Exquisite World of Nature (P1/A2) [theme: 100% Nature]
View allAll Photos Tagged TESTAMENT
“Computers are like Old Testament gods; lots of rules and no mercy.”
― Joseph Campbell, The Power of Myth
www.youtube.com/watch?v=10k-rASX3GE
Stuff
[ContraptioN] Liquid Oddity
[ContraptioN] Junker's Hand
:::SOLE::: SA - Armtech Mk.5 (CAMO)
.{PSYCHO:Byts}. Apocalyptic Goggles
AZOURY - Irenaeus Helmet [Beige]
[The Forge] Kiera Bodice, Brown
Colton Design - Reach Out Animation
Києво-Печерська лавра — православний монастирський комплекс що переданий в оренду Українській православній церкві (РПЦвУ) в Києві. Один із найбільших християнських центрів-святинь України. Визначна пам'ятка історії та архітектури.
Києво-Печерська лавра належить державі, а релігійні організації користуються нею на правах оренди.
Заснована 1051 року як печерний монастир за межами Києва. Свою назву отримала від печер, де оселилися перші його мешканці.
Ансамбль Києво-Печерської лаври є визначною пам'яткою історії та архітектури Середньовіччя та Ранньомодерного часу (Київської Русі та доби Гетьманщини), однією з найбільших святинь православ’я України та Східної Європи. Розташований на плато високого правого берега ріки Дніпро, ансамбль Лаври формувався протягом багатьох століть в органічному поєднанні з ландшафтом та відіграє роль загальноміської містобудівної домінанти.
У середньовіччі був оплотом православ'я Русі. 1592 року став ставропігією Вселенського патріархату Константинополя. 1688 року став лаврою. У ранньому новому часі перетворився на центр паломництва православних.
1994 року разом із Софійським собором внесений до переліку Світової спадщини ЮНЕСКО.
Архітектурний ансамбль набув свого сучасного вигляду в період розквіту українського бароко XVII-XVIIІ ст. Основними об’єктами ансамблю Києво-Печерської Лаври є Успенський собор, Троїцька надбрамна церква, Велика дзвіниця, церква Всіх Святих, Трапезна церква, монастирські оборонні мури з баштами, комплекси Антонієвих (Ближніх) та Феодосієвих (Дальніх) печер з наземними церквами – Хрестовоздвиженською та Різдва Богородиці, а також церква Спаса на Берестові.
"The Happy Family" is a renowned painting created by the Dutch artist Jan Steen. Painted during the 17th century, Steen was known for his ability to capture scenes of everyday life with a touch of humor and wit. "The Happy Family" exemplifies his style and showcases his talent for storytelling within a single image.
In this painting, Steen depicts a bustling household filled with various members of a family engaged in different activities. The composition is lively and intricate, presenting a chaotic yet harmonious scene. Steen's attention to detail is evident as he portrays each character with unique facial expressions and body language, adding depth and personality to the painting.
At the center of the composition, a jovial couple sits at a table, surrounded by their children and other relatives. The scene is filled with laughter, lively conversation, and playful interactions. The family members engage in various activities, such as eating, drinking, playing music, and engaging in games. Steen's use of vibrant colors and intricate brushwork further enhances the joyful atmosphere of the painting.
Despite the apparent chaos, "The Happy Family" also carries a deeper message. It serves as a reminder of the importance of familial bonds and the joys of shared moments. Steen's portrayal of the diverse characters and their interactions reflects the complexities and dynamics of family life. Through his portrayal, he highlights both the humorous and challenging aspects of domesticity.
"The Happy Family" is a testament to Jan Steen's skill as a painter and his ability to capture the essence of human experience. It continues to be appreciated for its rich storytelling, vibrant imagery, and its ability to evoke a range of emotions from viewers. The painting stands as a testament to the enduring appeal of art that celebrates the joys and challenges of family life.
Mono Lake, nestled in California's eastern Sierra Nevada, is renowned for its extraordinary saline environment, dramatic tufa towers, and the incredibly productive ecosystem it sustains.
This highly alkaline lake provides a unique habitat for brine shrimp and alkali flies, which in turn support millions of migratory birds.
The striking tufa towers, formed by mineral deposits, stand as iconic, otherworldly sentinels around its shores.
Even in the frigid winter, Mono Lake remarkably remains unfrozen, a testament to its high salt concentrations.
Adding to its geological intrigue, the Mono Lake volcanic field, with vents on its northern shore and on Paoha and Negit Islands, was last active mere centuries ago.
(Nikon Z6III, Nikon 28-400/f4-8, 1/800 @ f/13, ISO 500, edited to taste)
Actually it’s not a rose at all, but a perennial Hibiscus plant (Hibiscus syriacus).
The term 'Rose of Sharon' is a biblical one and comes from Song of Solomon in the Old Testament, Chapter two, verse one.
The beloved says 'I am the Rose of Sharon, a rose of the valley'.
Scholars disagree as to what specific plant/flower is being referred to. Some think it refers to a lily, others to a crocus, and some believe it refers to a wild tulip. One thing they all agree on is that it is not the current Hibiscus plant that is commonly called a Rose of Sharon, because Hibiscus originally comes from East Asia, not the Middle East.
This is just one example of how confusing names of plants can be, with colloquial and regional names often being far from correct to the botanical name and designation.
All that aside, enjoy this macro of this lovely flower :)
Where one can discover the illuminated splendor of Lahore Fort and Huzoori Bagh with the History by Night tour by the Walled City of Lahore Authority. Where history dances under the stars.
