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Global inequality is growing, with half the world’s wealth now in the hands of just 1% of the population, according to a new report.Each of the remaining 383m adults – 8% of the population – has wealth of more than $100,000. This number includes about 34m US dollar millionaires. About 123,800 individuals of these have more than $50m, and nearly 45,000 have more than $100m. There is overwhelming agreement among economists that the Second World War was responsible for decisively ending the Great Depression. When asked why the wars in Iraq and Afghanistan are failing to make the same impact today, they often claim that the current conflicts are simply too small to be economically significant.
There is, of course, much irony here. No one argues that World War II, with its genocide, tens of millions of combatant casualties, and wholesale destruction of cities and regions, was good for humanity. But the improved American economy of the late 1940s seems to illustrate the benefits of large-scale government stimulus. This conundrum may be causing some to wonder how we could capture the good without the bad.
If one believes that government spending can create economic growth, then the answer should be simple: let's have a huge pretend war that rivals the Second World War in size. However, this time, let's not kill anyone.
Most economists believe that massive federal government spending on tanks, uniforms, bullets, and battleships used in World War II, as well the jobs created to actually wage the War, finally put to an end the paralyzing "deflationary trap" that had existed since the Crash of 1929. Many further argue that war spending succeeded where the much smaller New Deal programs of the 1930s had fallen short.
The numbers were indeed staggering. From 1940 to 1944, federal spending shot up more than six times from just $9.5 billion to $72 billion. This increase led to a corresponding $75 billion expansion of US nominal GDP, from $101 billion in 1940 to $175 billion by 1944. In other words, the war effort caused US GDP to increase close to 75% in just four years!
The War also wiped out the country's chronic unemployment problems. In 1940, eleven years after the Crash, unemployment was still at a stubbornly high 8.1%. By 1944, the figure had dropped to less than 1%. The fresh influx of government spending and deployment of working-age men overseas drew women into the workforce in unprecedented numbers, thereby greatly expanding economic output. In addition, government spending on wartime technology produced a great many breakthroughs that impacted consumer goods production for decades.
So, why not have the United States declare a fake war on Russia (a grudge match that is, after all, long overdue)? Both countries could immediately order full employment and revitalize their respective manufacturing sectors. Instead of live munitions, we could build all varieties of paint guns, water balloons, and stink bombs.
Once new armies have been drafted and properly outfitted with harmless weaponry, our two countries could stage exciting war games. Perhaps the US could mount an amphibious invasion of Kamchatka (just like in Risk!). As far as the destruction goes, let's just bring in Pixar and James Cameron. With limitless funds from Washington, these Hollywood magicians could surely produce simulated mayhem more spectacular than Pearl Harbor or D-Day. The spectacle could be televised- with advertising revenue going straight to the government.
The competition could be extended so that the winner of the pseudo-conflict could challenge another country to an all-out fake war. I'm sure France or Italy wouldn't mind putting a few notches in the 'win' column. The stimulus could be never-ending.
If the US can't find any willing international partners, we could always re-create the Civil War. Missed the Monitor vs. the Merrimack the first time? No worries, we'll do it again!
But to repeat the impact of World War II today would require a truly massive effort. Replicating the six-fold increase in the federal budget that was seen in the early 1940s would result in a nearly $20 trillion budget today. That equates to $67,000 for every man, woman, and child in the country. Surely, the tremendous GDP growth created by such spending would make short work of the so-called Great Recession. The big question is how to pay for it. To a degree that will surprise many, the US funded its World War II effort largely by raising taxes and tapping into Americans' personal savings. Both of those avenues are nowhere near as promising today as they were in 1941. Current tax burdens are now much higher than they were before the War, so raising taxes today would be much more difficult. The "Victory Tax" of 1942 sharply raised income tax rates and allowed, for the first time in our nation's history, taxes to be withheld directly from paychecks. The hikes were originally intended to be temporary but have, of course, far outlasted their purpose. It would be unlikely that Americans would accept higher taxes today to fund a real war, let alone a pretend one. That leaves savings, which was the War's primary source of funding. During the War, Americans purchased approximately $186 billion worth of war bonds, accounting for nearly three quarters of total federal spending from 1941-1945. Today, we don't have the savings to pay for our current spending, let alone any significant expansions. Even if we could convince the Chinese to loan us a large chunk of the $20 trillion (on top of the $1 trillion we already owe them), how could we ever pay them back? If all of this seems absurd, that's because it is. War is a great way to destroy things, but it's a terrible way to grow an economy. What is often overlooked is that war creates hardship, and not just for those who endure the violence. Yes, US production increased during the Second World War, but very little of that was of use to anyone but soldiers. Consumers can't use a bomber to take a family vacation. The goal of an economy is to raise living standards. During the War, as productive output was diverted to the front, consumer goods were rationed back home and living standards fell. While it's easy to see the numerical results of wartime spending, it is much harder to see the civilian cutbacks that enabled it. The truth is that we cannot spend our way out of our current crisis, no matter how great a spectacle we create. Even if we spent on infrastructure rather than war, we would still have no means to fund it, and there would still be no guarantee that the economy would grow as a result. What we need is more savings, more free enterprise, more production, and a return of American competitiveness in the global economy. Yes, we need Rosie the Riveter - but this time she has to work in the private sector making things that don't explode. To do this, we need less government spending, not more.
