Sponsored images from 
View allAll Photos Tagged Scripture
23dr Nov. morning at the poorest sector of Baguio - Lower Rock Quarry. The little ministry teaches and feeds kids in the area each Sunday morning. The Pastor awakes in the early hours , in darkness to prepare and cook for these little ones. They come in hungry; some come in barefoot; all come in in ragged clothes. They toys they play with are what they find on the streets.
But they also come prepared to recite scripture, and they come in prepared to worship the Lord.
---------------------
Beyond Sunday: Worthy of Thanks
Enter his gates with thanksgiving and his courts with praise; give thanks to him and praise his name. (Psalm 100:4)
Commentary
Enter into his gates with thanksgiving. To the occurrence of the word thanksgiving in this place the Psalm probably owes its title. In all our public service the rendering of thanks must abound; it is like the incense of the temple, which filled the whole house with smoke. Atoning sacrifices are ended, but those of gratitude will never be out of date. So long as we are receivers of mercy, we must be givers of thanks. Mercy permits us to enter his gates; let us praise that mercy. What better subject for our thoughts in God's own house than the Lord of the house.
And into his courts with praise. Into whatever court of the Lord you may enter, let your admission be the subject of praise: thanks be to God, the innermost court is now open to believers, and we enter into that which is within the veil; we must acknowledge the high privilege by our songs.
Be thankful unto him. Let the praise be in your heart as well as on your tongue, and let it all be for him to whom it all belongs.
And bless his name. He blessed you, bless him in return; bless his name, his character, his person. Whatever he does, be sure that you bless him for it; bless him when he takes away as well as when he gives; bless him as long as you live, under all circumstances; bless him in all his attributes, from whatever point of view you consider him.
(Adapted from Charles H. Spurgeon's The Treasury of David.)
A Thought to Keep
When we focus on our problems, we forget that giving thanks must be as natural as breathing. No matter our circumstances, God is worthy of thanks. Let your praises rise and enter His presence.
--------------------------------------------------------------------------------------
Several textures applied by Joe'sSistah, Bible paper free from the net.
JESUS, name above all names!!!!!!!
Out of Chaos - further information from the Laing Art Gallery website:-
"Introduction
Out of Chaos showcases outstanding sculpture, paintings and prints by artists such as Frank Auerbach, David Bomberg, Marc Chagall, Edith Kiss, Chaïm Soutine and Alfred Wolmark. Together, they demonstrate the contribution of artists from around the world to Britain’s cultural heritage. The artworks span more than a century, and include examples of important movements and styles ranging from figuration to abstraction.
The exhibition themes encompass issues of identity and belonging connected with migration. Many of the artists or their families had to make forced journeys as the result of upheavals in their homelands.
The artworks have been selected from the collection of the Ben Uri Gallery, London, featuring artists primarily of Jewish descent. They are augmented by works by contemporary artists from migrant communities who have exhibited with Ben Uri. Some paintings from the Laing and Hatton Gallery collections are also included.
Identity and Migration
A wave of emigration to Britain from Eastern Europe took place over several decades from the 1880s, especially following increasing persecution of Jews. The main destination was London, and the new arrivals continued their distinct traditions in their new host cities. In contrast, longer established Jewish communities often mirrored the aspirations of mainstream British society. These differences in identity were reflected by artists of the time.
In the early Victorian period, Solomon Hart achieved success with scripture subjects, painted in a style entirely in tune with establishment taste. In contrast, Alfred Wolmark’s pictures focussed on the daily lives of the immigrant Polish-Jewish community in London at the beginning of the 20th century. His pictures differed considerably from Solomon J Solomon’s choice of subjects, which mirrored his family’s integration into Edwardian middle-class society. For Simeon Solomon, however, personal identity led to disaster as he was rejected by society for his homosexual lifestyle, despite considerable earlier success as a Pre-Raphaelite artist.
The Whitechapel Boys
These artists’ innovative approach to colour and form made an important contribution to British modernism in the period just before and after the First World War. All were from migrant Jewish backgrounds, with shared feelings of cultural identity. They were open to influences from Europe as well as new artistic developments in Britain. The group was closely associated with the Whitechapel area of London, and included experimental writers.
The artists’ friendships and interests developed from the overlapping periods they spent at the Slade School of Art, London. They were also encouraged by Alfred Wolmark (pictures also on display). Two of the leading figures in the group of artists were David Bomberg and Jacob Epstein. In 1914, they curated the ‘Jewish section’ of the Whitechapel Art Gallery’s important exhibition ‘Twentieth Century Art: A Review of Modern Movements’, featuring artwork by members of the group.