An enchanting and mesmerizing tour to Mughal era, like traveling in a time machine to the court of Emperor Akbar where a captivating saga of grandeur and magnificence unfolded. Renowned for their refined tastes and opulent lifestyles, the Mughal emperors orchestrated nightly spectacles that went far beyond the ordinary, embracing the extraordinary with unparalleled finesse. For the Mughals, the shroud of darkness wasn’t merely an absence of light; it served as a canvas upon which they painted a vibrant tapestry of extravagant entertainment, a testament to their sophisticated sensibilities and profound love for the arts. Immersed in a rich fusion of art, music, dance, and culinary brilliance, these imperial evenings not only dispelled the shadows but also left an enduring imprint on the pages of history.
A testament to history I actually shot this in colour and was pretty pleased with it. However i decided to change it to black & white as I felt it reflected the drama and the beauty of the scene better. This is the main part left of old abbey in the town of Kilwinning, Scotland. There’s actually other outer walls that I will post soon, but this is the most complete part still standing. Kilwinning was a Tironensian Benedictine monastic community, named after Tiron in the diocese of Chartres. The abbey was dedicated to Saint Winning and the Virgin Mary, and founded sometime between 1162 and 1188 with monks coming from Kelso.[1] The patron is not known for certain, but it may have been Richard de Morville, Lord of Cunninghame and Great Constable of Scotland, perhaps with the backing and assistance of King William of Scotland. This was one of those days when I set out it was lovely sun and only to arrive at my location to find it clouding over. I actually thought I had completely missed my window of opportunity before the sun went down when the cloud cover broke one last time to create this soft light.
The monastery was established between 1070 and 1077 by Vsevolod, son of Yaroslav the Wise. It was a family cloister of Vsevolod's son Vladimir Monomakh and his descendants.
The monastery, and the neighbourhood in present-day Kyiv where it is located, was named after an old Slavic legend about the pagan god Perun and the Grand Prince Vladimir the Great of Kyiv. The word "Vydubychi" comes from the word Vydobychi → Vydobych → Vydobech (Ukrainian: Видобичі → Видобич → Видобеч) which means "to swim up", "emerge from water".
The legend has it that Vladimir ordered the wooden figures of Perun (the Thunder God) and other pagan gods dumped into the Dnieper River during the mass Baptism of Kyiv. The disheartened Kyivans, though accepting the baptism, ran along the Dnieper River calling for the old gods to emerge from water (Перуне выдуби!). Accordingly, the area down the river stream where Perun emerged was named Vydubichu or Vydubychi in modern Ukrainian.
Зображення Першого Вселенського собору.
У першій третині XVIII століття у центральній частині собору Софії Київської з’являються актуальні для тих часів зображення семи Вселенських соборів, які пишним фризом оточували підкупольний простір. З цього циклу збереглася тільки ця фреска.
Перший Вселенський Собор відбувся у 325 р. у Нікеї, за імператора Костянтині Великому. Скликаний цей Собор був проти лжевчення олександрійського священика Арія, котрий відкидав Божество і передвічне народження другої Особи Св. Трійці, Сина Божого, від Бога Отця; і вчив, що Син Божий є лише найвищим творінням.
На Соборі брало участь 318 єпископів, серед яких були: Свт. Микола Чудотворець, Свт. Яків Низібійський, Свт. Спіридон Триміфунтський, Світ. Афанасій Великий, що був у той час ще в сані диякона та ін. Собор засудив і відкинув єресь Арія і утвердив незмінну істину – догмат, що Син Божий є істинний Бог, народжений від Бога Отця перед усіма віками і так само вічний, як Бог Отець; Він народжений, а не створений, і єдиносущений з Богом Батьком. Щоб усі православні християни могли точно знати справжнє вчення віри, воно було ясно та коротко викладено у перших семи членах Символу Віри. На цьому ж Соборі було ухвалено всім святкувати Великдень першого недільного дня після першого весняного повня і після юдейського Великодня за юліанським календарем. Визначено було також священикам бути одруженими, і було встановлено багато інших правил.
A quote from a dear Flickr friend by Gore Vidal:
“The great unmentionable evil at the center of our culture is monotheism. From a barbaric Bronze Age text known as the Old Testament three anti-human religions have evolved – Judaism, Christianity and Islam. These are sky-god religions.”
The Trevi Fountain is a fountain in the Trevi district in Rome, Italy. Standing 26.3 metres (86 ft) high and 49.15 metres (161.3 ft) wide,[1] it is the largest Baroque fountain in the city and one of the most famous fountains in the world. do Papa na Cidade do Vaticano. É famosa pela sua arquitetura, inspirada no Templo de Salomão do Antigo Testamento, e sua decoração em afrescos, pintada pelos maiores artistas da Renascença, incluindo Michelangelo, Rafael, Bernini e Sandro Botticelli.
A capela tem o seu nome em homenagem ao Papa Sisto IV, que restaurou a antiga Capela Magna, entre 1477 e 1480. Durante este período, um grupo de pintores que incluiu Pietro Perugino, Sandro Botticelli e Domenico Ghirlandaio criaram uma série de painéis de afrescos que retratam a vida de Moisés e de Cristo, juntamente com retratos papais e da ancestralidade de Jesus. Estas pinturas foram concluídas em 1482, e em 15 de agosto de 1483, Sisto IV consagrou a primeira missa em honra a Nossa Senhora da Assunção.