The existing literature identifies natural resource wealth as a major determinant of civil war. The dominant causal link is that resources provide finance and motive (the “looting rebels” model). Others see natural resources as causing “political Dutch disease,” which in turn weakens state capacity (the “state capacity” model). In the looting rebels model, resource wealth first increases, but then decreases the risk for civil war as very large wealth enables governments to constrain rebels, whereas in the state capacity model, large resource wealth is unambiguously related to higher risk of war. This research note uses a new dataset on natural resource rents that are disaggregated as mineral and energy rents for addressing the resources-conflict relationship. We find that neither a dummy variable for major oil exporters nor our resource rents variables predict civil war onset with a 1000-battle-death threshold coded by Fearon and Laitin (2003) Fearon, J. D. and Laitin, D. D. 2003. Ethnicity, insurgency, and civil war. American Political Science Review, 97(1): 1–16.
[Crossref], in the period after 1970 for which rents data are available. However, using a lower threshold of 25 battle deaths, we find that energy wealth, but not mineral wealth, increases the risk for civil war onset. We find no evidence for a nonlinear relationship between either type of resources and civil war onset. The results tentatively support theories built around state capacity models and provide evidence against the looting rebels model of civil war onset.
www.businessinsider.com/lets-pretend-to-have-another-seco...
A considerable body of poetical work has been attributed to Saint Kabir. And while two of his disciples, Bhāgodās and Dharmadās, did write much of it down, "...there is also much that must have passed, with expected changes and distortions, from mouth to mouth, as part of a well-established oral tradition."
In that Place There Is No Happiness or Unhappiness,
No Truth or Untruth
Neither Sin Nor Virtue.
There Is No Day or Night, No Moon or Sun,
There Is Radiance Without Light.
There Is No Knowledge or Meditation
No Repetition of Mantra or Austerities,
Neither Speech Coming From Vedas or Books.
Doing, Not-Doing, Holding, Leaving
All These Are All Lost Too In This Place.
No Home, No Homeless, Neither Outside or Inside,
Micro and Macrocosm Are Non-Existent.
Five Elemental Constituents and the Trinity Are Both Not There
Witnessing Un-struck Shabad Sound is Also Not There.
No Root or Flower, Neither Branch or Seed,
Without a Tree Fruits are Adorning,
Primordial Om Sound, Breath-Synchronized Soham,
This and That - All Are Absent, The Breath Too Unknown
Where the Beloved Is There is Utterly Nothing
Says Kabir I Have Come To Realize.
Whoever Sees My Indicative Sign
Will Accomplish the Goal of Liberation.