Modernism and Turmoil
Paris was also a magnet for Jewish artists who left Russia and neighbouring countries in the early twentieth century, escaping oppression and poverty. Many artists, including Marc Chagall and Chaïm Soutine, lived and worked in the collection of studios known as La Ruche (the Beehive), in Montparnasse. These painters had a powerful influence on modernist figurative art.
Other Jewish artists, such as Ludwig Meidner, Martin Bloch and Arthur Segal, contributed to experimental art developments in Germany, including Expressionism and optical-effect painting.
Following the rise of Nazism in the 1930s, modernist art was denounced as degenerate. Jewish artists in Europe were particularly at risk. Soutine lived in hiding in France, while Chagall fled to America. Meidner, Bloch, and Segal escaped to Britain.
Many artists were among the German-speaking émigrés who were interned in Britain in 1940-41, during the Second World War. Making art, sometimes using improvised materials, provided an escape for many from the depressing experience of internment.
Fleeing Destruction
Polish artist Josef Herman’s painting of refugees captures the universal plight of all those who had to flee destruction or persecution in their homeland. A scene with the backdrop of a traditional village represents the settled life that many lost through devastating events.
The artworks in this section are related to the terrible destruction of the Holocaust unleashed in Nazi-controlled Europe during the Second World War. Jews were targeted for annihilation, and millions of other people also lost their lives because of their nationality, ethnic group, skin colour, religion, political beliefs, sexual orientation or disability.
Both Marc Chagall and Emmanuel Levy used traditional Christian imagery of crucifixion as a powerful symbol of the massacre of Jewish people. German-American satirist George Grosz showed the violent persecution of individuals. Art came out of tragic circumstances, and Leo Haas risked his life to make sketches of life in a concentration camp. Edith Kiss’s later sculpture was influenced by her experience of forced labour and imprisonment.
Post-War Britain
Artists who fled Nazism in Germany introduced new styles to Britain. However, some, like Erich Kahn and Else Meidner, suffered considerably from the traumatic disruption to their lives. Clara Klinghoffer fled to London from Amsterdam, having previously established a successful career painting striking portraits. From a younger generation, Eva Frankfurther and Frank Auerbach came to Britain as child refugees in 1939. Despite very different styles, they both identified with individual areas of London in their art.
Pictures by Frank Auerbach, Leon Kossoff and Ronald B Kitaj show how they adopted expressive styles to represent the identity and emotional character of a person, a place, or an experience. Contemporary painter Ansel Krut, from South Africa, also adopted an expressive style for his symbolic scene of impending sacrifice.
Recent Art
In these works, artists explore issues of group and individual identity through film, installation, photography and paintings. The artworks reflect the wide variety of the artists’ backgrounds and experiences. Coming right up to date, a specially commissioned film confronts the issue of migrant workers in London.
The themes include the clashing viewpoints of different communities and the conflict that can arise from passionate beliefs. The disorientation of refugee experience is strikingly illustrated in an image of a robed figure dragging a symbolic house in a Brazilian city. Similarly, massive portraits of asylum seekers in a style mimicking identity cards raise issues of self and individuality.
Aspects of female identity are also explored, while a photographic work celebrates the individual affirmation of a happy gay relationship. The concept of religion as an aspect of personal identity also features.
Ben Uri Gallery
The Ben Uri Art Society was founded in 1915 in London’s East End. Its original aim was to encourage Jewish artists who were struggling to gain acceptance by the art establishment of the time. Today, the Ben Uri Gallery has a wider focus, concentrating on art with the themes of migration and identity. It works with varied immigrant communities and artists of diverse backgrounds.
From its early days, Ben Uri purchased works of art, and held art classes, exhibitions, lectures, and concerts. Even during the Second World War, activities carried on, though the collection was stored in a basement for safety. Since then, Ben Uri has added innovative learning, well-being and outreach programmes, publications and a website to its exhibitions and acquisitions. During its history, Ben Uri Gallery has occupied a variety of tiny premises. In 2015, it began a major project to move to a new home.
In all its activities, Ben Uri Gallery explores the ways in which Britain’s rich cultural life has been enhanced and broadened by outsiders. It promotes the visual arts as a universal language that can encourage understanding in difficult and troubled times.
Watch a series of films with Chairman and Chief Executive David Glasser discussing the history of Ben Uri
Watch video about Ben Uri created for the 2015 Centenary celebrations
Visit the Ben Uri collection website
Blogs for further reading
Read about David Bomberg, Picasso and the Whitechapel boys in this informative blog by curator Sarah Richardson.