Desde a época de Sisto IV, a capela serviu como um lugar tanto para religiosos, como funcionários para atividades papais. Hoje é o local onde se realiza o conclave, o processo pelo qual um novo Papa é escolhido.
Nota: É expressamente proibido tirar fotografias neste local como devem saber, apenas arrisquei a minha sorte sem darem por isso, os vigilantes andam constantemente em cima dos turistas. Mas entre a multidão e com um olho no burro e outro no cigano arrisquei colocando a máquina por baixo da cintura.
House of Testament
Gathering all the etheric power in this world.
And I rule this world.
docs.google.com/document/d/1ccqmsO6x4GzuIP3MJ0WMfkU4L-PkV...
The Dormition of the Mother of God is a Great Feast of the Eastern Orthodox, Oriental Orthodox, and Eastern Catholic Churches (except the East Syriac churches). It celebrates the "falling asleep" (death) of Mary the Theotokos ("Mother of God", literally translated as God-bearer), and her being taken up into heaven (bodily assumption). It is celebrated on 15 August (28 August N.S. in the Julian Calendar) as the Feast of the Dormition of the Mother of God. The Armenian Apostolic Church celebrates the Dormition not on a fixed date, but on the Sunday nearest 15 August. In Western Churches the corresponding feast is known as the Assumption of Mary, with the exception of the Scottish Episcopal Church, which has traditionally celebrated the Falling Asleep of the Blessed Virgin Mary on 15 August.
The plot "Dormition of the Mother of God" is based not on the Gospels, but on the Apocrypha and is dedicated to the death of the Mother of God.
Below on the couch lies the body of the deceased Mother of God, around her the grieving apostles are the earthly world. In the upper part behind the odrom stands the Savior. In his hands he holds the soul of his mother, which is depicted as a swaddled baby. Her soul was separated from her body and was taken into the hands of the Savior. Christ presses to his chest the most pure soul of the Mother of God, his progenitor, and takes her to his heavenly chambers.
Сюжет «Успіння Пресвятої Богородиці» заснований не на Євангеліях, а на апокрифах і присвячений смерті Богоматері.
Внизу на ложі лежить тіло померлої Богоматері, навколо неї скорботні апостоли - це земний світ. У верхній частині за одром стоїть Спаситель. Він оточений сяйвом, наче мандорлою - величезним німбом, що символізує собою божественну славу; ця частина зображення є божественним, небесним світом. У руках він тримає душу своєї матері, яка зображена у вигляді сповитого немовляти. Її душа відокремилася від тіла і була прийнята на руки Спасителя. Христос притискає до грудей пречисту душу Богоматері і забирає її до себе в небесні чертоги.
Сюжет «Успение Пресвятой Богородицы» основан не на Евангелиях, а на апокрифах и посвящен смерти Богоматери.
Внизу на ложе лежит тело умершей Богоматери, вокруг нее скорбящие апостолы — это земной мир. В верхней части за одром стоит Спаситель. В руках он держит душу своей матери, которая изображена в виде спеленутого младенца. Ее душа отделилась от тела и была принята на руки Спасителя. Христос прижимает к груди пречистую душу Богоматери, своего прародителя, и забирает ее к себе в небесные чертоги.
Канонические тексты не сообщают о времени и обстоятельствах кончины и погребения Богородицы. Согласно Новому Завету, распятый Христос усыновил Богородице ближайшего ученика — апостола Иоанна, который с этого момента «взял Её к себе» (Ин. 19:25—27) на своё попечение. Она пребывала со всеми апостолами в молитве (Деян. 1:14) и в день Пятидесятницы, как и они, получила дар Святого Духа (Деян. 2:1—14).
My legs screamed in protest, but the view from the British Lookout silenced them with a gasp. After a grueling 4-kilometer slog from the Francés Lookout, I finally stood at a staggering 1,000 meters (3,281 ft) above sea level.
Below me, the north valley unfurled like a crumpled velvet tapestry. Imposing granite walls rose from the emerald expanse, their sheer scale eliciting a muttered "what the hell?" – a phrase that perfectly captured the humbling beauty before me.
This, my friends, was the crown jewel of the French Valley – Mirador Británico, a hidden gem and undisputed highlight of the W Trek. It's not for the faint of heart; reaching this viewpoint requires a dedicated day of hiking. But for those who persevere, the reward is a jaw-dropping 360-degree panorama.
Pehoe Lake shimmered like a fallen sapphire, dwarfed by the colossal Los Cuernos peaks and the mighty Paine Grande. These granite titans, unseen from other vantage points, thrust skyward like the spires of a forgotten city.
A Grueling Ascent for Glorious Vistas
The British Lookout isn't for the weary. Those seeking a gentler pace can descend from the Francés Lookout. But for the determined hiker, a further 4 kilometers (2.5 miles) beckons. This leg promises a scenic wander through native forests, but be warned – the elevation gain is no joke. It's a 500-meter (1,640 ft) climb on a rocky path, switchbacking through dense woods before emerging into the open at Mirador Británico.
The effort, however, is utterly eclipsed by the reward. From this lofty perch, you'll have a front-row seat to the Cuernos' dramatic display and the surrounding forest of granite spires. Keen-eyed climbers will even spot "The Fin," a notorious challenge for mountaineers.