Kabir
What is seen is not the Truth
What is cannot be said
Trust comes not without seeing
Nor understanding without words
The wise comprehends with knowledge
To the ignorant it is but a wonder
Some worship the formless God
Some worship His various forms
In what way He is beyond these attributes
Only the Knower knows
That music cannot be written
How can then be the notes
Says Kabir, awareness alone will overcome illusion
Kabir
There is a common trunk that carries energy from the EARTH TO COSMOS? a kind of Milky Way, fruit of the mammary tits of a sacred cow. The link between the body of light and the physical body is a silver rope invisible from mortals. It would be necessary to die first to be reborn in a spiritual World. The attachment to material values divides us and the World War is the result of an oversized human ego. Thus, we must digest our reptilian impulses to live detached from the roots of evil and once again become a sacred fruit of the Tree of Life.In this early spring, he seems happy to be in Paris. It was there that, in 2006, his career took a truly international turn. For the Nuit blanche, Subodh Gupta had been invited to produce a work: "Very Hungry God". This monumental skull of gleaming kitchen utensils was shown at Saint-Bernard church in the Goutte-d'Or district, where the battle of the undocumented had taken place ten years earlier. Struck by this paradoxical image of prosperity and death, François Pinault immediately bought the sculpture, then installed it in front of his Venetian foundation, at the Palazzo Grassi. This skull became one of the most famous vanities of contemporary art with the one Damien Hirst made in diamonds a year later.Born in a village in northern India, marked in his childhood by the presence of a theatre company and by film screenings where his mother took him, Subodh Gupta experienced a meteoric rise. First trained in figurative painting, he put this technique aside to make videos and assemblages of objects, often kitchen utensils, which have been his signature for about ten years. This is the case of "People Tree", a giant tree created especially to be presented in one of the Mint's courses. Subodh Gupta has a sense of sharing and loves to cook. It is for him an essential reference: he compares willingly the kneading of a bread dough and the artistic gesture. His works also tell the story of travel and exile, like his boat overflowing with metal amphorae and evoking the fate of migrants.
He is interested in the cosmos and the philosopher's stone, a mysterious substance known to turn lead into gold.
Faced with success, we had to produce a lot. The size of his workshops kept increasing every year to accommodate more assistants - he said he sometimes made less good pieces. So, for some time now, his work has taken a more meditative turn. He is interested in the cosmos and the philosopher's stone, a mysterious substance reputed to turn lead into gold, cure diseases, prolong human life... He also returned to painting. Through works, often colossal, installed in 18th century salons, the exhibition shows how far we have come.
Subodh Gupta spent a week working in the Mint's workshops to make a medal himself. The exchanges seem to have been spontaneous with the engravers, in this place which is one of the oldest factories in Paris. It was as an alchemist that he thought about his project: the idea came to him to associate the preciousness of spices with that of metal by placing the key ingredients of a good curry, garam masala, on modelling clay. The assembly will be scanned and pressed onto a metal disc. A reminder that in Vasco da Gama's time.
fr.pressfrom.com/actualite/culture/-95491-subodh-gupta-un...
While often Gupta, an artist based in New Delhi, uses form and content emanating from an Indian milieu as initial points of reference, these works are far from nostalgic, nativist or even culturally specific. They serve instead as universally relatable ruminations on the physical, the metaphysical, and their interconnections.
, In This Vessel Lies the Philosopher’s Stone, is a citation from the writings of the Indian poet Kabīr, from the 15th century, who is one of India’s most celebrated mystics and venerated by Hindus and Muslims alike.
Kabīr identifies a humble vessel, a trope for the human body, to be the carrier of everything – the earth, the universe, and the divine. Subodh Gupta’s most recent works are a meditative exploration of both the literal and metaphorical implications of these verses. The quotidian pantry has long been Gupta’s artistic realm where he finds material and meaning. But rather than expressing earthly horrors and delights, he has moved into capturing the cosmic in the everyday, resulting in a body of work that is simultaneously minimalist and exaggerated. For Gupta, the steam that escapes a boiling kettle suggests a new galaxy emerging, the sparks that scatter out of a wood stove appear to represent the birth of new stars, and the metallic banging of a hammer crushing aluminum suggests the celestial big bang. As the domestic is superimposed on the cosmic, astrophysical wonders are minimized to the mundane, and mundane earthly objects out into inter-stellar awe.
he phrase paaras or paarasmani, mentioned in the verses by Kabir, refers to an oddly universal mythological object that is able to transmute ordinary materials into precious metals or imbue them with extraordinary powers. The western equivalent to this mystical gem is known as the philosopher’s stone. The power of the philosopher’s stone is uncannily similar to an artist’s power to elevate an ordinary object into a prized possession, simply by rendering it in an artwork. Subodh Gupta’s work is particularly analogous to this alchemical act of transmutation and this is evident throughout his works, most literally perhaps in the work titled Only One Gold, which shows a humble potato seemingly transformed into a lump of gold.
www.itsliquid.com/subodh-gupta-in-this-vessel-lies-the-ph...
