View allAll Photos Tagged SPIRITUALITY
The most beautiful thing we can experience is the mysterious. It is the source of all true art and all science. He to whom this emotion is a stranger, who can no longer pause to wonder and stand rapt in awe, is as good as dead: his eyes are closed.
---Einstein
" One of the most beautiful and strong symbol of spirituality, the lotus flower represents the possibility for every human being to reach the state of Buddha regardless of living conditions, growing in a muddy pond, it remains intact in the face of the impurity, So the lotus symbolizes the purity of the heart and spirit."
About: Shot for my commercial final..well one of them. Location is Sacred Heart church in Downtown Tampa. There was a wedding going on inside so unfortunately I couldn't shoot the organ..once again..disappointing.
9 Exposures:
ISO 100
1.0 E.V.
f/11.0
50mm
Gear:
Nikon D300
MB-D10
AF-S 50mm Nikkor f/1.4G IF-ED
MC-36 Intervalometer
Manfrotto Pro190xb Tripod
Processing:
-HDRI generated & tonemapped in Photomatix Pro 3.1.3
Photoshop CS3:
-Blended HDRI with 0 E.V. exposure
-Selective symmetry flip
-Curves, Levels, Hue/Sat. adjustments
-Unsharp Mask
Lightroom 2:
-Global & local color & contrast adjustments
Vishwa Shanti Yoga School ( Shobahana Yog Sadan) offers one and two weeks Yoga Retreats. The course includes Asanas, Pranayama Meditation Practice, Wellness – Nutritive and Preventive Health Care Classes, Ayurveda Massages, Naturopathy, Detoxification and Spirituality. Practitioners also have chances to experience the Himalayan trek and river rafting (as per the availability). Natural vegetarian food and comfortable accommodation are added benefit to practice Yoga in full sense.
Yoga Teacher Training in India
Shobhana Yog Sadan || Yoga Teacher Training in India || Yoga Teacher Training in Rishikesh || 100 Hour Yoga Teacher Training in India || 200 Hour Yoga Teacher Training in India || 300 Hour Yoga Teacher Training in India || 500 Hour Yoga Teacher Training in India || Yoga Retreats in India || Yoga Courses for Beginners in India || Ayrveda Retreats in India
Yoga Teacher Training in India || 200 Hour Yoga Teacher Training in India || 300 Hour Yoga Teacher Training in India || 500 Hour Yoga Teacher Training in India || Yoga Retreats in India || Yoga Courses for Beginners in India || Yoga Teacher Training in Rishikesh || 200 Hour Yoga Teacher Training in Rishikesh || 300 Hour Yoga Teacher Training in Rishikesh || 500 Hour Yoga Teacher Training in Rishikesh
Ss often in Japan, the contrast within a place can be really unsettling and you might find yourself wondering if you came to the right place when you see the hordes of chocolate-tanned surfers accompanied by their bleached haired girlfriends. Enoshima (江ノ島) is in fact one of the closest beaches to Tokyo and it becomes a very popular destination between the beginning of July and the end of August for all the surfers-alike, even though there is not much surfing to actually be done there.
You are nevertheless in the right place so keep walking a bit further from the beach, towards the center of the island. The street leading to the shrine is very lively and it is bordered by numerous souvenirs shops, traditional restaurants and ryokan (Japanese traditional inns) and in itself; wandering through its many shops can be worth of a few good minutes of your time.
-- depicted from Guide of Enoshima
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Thanks for taking time to visit my new personal site here:
“A Story Teller" by Cheryl Chan Photography
Updated Blog:
"The Past and Future of Mistress Lane"
Tokyo in Spring 2015 : 春に東京での旅 Tokyo in Spring 2015
Check out more Hong Kong Streets & Candid shots here:
Taking the Streets in Hong Kong
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Orazio Lomi Gentileschi (1563-1639)
The Penitent Mary Magdalene, around 1622/28
Fully possessed of her physical beauty, the repentant sinner lies on the ground in her lonely cave, her look turned heavenwards towards the light. Her simple attire shows her repudiation of earthly vanity, while the skull and opened book indicate her inner conversion and devotion to spirituality.