A Parade of Patagonian Giants
Let's not forget the supporting cast in this awe-inspiring spectacle. From left to right, a parade of majestic peaks unfolds: Cerro Castillo (1,421 m / 4,662 ft), the towering twins of Cerro Los Gemelos (1,998 m / 6,555 ft), the needle-like Cerro Aguja de los Quiquichos (1,703 m / 5,587 ft), the stubby Cerro El Tambor (230 m / 754 ft), the imposing Cerro Cota (2,000 m / 6,562 ft), the aptly named Catedral (Cathedral Hill) at a staggering 2,200 m / 7,218 ft, and the Shark's Fin (Aleta de Tiburón) at 1,717 m / 5,633 ft, just to name a few. (Hover over the photo if you're on a computer to see my peak annotations!)
Nature's Masterpieces: A Cathedral Carved by Glaciers
The French Valley itself is a masterpiece of glacial sculpting. The colossal western walls of Cerro Cota 2000 (2,000 m / 6,562 ft) and Cerro Catedral (2,200 m / 7,218 ft) dominate the landscape. Cerro Cota aptly lives up to its name, its highest point reaching a cool 6,562 ft. Cathedral Hill, on the other hand, earned its moniker from its sheer eastern face, which resembles a magnificent cathedral facade.
To the north, the granite ridge known as Aleta de Tiburón (Shark's Fin / 1,717 m / 5,633 ft) cuts a dramatic silhouette against the sky. Millions of years of glacial erosion have honed this peak into a climber's dream, its steep slopes a testament to nature's relentless artistry.
A Challenge Worth Taking
Reaching the British Lookout is no walk in the park. The hike is typically an out-and-back affair, with a moderate to challenging difficulty rating due to the steady elevation gain.
The full trek from Frances Domos to Paine Grande Refuge takes a whopping 10 hours, covering a challenging 23 kilometers (14 miles). The initial part is relatively easy, but the section between the French Valley's beginning and the British Lookout is a heart-thumper. This is why this vantage point is best reserved for experienced hikers.
A Fairytale Trek Through a Patagonian Paradise
The trail itself winds through a scene straight out of a fairytale. Towering, snow-capped peaks pierce the horizon, their reflections shimmering in the crystal-clear glacial lakes that dot the landscape.
But the true star of the show is the French Valley. As you round a bend in the trail, it unfolds before you like a majestic amphitheater carved
When I was returning from the spot of flic.kr/p/2qQsuV5 I looked back at my path, and as you can see that horizon cloud was now behind the trees, testament to how far I walked, but I love pushing myself even in freezing temperatures, I decided to let the camera do some of the work, and utilising the Scene settings, turned it to Sunset and pulled off a few shots.
This image rather strikes a chord as to how I see my past, a wilderness, frozen, a path never to be trod upon again and I rather like it that way. Somewhat keeps me in the present where hence one can only ever be.
I hope all is well and so as always, thank you! 😊
Великая Печерская Церковь, церковь, «небесам подобная».
Успенский собор Киево-Печерской лавры – один из древнейших храмов Киевской Руси, уникальный памятник архитектуры, усыпальница многих выдающихся личностей. На протяжении многих столетий собор был одной из наиболее чтимых святынь Православной Церкви.
Успенский собор уникален как архитектурное произведение, потому что в период барокко, в отличие от классицизма, не было принято строить святыни под копирку — каждая церковь была уникальным произведением искусства.
На фото: фрагмент верхнего левого фронтона лицевого западного фасада собора. В центре росписи - фигура преподобного Феодосия Печерского, окруженная картинами, рассказывающими о его святых деяниях.
Église abbatiale de Saint-Savin-sur-Gartempe (86)
À plus de 17m du sol, la voûte de la nef représente à elle seule une superficie de quelques 460m2 ; le montage bout à bout des scènes qui la décorent formerait une bande de 168m de long sur plus de 2,5m de haut.
Il y avait, dans la nef, toutes les conditions de réunies - d'élévation et de luminosité - pour concevoir, sur le berceau de la voûte, le programme de l'Ancien Testament. Frappée par la lumière qui pénètre l'édifice latéralement, la voûte de la nef fut pensée, en effet, comme le support idéal à la réalisation d'un programme religieux, qui implique aussi le geste symbolique consistant à regarder vers la voûte céleste, comme les moines pouvaient autrefois le concevoir.
Le choeur de l'abbatiale ajoute encore à ce décor les peintures de sa crypte, où les péripéties du martyre des saints Savin et Cyprien revêtent la quasi-totalité des parois.
L'abbatiale est classée au titre des Monuments Historiques depuis 1840.
The Church of the Tikhvin Icon of the Mother of God (other name is the Old Ascension Church)
drevo-info.ru/articles/13676908.html
Camera: Nikon F 80;
Lens: Sigma 24-105mm f/4 DG (OC)* HS I AF;
Film: Agfa CT Precisa 100 (process before 2015.08);
Filter: No filter;
Exposure: as ISO 80 - 2020.01;
Scanned: Minolta Dimage Scan Elite 5400 by VueScan
The Church of the Tikhvin Icon of the Mother of God (other name is the Old Ascension Church) is a wooden Orthodox church in the city of Torzhok, Tver Region of Russia.
The first mention of the temple in the clerical record dates back to 1653. The wooden building was built on the right, high, bank of Tvertsa. The height of the temple is 34 meters. Since the temple was wooden, it was redone many times. In the 1780s, a foundation of white old stone was laid under the building (on one of them the year 1782 was knocked out). In 1783, the back roof was replaced by iron, in 1806 the porch was built, and in 1828 the head was redone. By 1854, the temple was dilapidated and it was decided to build a new stone one in return.