It is believed that spirits often feed themselves thru inhaling from joss sticks.
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It's the Luner 7th month, which means it's the scariest month in the whole year according to Chinese believes.
As a child I was always warned to be extra cautious: avoid going out at night, never answer when I heard anyone call my name from behind, don't whistle and no mention the word "ghosts" are among the rules during the Ghost Month.
This year I decide to pay a visit to one of the remaining Ghost Month ( which is called "Yu Lan Festival" in the formal term ) to document some of its believes.
So here's the beginning of my first documentation of the Hungry Ghost Festival.
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The Ghost Festival, also known as the Hungry Ghost Festival, or Yu Lan is a traditional Chinese festival and holiday celebrated by Chinese in many countries. In the Chinese calendar (a lunisolar calendar), the Ghost Festival is on the 15th night of the seventh month (14th in southern China).
In Chinese tradition, the fifteenth day of the seventh month in the lunar calendar is called Ghost Day and the seventh month in general is regarded as the Ghost Month (鬼月), in which ghosts and spirits, including those of the deceased ancestors, come out from the lower realm.
Distinct from both the Qingming Festival (in spring) and Chung Yeung Festival (in autumn) in which living descendants pay homage to their deceased ancestors, on Ghost Day, the deceased are believed to visit the living.
On the fifteenth day the realms of Heaven and Hell and the realm of the living are open and both Taoists and Buddhists would perform rituals to transmute and absolve the sufferings of the deceased. Intrinsic to the Ghost Month is ancestor worship, where traditionally the filial piety of descendants extends to their ancestors even after their deaths.
Activities during the month would include preparing ritualistic food offerings, burning incense, and burning joss paper, a papier-mâché form of material items such as clothes, gold and other fine goods for the visiting spirits of the ancestors
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More images of the Hungry Ghosts "Yu Lan" Festival here:
Hungry Ghosts "Yu Lan" Festival
More Chinese Temples images here:
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There are more items ready, but more dolls would make the setting too confusing.
Dolls are:
Never Ordinary Eden wearing Transmutation dress from our Seven Wonders Collection.
Lady In Red Erin: Wearing Grace Dress from our The Harvest Collection
MLP Fluttershy Wearing our Sybil derss
DOTW Sumatra/Indonesia on a MTM Body wearing a custom Daughter Of Sailors top.
Fashion details at Around the Grid
All the poets I've ever read
say lovers, old or new, must meet
in fields of green grass or new-mown hay
places blowing with wildflowers
and warm with sunshine
But you don't find places like that everywhere and when
You can't meet your lover in a field of poppies and daisies
when you're in Michigan in the winter
Two may plight their troth 'neath an arch of roses
but never in December northlands
Still, the heart recks not the time nor place
for a lover's reunion
The skies may be grey as a ghost's eyes,
the wind howling from the heights,
flurries blowing in the breeze
instead of peony blossoms —
but when he calls,
wherever he is,
whenever he is,
you will come
You need not even touch him;
just see him
and naught else matters to you
The freezing blast becomes
balmy breezes of May
The seabirds' croaks transmuted
to the song of bluebirds
And a world of snow and brown grasses
refashions itself in your heart’s eye
to the greenest of gardens
all for the sake of one person
You rush to meet him —
or he comes to you
for it doesn't really matter —
and you wouldn't trade where you are
for the warmest resort
in Spain or Italy
All you want is the touch of his hand
the caress of his arms
the brush of his warm lips against yours —
and the promise of later
when even this shall pale
before bright moments in the dark
and the quiet
and the solitude of two
What do time or place mean
to the union of hearts?