Büßende Maria Magdalena, um 1622/28
Im Vollbesitz ihrer körperlichen Schönheit liegt die reuige Sünderin auf dem Boden ihrer einsamen Höhle, den Blick himmelwärts dem Lichte zugewandt. Ihr schlichtes Gewand zeigt Abkehr von irdischer Eitelkeit, Totenkopf und aufgeschlagenes Buch weisen auf innere Umkehr und Hinwendung zu Geistigem.
Caravaggio and the Caravaggisti
Gallery V
The KHM houses one of the most important collections of paintings by Caravaggio and his followers outside Italy. After training in Milan, Michelangelo Merisi da Caravaggio (1571-1610) moved to Rome in 1592, where he soon found favour with important patrons and connoisseurs. His first public commission, the decoration of the Contarelli Chapel in the church of S. Luigio dei Francesi (1599), caused a sensation and turned him into one of the most famous painters in Rome.
Caravaggio's dramatic use of light and dark, and his revolutionary pictorial solutions were quickly copied by other artists who modified and disseminated them throughout parts of Italy and Europe. The colleciton in Vienna comprises works by the Italian painters Manfredi and Gentileschi as well as by the Frenchmen Bigot, Régnier, Vouet and Valentin, and the Dutch artists Terbrugghen, Honthorst, Baburen and Stomer.
Typical for the work of Caravaggio's followers is the use of dramatic spotlights that pick out selected objects from the sourrounding darkness, a preference for half-figure compositions where the protagonists are placed close to the picture plane and thus the spectator, and a lack of idealization in the rendering of the figures; they, their robes and other objects in the painting are clearly subject to the ravages of time and frequently also to the tug of gravity.
Caravaggio und der internationale Caravaggismus
Saal V
Das KHM verfügt über eine der bedeutendsten Sammlung caravaggesker Malerei außerhalb Italiens.
Michelangelo Merisi da Caravaggio (1571-1610) kam nach einer kurzen Ausbildung in Mailand 1592 nach Rom und wurde bald von einflussreichen Mäzenen unterstützt. Mit seinem ersten öffentlichen Auftrag, der Ausstattung der Contarelli-Kapelle in der Kirche S. Luigio die Francesi (1599), zog er große Aufmerksamkeit auf sich und wurde zu einem der gefragtesten Maler der Stadt.
Caravaggios eigentümliche Helldunkel-Malerei und seine revolutionären Bildlösungen wurden von zahlreichen anderen Künstlern rasch aufgegriffen, vielfach variiert und fanden in verschiedenen Teilen Italiens und Europas Verbreitung. In der Wiener Sammlung vertreten sind neben den Italienern Manfredi und Gentileschi die Franzosen Bigot, Régnier, Vouet und Valentin, sowie die Niederländer Terbrugghen, Honthorst, Baburen und Stomer.
Zu den charakteristischen Merkmalen des Caravaggismus zählen eine schlaglichtartige Beleuchtung der Bildgegenstände, die bewirkt, dass sich die beleuchteten Seiten scharf abzeichnen, während die Schattenpartien im Dunkel versinken; eine Präferenz für das Halbfigurenformat, das die Personen nah an den Betrachter heranrückt, sowie ein kaum idealisiertes Bildpersonal, das - ebenso wie die dargestellten Kleider und Gegenstände - dem Zahl der Zeit und gelegentlich auch dem Zerren und Ziehen der Schwerkraft ausgesetzt ist.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
2009-2019: Sabine Haag as general director
2019– : Eike Schmidt (art historian, designated)
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
Part 2 of 3 : Basins, hygiene and spirituality
These architectural basins are certainly some of the most intriguing elements to this sprawling and fascinating prehistoric megasite. A fifth architectural example is visible below - a steep basin in the form of a lozenge.