In the middle of the XIX century, parishioners decided to build a new stone Ascension Church near the wooden church. It was supposed to destroy the old church, and use the material from it in a new one or sell it in another parish. But the Archbishop of Tver Filofei (Uspensky) forbade the demolition of "such a wonderful church both in antiquity and in architecture." As a result, a new stone Ascension Church was built, in 1858 the warm Zosimo-Savvatievskaya church was demolished, but the old wooden Ascension Church remained standing.
However, the temple was not demolished, but was transferred to the Staritsky tract. By 1883, the temple was reconstructed and on October 5 it was re-consecrated in honor of the Tikhvin Icon of the Mother of God.
In Soviet times, church services ceased in 1929. There was a plan to transfer the temple to the Museum of Wooden Architecture in Vasilevo near Torzhok.
In the mid-1970s and early 1980s, restoration and research work was carried out. In the 2000s, worship services resumed in the summer.
The temple preserved painting of the XVIII century, and in the lower tiers of the painting of the second half of the XIX century. In the ceiling of the upper tier is an octagonal niche with the image of the New Testament Trinity.
In life we can make the wrong decisions, it happens. Only in hindsight do we kick ourselves and wish we had taken another path. If we are lucky we are spared this self incrimination and are oblivious to what could have been. On the flip side when we get it right we just know it. The morning I took this photo I got it right. I luckily hadn’t travelled inland to catch the snow, my normal decision as it usually turns to rain by the coast. As light snow started to fall I was walking Toby, so I decided to cut that short and get my gear. As I headed out down the street I was going to a local nature reserve, by the time I reach end of it I remembered the wintering Exmoor ponies on the hill and I changed direction. After a mile and half I reach the hill while it was still dark and heavy snow was falling, the rest is history, as testament by the photos I keep posting. Now the question is, did that pony follow his mate down the hill, decisions, decisions.
The Betania Monastery of the Nativity of the Mother of God is a remarkable piece of architecture of the 'Golden Age' of the Kingdom of Georgia, at the turn of the 11th and 12th centuries, and is notable for its wall paintings which include a group portrait of the contemporary Georgian monarchs.
The history of the monastery is poorly recorded in Georgian historical tradition. It was a familial abbey of the House of Orbeli. A series of conflicts and foreign invasions that fill the history of Georgia left the monastery depopulated and half-ruined. It was restored, in the latter half of the 19th century. Betania remained the only operating Georgian monastery, though unofficially, until 1963 when it also became defunct for the next 15 years. In 1978, the energetic Patriarch of Georgia Ilia II succeeded in obtaining permission from the Soviet authorities to reopen a monastery at Betania. In the 1990s, the cloister was refurnished and the local monastic community grew in size and influence.
Architecture
The monastery’s territory seems to have been surrounded by a massive wall, but only dismembered stones scattered in the adjacent forest have survived of it. The extant edifices are a principal domed church of the Nativity of the Mother of God (constructed at the turn of the 12th and 13th centuries), a smaller hall church of St. George (1196), and a ruined tower.
The church of the Nativity of the Mother of God is a cross-in-square design with a dome and built of stone, with some external carved decoration in the eastern façade where traditional niches have multifoil or scalloped tops connected to the frame of the middle window. Its high dome, slightly shifted to the east, rests upon the two westerly located freely standing pillars and ledges of the altar. The southern entrance portal is fronted by the gate roofed with a star-shaped vault. Modern scholars have surmised that the church is actually an expanded, domed and decorated version of an earlier basilica probably dating from the 10th century.
Murals
The interior is adorned with significantly damaged murals which mark one of the high points of medieval Georgian wall painting. The conch of the altar contains a scene of Supplication of which only the fragments of the figure of an enthroned Christ have survived. The walls of the apses behind the altar are decorated with the frescos of Prophets holding scrolls with Georgian inscriptions. The northern wall is occupied by a cycle of the Passion of the Christ while the southern wall contains the scenes from the Old Testament and the western – those of the Last Judgment.
The north transept of the monastery is notable for the depiction of the Georgian monarchs dating from c. 1207. These are the portraits of George III (r. 1156–1184), his daughter Queen Tamar (r. 1184–1213), and the son of the latter George IV (r. 1213–1223). The Russian prince Grigory Gagarin discovered and cleaned the image of Tamar in 1851, and published his drawings and reports the same year. George IV is shown as a beardless young man in Georgian court robes, but he wears a crown and sword. These attributes suggest that George is depicted as a young king after his co-coronation with his mother, which took place after the death of his father, David Soslan, in 1207. The painting, therefore, helps to determine the approximate date of the Betania church. An important irregularity observed by modern scholars is that none of the secular figures at Betania has a halo, an attribute that was normally used in Georgian imagery to distinguish a royal person from the rest of society.
To Prologue of the Story "The Doors"
♫♫Bob Seger & The Silver Bullet Band - Roll Me Away♫♫
As she clutched onto the firm grip behind her Ronnie, nestled snugly on the sleek motorbike, a wave of tranquility washed over her. The gentle hum of the engine became a soothing symphony, lulling her into a sense of absolute safety. The open road stretched out before them, beckoning them towards a horizon painted with endless possibilities.
The cool breeze weaving through their hair, carried with it the promise of new adventures. It whispered tales of dreams waiting to unfold, of aspirations that was soaring high like the eagles circling overhead. With her heart filled with boundless trust, she leaned into her partner and surrendered to the present moment.