To those in love and separated
a second apart is an eternity
and Eden a barren desert
To those rejoined
a day is too little
and the emptiest desert a paradise
When you find the one who’s the Other You
cling to the time together
glory in the places you can share your lives
and glorify God in gratitude
for the happiness showered on you both
Harper Ganesvoort, 2016
In 1920 Rudolf Steiner spoke of Goethe’s fairy tale TheGreen Snake and the Beautiful Lily as the archetypal seed of the Anthroposophical movement. The destiny of the first Goetheanum can be said to lead to ‘rebirth out of the ashes’. On 1 January, 1923, was the tragedy of the burning of the first Goetheanum. In retrospect (and from an alchemical point of view), it can be seen as a ‘mystical death’ by fire, Out of the living etheric forces of the First Goetheanum, Rudolf Steiner brought forth ‘The Foundation Stone Mantrum’ as an act of creative will. In response to the ‘cry of longing of mankind for the spirit’ had The House of the Word been built, and the 2nd Goetheaunum was to rise, phoenix-like out of the ashes. An interesting way of exploring the time element in ‘The Green Snake and the Beautiful Lily’ has been offered by Paul M. Allen in The Time Is at Hand.1) I will also relate a short summary of the fairy tale in its sequence, as the times of days occur, woven into a tapestry, corresponding to the steps, which are involved in the alchemical transmutation inherent in this fairy tale.‘Alchemy can perhaps best be described as a process of metamorphosis, a changing of form by means of the activity of the three fundamental powers of the soul; thinking, feeling and willing; These three can be likened to the nature of the substances Salt, Mercury, and Sulphur as they work upon the elements inherent in all created things Earth, Water, Air and Fire, transforming these from their fallen states of unredeemed matter to a restoration of their archetypal , original spiritual condition.’1) I was privileged to know Agnes Linde, Herman’s daughter in the early to mid 1980’s, while I was living in Dornach. She was a Eurythmist and a painter. I was often able to observe the original illustrations made by her father of ‘The Green Snake and the Beautiful Lily’, which portray the interwoven correspondence to Steiner’s first Mystery Play, ‘The Portal of Initiation’.Now, let us begin with the following correlations involving the soul transformations of J. W. Goethe’s ‘The Green Snake and the Beautiful Lily’:At Midnight begins the Transmutation –Prima Materia, in Goethe’s allegorical fairy tale. This Corresponds to Study or Pure Thought in the Rosicrucian Initiation, as Rudolf Steiner spoke of at The Munich Conference.Here begins the fairy tale…‘In his little hut by the great river, which a heavy rain had swollen to overflowing, lay the ancient ferryman, asleep, wearied by the toil of the day’
This is the state at the beginning of the process of transmutation, ‘the given’, the basis, in musical expression, Prime. The ferryman meets the mischievous, unevolved, Will-o-the–Wisps who wish to cross the mysterious river, while boisterously shaking out heaps of glittering gold. The ire of the Ferryman is aroused; and disembarking, when he reaches the other side of the river, he gathers the gold pieces (which cannot be allowed to fall into that elemental stream), and throws them into a cleft of rock where they can safely lie.
Having now arrived on the other side of the realm, the earthly world, the Will-o-the-Wisps meet the Green Snake, who is swallowing the gold, (or the wisdom of spiritual science) and who is able digest it, having suffered and become open to spiritual understandings.
Afterwards, the Snake meets the Old Man with the Lantern in the subterranean temple, and undergoes a beginning step of initiation, as she answers the Sphinxlike questions of the four Kings in the temple, and comes to the first declaration of ‘The time is at hand’
In Christian Gnostic Initiation this can be compared with ‘The Washing of the Feet’
‘The time is at hand’, these words appear in the first verses of the book of Revelations. This ‘time’ is, paradoxically, referring to an individual as well as a universal moment of initiation.At Dawn the alchemical experience of Separation or Clarification of the Elements occurs; this is Imaginative Knowledge, in the Rosicrucian Initiation, The Second in musical intervals. The Wisps go to the Old Woman’s cottage, and rudely devour the gold from the walls of the cottage, and again shower the realm with gold pieces. They cannot comprehend the Old Woman’s wisdom either, but can only intellectualise or ‘parrot’ undigested knowledge. Their gold pieces kill the dog Mops.The Old Woman has somehow promised the Will o the Wisps to repay their debt to the Ferryman for their crossing. He can take no gold, only ‘fruits of the earth’: three cabbages, three artichokes, and three onions, deeds of thinking, willing and feeling. However the Giant who is bathing in the river, spots the Old Woman with her basket of fruits of the earth. He is able with his shadow to snatch up an artichoke (which represents deeds of the will) out of