Whilst history marks with invention, it can also move forward by assimilation and appropriation. Some small areas of these sculpted monoliths, for example sides to the large flat basin lower left, may show the marks of metal tools. For the most part, the metallic signature lines of history have either eroded away or were never present. These formations have not been dated. There are two fine dolmens at either side of the same vista and argumentation needs to see if any of the many basins on this site are contemporary to the late neolithic and how their function might be measured. At least one of the adjacent dolmens has smaller basins carved into its table and onto the side of a support.
I have split my analysis over more than one picture. This is the second part. The first part is attached to the photo below and covers issues of food production, 'alters' for sacrifice and rites and hygiene.
The spectrum for human ‘washing and hygiene’ style is wide. If we look at 'history', today, there are some people who shower twice a day. Contrast this with the French King Louis XIV who had just two baths in his whole life. These examples have been tweaked first by advertising and secondly by a fad from civilization, and whilst there will have been differences between clans in prehistory, hygiene will have kept within more reasonable boundaries than these examples. Cuts and wounds would be cleaned, hair brushed with combs (see below), teased with prongs, or cut with flint or copper. Mud will have been washed away from precious hand-made items and off legs, hands and faces.... Wanderers and hunting parties might get as dirty as they do today, and some decoratively beaded youths might spend more time than strictly necessary preening and grooming. Today, men look in mirrors and straighten their ties before leaving to sit on a train next to women who have painted their lips red and heightened the outlines of their eyes. Our cousin primates assign hours to look after each others fur - we simply carried on into our myriad of cultures and expressions. Neolithic people may have washed less than we do today, but that did not keep them away from the language and habits of appearance and health. There are times from prehistory and protohistory when a red ocre, oiled or powdered, was systematically spread onto the entire body. Before adding the earth pigments, the skin must be clean to assure the overall effect. Here, ticks, cuts, splinters, aches and fungi can all be monitored, and in so doing, improve the general well-being of the clan. We might expect one or two examples of clans that turn towards a speciality focus on spiritual health and well being. Hedonism does not have to be drunk, and it can be argued that the Epicurean 'clan', described from protohistoric writings, was an example of the range of ways of being available to prehistory.
There still seem to be too many basins for a simple neolithic community keen to stand over rising steam or baste in infusions of herb. The site is currently associated with a Medieval priory. Perhaps the basins were part of a pagan religion with the sacred hill appropriated in history? Spiritual communities attract visitors, which can help assure the exchange of basic goods. The hill in question is on-route towards the aged hills of the Massif Central, a geography which gives birth to the great rivers that navigate much of the length of the Pyrenees. The same Grandmont hill remains close to the sea breeze of the Mediterranean – so it may be understood as a focal point on a then ancient avenue of exchange and movement. The fire to heat stones, and the steam from the basins would mark out the hill from the distance, and rites of water would reward people arriving for a visit from potentially dissonant backgrounds. Here the flows helps to unify the prospects of visitors who arrive from afar, and avoids potential conflict of suspicion. Suddenly a range of basins and spiritual and practical functions makes sense.
Prehistory faded through the ages of copper, bronze and iron to settle as a patchwork oft described as Gaul, a post prehistoric identity that coalesced only as a reaction to the Roman invasion and an identity that existed, for the most part, as a mosaic. Were these architectural basins to date from this pre-Roman protohistoric period, issues of trade, passage, and spirituality might also have coalesced on this hill top. I will argue that the most coherent cultural dynamic for such a cluster may be the Chalcolithique (5,500 - 3,500 ybp) with the site having grown from smaller late neolithic basins.
The text continues on the adjacent photo marked 'Part 3'.
AJM 05/05/17
Interior view of the Basilica of St. Mary of the Altar of Heaven (Basilica di Santa Maria in Ara coeli), known for housing relics belonging to Saint Helena, mother of Emperor Constantine, in the city of Rome, Lazio region, Italy.
© All rights reserved. You may not use this photo in website, blog or any other media without my explicit permission.