Every mile of their journey they traversed became a testament to their unwavering bond. The rhythm of the bike beneath them echoed the synchronous beating of their loving hearts. The world outside faded away, replaced by a shared sense of purpose and an unbreakable connection. In this intimate embrace, she was enveloped by an unwavering belief that together, they could conquer any challenge that was lying ahead.
As the endless road continued to unravel before them, she was reminded of the enduring power of trust. It was the cornerstone of their partnership, the foundation upon which their dreams were built. With every mile they rode, she was filled with a deep abiding faith in her companion, knowing that she would always have their back, just as her partner had hers. And so, they journeyed on, carried by the wind, propelled by their dreams, and bound together by a love that knew no bounds.
(to be continued...)
Devoted to my Ronnie, a talented and amazing musician who touched my heart deeply with Love ღ
From a photograph taken in the Spring of 2018 and developed further in January 2022.
Copyright Stan farrow FRPS
There are literally hundreds, if not thousands of abandoned homes strewn throughout the countryside in Alberta. They did not fall out of the sky, but rather, were thoughtfully placed with the intentions of building a life within the four walls and a roof - a very long time ago.
When I come across these homesteads, I just have to stop. I don’t know why I am drawn to these old relics. Fossils of the past. It is as if can hear their heart beat in the solitude of the countryside.
Who lived here? What kind of life did they have? Did they conquer their hardships or challenges? It is without a doubt that the occupants encountered insurmountable struggles.
I try to imagine the essence of the house. Were there moments of joy and contentment despite the harshness and difficulties of the environment? I find it incredulous that it still stands even though it has been ravaged by time.
My imagination begins to percolate.
I want to hear the happy, contagious squeals of children giggling as they raced to the warmth of their beds at night; the sound of Mother humming as she lovingly brushed her daughter’s hair by the fire, or Father whistling with an air of fulfillment at a satisfying day of work that had been done and in anticipation of the hot meal waiting for him as he walked in, through the door. Goals, dreams and aspirations were quietly shared in the secrecy of night. Stolen kisses and affirmations of love and commitment were whispered as the children slept.
I wonder if this house had been enough for them? Why did they leave? What were their parting thoughts as they turned the key for that one last time? So many questions. No answers…
I snap a photo of the old gal.
I start driving down the lonely road but take one last look in my rearview mirror. I see a house surrounded by mass plantings of flowers, a thriving garden, chickens milling about and a clothesline that has a congregation of well worn clothes that are being gently seduced by an unusually warm summer breeze. The children are playing Kick-the-can out in the fields.
The joy of their laughter is a welcome sound to their Mother and Father who are sitting together on the porch sipping lemonade and enjoying a respite from the monotony of chores. No words pass between them. They bask in the silence of their mutual contentment.
I see a house that was once brimming with life and love. It stands proud and tenacious as a testament to those who happen to pass by on this lonely country road and those who have the ears to hear the echoes of laughter wafting in the wind, proclaiming that this house was more than four walls and a roof - it was a home…
Free Will And Testament
by Robert Wyatt video
Given free will but within certain limitations,
I cannot will myself to limitless mutations,
I cannot know what I would be if I were not me,
I can only guess me.
So when I say that I know me, how can I know that?
What kind of spider understands arachnophobia?
I have my senses and my sense of having senses.
Do I guide them? Or they me?
The weight of dust exceeds the weight of settled objects.
What can it mean, such gravity without a centre?
Is there freedom to un-be?
Is there freedom from will-to-be?
Sheer momentum makes us act this way or that way.
We just invent or just assume a motivation.
I would disperse, be disconnected. Is this possible?
What are soldiers without a foe?
Be in the air, but not be air, be in the no air.
Be on the loose, neither compacted nor suspended.
Neither born nor left to die.
Had I been free, I could have chosen not to be me.
Demented forces push me madly round a treadmill.
Demented forces push me madly round a treadmill.
Let me off please, I am so tired.
Let me off please, I am so very tired.
The New Testament Trinity is one of the iconographic types of the Trinity: God the Father, God the Son and God the Holy Spirit are depicted in the form of a dove.
The basis of the iconography of the New Testament Trinity are the words from the Creed, adopted by the Fathers of the Church at the councils in the 4th century: "And ascended into heaven, and sits at the right hand of the Father," as well as "And in the Holy Spirit, the Lord, the Life-Giver, who with the Father and the Son is worshiped and glorified."
In the upper part of the composition, in the center, the Holy Spirit is depicted in the form of a dove; in the middle part, on the right side of the viewer, is Sabaoth, on the left is Christ, sitting on the clouds.
The Holy Spirit is the third person of the Holy Trinity, who appeared in the form of a white dove at the baptism of Christ by John the Baptist:
"John saw the Spirit of God descending like a dove and lighting on Him" (Matt. 3:16; Mark 1:10; Luke 3:21-22).
Another hypostasis of the Holy Spirit is the tongues of fire that descended on the apostles on the day of Pentecost (Acts 2:34).
Новозавітна Трійця – один з іконографічних типів Трійці: зображуються Бог Отець, Бог Син та Бог Дух Святий в образі голуба.
Основою іконографії Новозавітної Трійці є слова з Символу віри, прийнятого Отцями Церкви на соборах у IV ст.: "І що піднявся на небеса, і сидить праворуч при Отці", а також "І на Духа Святого, Господа, Животворящого, що з Отцем і Сином поклоняємось і славимо".
