumes. Celtic-inspired music, from Brittany, Scotland, Ireland ... brings the magic of this atmosphere to life.
Moonshine Dancers are a group of dancers who work together to present dance performances in Second Life. The company is led by Ciske Auster and the group currently consists of Aurora, Bea, Bevy, Bubu, Cassy, Ciske, Cricri, James, Melissandre and René.
Other performances will take place, including one on April 30 in Paris 1900. Don't miss them.
For more information Please contact Ciske Auster (ciskederat.auster) inworld.
Juggler.
Représentations formelles histoire religieuse antiques peintures sublimes éléments en saillie gravitation symbolique styles épiques traditionnels valeurs brillantes jetées,
ποιητής φιλόσοφος καθαρά χρώματα σκηνοθεσία όνειρα διαμόρφωση γραμμών οικοδόμηση έμμεσης μουσικής αυτονομία τεχνικές ρυθμίσεις υψηλές,
романтические перерывы, отражающие серьезные протесты символические формы литературные приемы агрессивные искусства бесспорные звуки,
mbriathra cosúla bunphrionsabail bunphrionsabail anagramsanna gníomhartha suntasacha bhfolach breathnuithe modhanna dinimiciúil chumadh,
قدرتی جذبات چمکدار نعمتوں کی تعریف کی تعریفیں حیران کن سوالات مخمل کتابوں کی معدنی ہدایتوں کے مطابق معتبر کام تال شعور حدود کو تبدیل کرتی ہیں.,
抽象的要素まれな形安定化シンボル修辞的意味コンパイル手段自発的注意散漫させる興奮興味をそそる楽しい幻想動的.
Steve.D.Hammond.
La cheminée de la salle dessinée par Philibert Delorme repose sur deux atlantes en bronze moulé représentant des satyres, moulages d'antiques conservés au musée du Capitole, peints et dorés en 1556 par Guillaume Rondel. Fondus à la Révolution, ils ont été refaits à Rome en 1966. Durant ce temps, ils furent remplacés en 1805 par des colonnes en plâtre de Percier et Fontaine. La cheminée est également décorée du chiffre « H » de Henri II mêlé aux deux « C » entrecroisés de Catherine de Médicis, ainsi que des représentations d'arcs, de flèches, de carquois, de fleurs de lys et des emblèmes de l'ordre de Saint-Michel. Les lustres néo-renaissance sont l'œuvre de Soyer et Ingé, en 1837.
The mantelpiece of the room designed by Philibert Delorme rests on two cast bronze atlantes representing satyrs, casts of antiques kept in the Musée du Capitole, painted and gilded in 1556 by Guillaume Rondel. Melted down during the Revolution, they were remade in Rome in 1966. During this time, they were replaced in 1805 by plaster columns by Percier and Fontaine. The mantelpiece is also decorated with the figure "H" of Henri II mixed with the two intersecting "C "s of Catherine de Medici, as well as representations of bows, arrows, quivers, fleurs de lys and the emblems of the Order of Saint Michael. The neo-renaissance chandeliers were designed by Soyer and Ingé in 1837.
Ardhanarîshvara est une des représentations du dieu Shiva, sous la forme d'un androgyne, moitié homme et moitié femme. La partie droite correspond à Shiva, et la partie gauche à son épouse Parvati.
__________________________________
Mahabalipuram - hermaphrodite Shiva
Ardhanarishvara is one of the representations of the god Shiva in the form of an androgynous, half man and half woman. The right side corresponds to Shiva, and left to his wife Parvati.
___________________________
Mahabalipuram - Pancha Rathas - Tamil Nadu