Jimbaran Bay, Bali
Canang sari is one of the daily offerings made by Balinese Hindus to thank the Sang Hyang Widhi Wasa (the "All-In-One God") in praise and prayer.
Canang sari can be seen in Balinese temples, on small shrines in houses, and on the ground or as a part of a larger offering.
Without passion, there can be no spirituality. Without spirituality, there is no soul. Give me soul.
🎨 Original Artwork
Oil on Stretched Canvas 30x24
Rock-n-Soul Angels
"Send Me An Angel" Scorpions Accoustica
www.youtube.com/watch?v=53ZQ8cIE_6Q
￦A￦
The Hippie Angel just may have gotten her "soul" on as the man on the moon blows a kiss.
This piece was loosely based on a dream about an Angel that I had when I was around seventeen years old. Fast forward to 2016, this is my interpretation.
To me:
"[I would never find inner peace outside myself or until I could release my fears that were holding me back from a heavenly life.
One cannot find love or peace with the contingency of another person, a location, or an ideal situation. Peace and love originates internally within oneself or not at all.]"
working on a new piece...my version of visioning for the New Year where I want my heart to be...it's painted on pinewood with acrylics, indian inks, alchohol inks, layered transfers, stamps, kitchen forks and whatever else happened to be in my midst...debating whether to add words or not...
Gallery of Daily Darshan -May 13-2016
#bwg_container1_5 #bwg_container2_5 .bwg_standart_thumbnails_5 * -moz-box-sizing: border-box; box-sizing: border-box; #bwg_container1_5 #bwg_container2_5 .bwg_standart_thumb_spun1_5 { -moz-box-sizing: content-box;...
I am not "religious" per say, but I do think I need to be grateful for all the good things in my life!!! Happy New year!!!
Macro Monday project – 01/04/10
“"New Year's resolutions"”
A wayside shrine to the Virgin Mary with Baby Jesus, in the city of Rome, Lazio region, Italy.
© All rights reserved. You may not use this photo in website, blog or any other media without my explicit permission.
And as you join the Good Ship Earth,
and you mingle with the dust ---
you'd better leave your underpants
with someone you can trust.
And when the Old Man with the telescope
cuts the final strand ---
you'd better lick two fingers clean,
before you shake his hand.
(Ian Anderson)
Wisdom is this natural simplicity of seeing things as they are, not explaining them. Explaining stands for the intelligence and seeing is for the Wise! When the Wise sees, this is the real intelligence. When the intelligent one explains, this is the known intelligence I am talking about, which is a huge gap from Wisdom. This intelligence that explains, explaining, makes things very complex, while the Wise´s vision, as he does not explain, only sees, it is very clear, being natural and simple. ~M. Gualberto ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ Sabedoria é essa natural simplicidade de ver as coisas como são, não de explicá-las! ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ Sabedoria é essa natural simplicidade de ver as coisas como são, não de explicá-las. Explicar fica para a inteligência e ver fica para o Sábio! Quando o Sábio vê, esta é a Real Inteligência. Quando o inteligente explica, esta é a tão conhecida inteligência da qual estou falando, que está a uma distância enorme da Sabedoria. Essa inteligência que explica, ao explicar, torna a coisa muito complexa, enquanto que a visão do Sábio, como não explica, só vê, fica muito clara, sendo natural e simples. ~M. Gualberto ▃▃▃▃▃▃▃▃▃▃▃▃▃▃▃▃▃▃▃▃⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ #ramanashramgualberto #mestregualberto #satsang #ramana #ramanamaharshi #quoteoftheday #guru #pranayama #buda #goodvibes #sadhana #zen #meditation #awareness #fé #selfinquiry #knowledge #quote #ego #krishna #yogainspiration #om #maya #meditação #whoareyou #mind #bliss #spirituality
youtu.be/vpXqlP8i9ToHH #YounusAlGohar gives a detailed #lecture on the #essence and #purpose of #spirituality. He talks about why #hate prevails and #love is #rare. #GoharShahi #Sufi #Sufism #