У верхній частині композиції в центрі зображується Дух Святий в образі голуба; в середній частині, праворуч від глядача, - Саваоф, з лівої - Христос, що сидять на хмарах.
Дух Святий - третя особа Пресвятої Трійці, що з'явилася в образі білого голуба при хрещенні Христа Іоанном Предтечею:
"Іоан побачив Духа Божого, який сходив, як голуб, і спускався на Нього" (Мф. III, 16; Мк. I, 10; Лк. III, 21-22).
Інша іпостась Духа Святого - язики вогняного полум'я, що зійшло на апостолів у день П'ятидесятниці (Дії 2, 34).
The Long-tailed Sylph (Aglaiocercus kingii) is a breathtaking sight in the cloud forests of Cañon del Combeima, Tolima, Colombia. This photograph captures a striking male, its iridescent emerald green plumage and remarkably long tail feathers standing out against the lush backdrop. Shot at an altitude of 2627 meters, the image benefits from the soft, diffused light typical of the cloud forest, enhancing the bird's vibrant colors. The composition focuses on the Sylph's delicate balance on a flowering plant, highlighting the grace and beauty of this unique hummingbird.
As a bird photographer dedicated to conservation, capturing this moment was both a challenge and a privilege. The long tail feathers required careful framing to ensure they were fully showcased, and the ever-changing light conditions demanded precise camera settings. This image is a testament to the patience and dedication needed to photograph such elusive and magnificent creatures. Sharing this moment allows for a deeper appreciation of both the technical aspects of wildlife photography and the critical importance of conserving these natural habitats.
©2021 Adam Rainoff Photographer
With the roar of my engine echoing through the towering pines, it sounded like a symphony to my restless soul.
A lone wolf on the misty forest highway, chasing freedom or maybe running from something darker.
The leather of my jacket is worn, a testament to the miles I've ridden and the challenges I've overcome.
I press on, full lthrottle, my gaze focused ahead, my mind contemplating the road that lies before me.
For in these fleeting moments of solitude, I know I will find the answers I seek - the ones that will guide me to wherever it is I need to be.
Capernaum, in the Galilee of northern Israel is a Biblical village. It sits not far from other important Christian sites in Israel. These include Bethsaida, the Mount of Beatitudes, and Tabgha, as well as the Jordan River and Tiberias on the northwestern shore of the Sea of Galilee. Today the town of Kfar Nahum (Talhum in Arabic) stands where Capernaum once stood. The site attracts thousands of pilgrims and tourists from around the world every year.
The late establishment of the town explains why Capernaum is not in the Old Testament. The town is deeply significant to Christians as it features prominently in the New Testament.
Jesus was born in Bethlehem, brought up in Nazareth, and preached in Jerusalem but it was the significant Galilean Ministry years which he spent in Capernaum and where he performed many of his miracles. Capernaum became his home and the Bible calls it Jesus’ “own city”. Matthew 4:13 tells us that Jesus left Nazareth and went to live in Capernaum after meeting temptation in the wilderness. Here he met James, John, Peter, Andrew all fishermen and Matthew a tax collector, five of his future disciples.
Справа от центральной композиции трёхфигурного Деисуса изображена сцена Преображение - одна из двенадцати сцен богородичного и христологического циклов, вписанных в золотую аркаду и расположенных по обе стороны от центральной композиции.
В нижней части сцены фигуры трёх поражённых чудом апостолов - Петр, Иаков и Иоанн, которые пришли на гору Фавор (позже называемую Горой Преображения ), чтобы помолиться.
Петр показан справа коленопреклоненным. В центре традиционно представлен Иоанн Богослов. Апостол Иаков изображен слева, отвернувшимся и как бы упавшим. Одной рукой он держится за камень.
На вершине горы Иисус начинает светиться яркими лучами света. Согласно Ветхому Завету рядом с ним появляются фигуры ветхозаветных пророков Ильи и Моисея.
В иконографических изображениях в руках Моисей обычно держит книгу или, в более поздних вариантах, скрижали Завета. В данном изображении Моисей стоит справа и держит в руке «скрижаль откровения». Он представляет умерших, тогда как Илья Пророк, вознесшийся на огненной колеснице, выступает от имени живых.
In the New Testament, the Transfiguration of Jesus is an event where Jesus is transfigured and becomes radiant in glory upon a mountain. The Synoptic Gospels (Matthew 17:1–8, Mark 9:2–8, Luke 9:28–36) describe it, and the Second Epistle of Peter also refers to it (2 Peter 1:16–18). It has also been hypothesized that the first chapter of the Gospel of John alludes to it (John 1:14).
In these accounts, Jesus and three of his apostles, Peter, James, and John, go to a mountain (later referred to as the Mount of Transfiguration) to pray. On the mountaintop, Jesus begins to shine with bright rays of light. Then the Old Testament figures Moses and Elijah appear next to him and he speaks with them. Both figures had eschatological roles: they summarize the Law and the prophets, respectively. Jesus is then called "Son" by a voice assumed to be God the Father, as in the Baptism of Jesus.
Many Christian traditions, including the Eastern Orthodox, Catholic Church, Lutheran and Anglican churches, commemorate the event in the Feast of the Transfiguration, a major festival. In Greek Orthodoxy, the event is called the metamorphosis.
The vault of the church imitates Hagia Sophia.
In the center is the image of Christ the Great Bishop surrounded by Archangels. He is represented on the Throne as King and Priest. Next to the Savior, the Mother of God and John the Baptist turn to Him.
Artist Ivan Izhakevich (1864-1963).