Another blog by Sarah tells the story of Chaïm Soutine, misfit artistic genius in 1930s Paris.
Out of Chaos - art that makes you think is Sarah's third blog, revealing background stories to some of the impressive contemporary and historical art in the exhibition.
Read about Marc Chagall’s ‘Apocalypse in Lilac’ with reference to Holocaust Memorial Day."
Derge ParkhangThe Derge Parkhang, (pronunciation "Dehr-geh", alternative names Dege Parkhang, Derge Sutra Printing Temple, Dege Yinjing Yuan, Derge Barkhang, Dege Barkhang, Barkhang, Parkhang, Bakong Scripture Printing Press and Monastery) is one of the foremost cultural treasures of Tibet. Derge is a county seat in a high valley in Kham, an eastern districts eastern district of traditional Tibet which is now part of China's Sichuan Province. The Derge Parkhang is a living institution devoted to the printing and preservation of Tibetan literature, a printing temple that holds the greatest number of Tibetan woodblocks in the world.
The Derge Sutra Printing Temple (Parkhang in Tibetan) is one of the most important cultural, social, religious and historical institutions in Tibet. Founded in 1729 by Dongba Tseren, the fortieth King of Derge (1678–1739), the Derge Parkhang is an active center for publication of Tibetan Buddhist sutra, commentaries, and thangka as well as works of history, technology, biography, medicine and literature. Books are still being made in the same way as they have been for almost three hundred years: handprinted from hand-carved wooden blocks. Cinnabar is used to colour the text red, in which workers can print eight to fifteen pages manually a minute, 2500 in a day, from wooden blocks that have already been engraved with text. Thirty printers are in working condition where printers work in pairs, one puts ink on wooden press, later cleaned in a trough, while the other rolls a piece of paper using a roller which is imprinted red with sayings of Buddha.
The history of the Derge Parkhang is closely bound to the history of the Kingdom of Derge. From a mythical ancestor in the eighth century, the Derge royal dynasty rose to found and rule an influential independent Tibetan kingdom in the Kham area of Eastern Tibet, controlling a large area straddling the Drichu River (called the Jinsha River in Chinese and forming the upper reaches of the Yangtse River) on what is now the border between the Tibetan Autonomous Region and Sichuan. Astute politicians, the Kings of Derge maintained political power through generous patronage of religious institutions: their unusual pattern of patronage for all five schools of Buddhism meant strong support for monasteries, learning and art in the area under their political control. They were also able stay on good terms with both of their powerful neighbors, the governments of Lhasa and Beijing. A gradual weakening of the family through the nineteenth century followed by a succession struggle in the early twentieth century brought about the effective end of their political control, but they remained in nominal power until the annexation of Tibet by the Chinese Communists in 1950.
A new passage chalked onto our living room wall and a constant reminder to be joyful, prayerful and thankful.
This late fifteenth-century prayer book was made for the use of Rome and is illuminated by followers of Willem Vrelant of Bruges. The manuscript was probably created for the couple depicted in two full-page miniatures (fols. 13v and 103r). The representation of the bride in the full-page miniatures, as well as references to her in suppliant prayers, indicates that the manuscript was commissioned primarily for the bride’s use. Further evidence of this is the prominence of women throughout the illuminations and drolleries, from one who was caught in adultery being brought before Christ to Veronica extending her cloth before Christ. The decorations in the manuscript stray from the typical border designs of this time period, focusing more on illusionistic Ghent-Bruges’ illumination (post-1475) and less on the Vrelant acanthus-floral borders. Among the number of full-page miniatures, fol. 229v stands out as an exceptional example of an imitation of a late fifteenth-century panel painting.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
The picture before you is a copy of one of the most significant books in the history of the reformation. It is a copy, a fascimilie, of the Geneva Bible published in 1560 a.d. What makes it unique is it is the first study bible ever made, having notes and references within each page (annotations); it was the known bible brought with the pilgrims (on the Mayflower) when coming to the new world; it preceeded the King James Bible by 51 years; it was the main bible used by the protestants during the reformation; it was the first bible to use verse numbers based on the works of Stephanus. Want to know more? Google it... you will be suprised at how this translation has influenced much of our world's history.
The above passage is from John 3:16-17.
For the LORD is a great God, and a great King above all gods. In his hand are the deep places of the earth: the strength of the hills is his also.
The sea is his, and he made it: and his hands formed the dry land. O come, let us worship and bow down: let us kneel before the LORD our maker.
Psalm 95:3-6 KJV