In Christian and, including, Ukrainian sacred art, Old Testament characters (prophets and forefathers) play the role of heralds of the New Testament, symbolizing the meeting of the Old and New Testaments.
In this case, in the dome of the temple, Christ the Savior is enthroned surrounded by the Mother of God, John the Forerunner and archangels, and below, on a drum of light, he is surrounded by 16 prophets, each of whom holds a scroll with prophecies about the birth of the Messiah. In Ukraine, if the prophets are represented in the iconostasis, as a rule, they create the highest iconostasis rank.
У християнському і, в тому числі, в українському сакральному мистецтві старозавітні персонажі (пророки та праотці) виконують роль провісників Нового Завіту, символізуючи зустріч Старого та Нового Завіту.
У даному випадку, у куполі храму Христос Спаситель на престолі в оточенні Богородиці, Іоана Предтечі та архангелів, а нижче, на світловому барабані, його оточення становлять 16 пророків, кожен з яких тримає сувій із пророцтвами про народження месії. В Україні, якщо пророки представлені в іконостасі, як правило, вони творять найвищий іконостасний чин.
Category: Single Exposure Panorama
Social IG: victorlimaphoto
Story:
In the heart of the Atacama Desert in Chile, a mesmerizing astrophotograph captures the celestial spectacle above. The sprawling expanse of the Milky Way arches gracefully across the sky, weaving a luminous tapestry of stars that illuminates the desert night. Framed within this cosmic canvas are the Southern Hemisphere's prominent emission nebulae, their vibrant hues contributing to the celestial ballet overhead. Among these celestial wonders, the Magellanic Clouds, ethereal galaxies visible to the naked eye, add a touch of cosmic grandeur to the scene.
The atmospheric splendor of the Atacama's night sky is further enhanced by the subtle dance of airglow, casting a surreal palette of green, yellow, and red tones. This celestial phenomenon occurs as molecules in the Earth's upper atmosphere release stored energy in the form of light, creating an otherworldly glow that complements the stellar display. Against the stark backdrop of the desert landscape, the vivid celestial tapestry and atmospheric radiance unite to create a breathtaking panorama, showcasing the unparalleled beauty of the night sky in one of the world's most astronomically privileged locations.
This astrophotograph serves as a testament to the pristine conditions of the Atacama Desert, where the absence of light pollution and the high-altitude vantage point converge to offer a front-row seat to the celestial wonders that adorn the Southern Hemisphere's night sky. Each element captured in this image tells a story of the cosmic ballet that unfolds above, inviting viewers to marvel at the profound beauty and intricate interplay of celestial phenomena in the vast and remote expanses of the Chilean desert.
EXIF:
04/may/2022 11:30pm
Canon 6D Ha-mod / Sigma 20mm f/1.4 Art
20x25 sec / f:2 / ISO 4000
St Mary's Church in the small Worcestershire village of Ripple is the largest parish church in the county, a testament to the days when Ripple was a major settlement, fed by transport links with the nearby River Severn.
Rice harvesting in Vietnam is a testament to human resilience and the enduring connection to the land. Generations of Vietnamese farmers have honed their skills, transforming vast emerald fields into golden harvests.
From the meticulous planting of seedlings to the arduous task of hand-harvesting with sickles, each stage demands immense physical labor. Under the scorching sun, farmers work tirelessly, their movements rhythmic and precise. The act of harvesting is not merely a chore, but a deeply ingrained tradition, a celebration of life nurtured from the earth. Trung Khanh, Vietnam
Castle Mountain towers high above the valley below. It makes you feel small as you stand beneath its shear cliff walls enshrouded in clouds. The wildflower filled meadow adds to the vast array of beauty that fills this scene out of what feels like a fairytale. Yet the reality of this story is better than a fairytale for it is a testament to the infinite majesty of our King! The heavens are His throne and the earth is His footstool. A King far too glorious to be approached; however, there was made a way. Royal blood was spilled and we were given royal garments that have been washed in blood and come out white as snow. We have been stamped righteous and we can approach this glorious King with joy and boldness with tear filled eyes as we behold His wondrous glory!
These charred remains of spruces stand in silent testament to a time when raging fires ravaged this part of Jasper National park. Entire mountains were consumed by a relentless and unstoppable inferno. As the sun breaks through a foggy winter dusk, it kindles hopes of rebirth and growth in a distant future.
Amidst the vast, rolling plains of the Midwest, a weathered and forgotten farmhouse stands as a relic of a bygone era. Its desolation is a haunting testament to the passage of time, where the once vibrant colors of its paint have now succumbed to the relentless assault of nature. The cracked and peeling facade, reminiscent of a psychedelic mural gone awry, tells tales of forgotten dreams and lost aspirations.
The structure, leaning precariously as if weary from bearing witness to years of changing seasons and unforgiving weather, casts eerie shadows that dance in the fading light of dusk. The porch, once a welcoming threshold, now hangs onto its last vestiges of existence, a skeletal reminder of the life that once thrived within these weathered walls.
A sense of abandonment pervades the air, as if the spirits of the past occupants linger, whispering echoes of laughter and the toil of hard work. The overgrown vegetation, reclaiming the land it once yielded to human hands, adds to the surreal aura of neglect and isolation.
In this frozen moment captured by the lens, one can almost hear the distant echoes of Hunter S. Thompson's voice, a raspy whisper on the winds of time, speaking of forgotten dreams, lost hope, and the relentless march of progress that left this once bustling abode to fade into the annals of history.