the basket. Mops has also been taken along in the basket, to give to the Fair Lily, on the Spirit side of the river. She can mysteriously make dead things living, and living things dead. Such is her nature. Before meeting the Prince, the Old Woman is obliged to pay a debt to the river to make up for the lost artichoke, and enable her to cross the river; this entails placing her hand in the stream, which causes it to blacken. Painful but necessary, these events have a relation in the Gnostic Christian Initiation, to the Scourging.Noon brings the Clarification and Uniting of Active and Passive, and the Rosicrucian stage of Inspiration. The interval of the Third is evoked. The Old Woman meets with the Prince, who is also seeking the fair Lily. The Prince is suffering from melancholy and can offer little information about his own being. They travel on the same path and cross the river together in reverence, at noon, on the back of the Green Snake who habitually offers service to all who are able to cross. This is the first bridge. In Christian Gnostic terms, it corresponds to the Crown of Thorns.Twilight appears as the Mystical Death, the transmutation of substance into carbon (the Philosopher’s Stone) The stage of Intuition. This is the fourth interval of music. All meet in the Kingdom of the Lily. Mops is brought back to life by the Lily’s touch. The Youth, overcome with desire, passionately reaches out and touches the Lily, which causes his death. The Snake then forms a protective ring around the Youth and the Canary bird that she had inadvertently killed. These events would be comparable to The Crucifixion in the Christian Gnostic Initiation,Midnight is the next time, the Washing or Purifying, Correspondence between the Microcosm and the Macrocosm the reuniting of the soul and the body, the greater and lesser worlds – Macrocosm and Microcosm; this is the fifth musical interval; the Old Man with the Lantern assigns tasks. The Old Man declares that at this point, ‘An individual helps not but he who combines himself with many at the proper hour does help.’ The procession crosses the bridge again on the back of the Snake. The Youth has a first awakening. For this to happen, the Lily must touch the Snake with the right hand and her lover with the left. The Snake then makes a final sacrifice and becomes a permanent jewelled bridge leading to the temple. All enter the temple and greet the Kings. This is related to The Mystical Death in the Christian Gnostic Initiation.At Dawn is theBursting Out, Living into the Macrocosm where reborn purified element appears in many colours, the Macrocosm: the sixth interval of music; the Temple rises to the surface of the earth. The final initiation of the Youth and the investiture into Kingship then occurs, as does the demise of the Mixed King. This corresponds to the Burial and Resurrection in Christian Gnostic terms.Bright Noonday brings aboutthe Chymical Wedding, the Stage of Divine Bliss, Royal Marriage, the Seventh interval in music, rejuvenation, including the healing of the Old Woman, and the transformation of the Giant. ‘All debts are paid’ There is a Michaelic bridge, the sacrifice of the Snake, now serving all of humanity. Goethe’s text end with the following words:… ‘and to the present hour the bridge is swarming with travellers, and the Temple is the most frequented on the whole earth. This stage must relate to the Ascension of the Soul in Christian Gnostic terms. The Octave, then, would be related to the ultimate realities of the Eternal. Humanity will have been guided from the world of images in Space (the Earthly world, through events taking place in Time ( the Soul’s transformation ) as pictured allegorically in the ‘Green Snake and the Beautiful Lily’ – to pure Spirit, those ultimate eternal realities. 1) The Time is at Hand, Paul M.. Allen, Anthroposophic Press, RR4 Box 94 A-1, Hudson , NY 12534
A Turaga of Plantlife, as twisted in spirit as in body. After a mishap with a Mask of Elemental Transmutation that resulted in much of Kensigh's body becoming wood and bark, he was forced to retire as a Toa and take up residence in a small Bo-Matoran trading settlement as their Turaga. Time has only added to his bitterness. He now wears a noble Mask of Paralysis that has been mostly fused with his plant-like body.
Turaga Onewa was cool and all (he actually passed Onuku as the third most popular MOC in my gallery), but I wanted to do something a bit more original with Rey's cloth, and I just really, really like Umarak's mask. I'm just having so much fun with all these new 2016 parts.
三件神袍高掛在神袍棚內, 分別為給「天地父母」、「南辰北斗」和「諸位福神」穿著。
其中天地父母衣上的裝飾手工精細,往往以金龍為中心。
Hanging at one of the tents are three giant paper crafted robes, as offerings for the "Gods of Heaven & Earth", "Gods of Spiritual Realm" and "Gods of Blessings".
The golden dragon is often the center point of the delicate design.
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The Ghost Festival, also known as the Hungry Ghost Festival, or Yu Lan is a traditional Chinese festival and holiday celebrated by Chinese in many countries. In the Chinese calendar (a lunisolar calendar), the Ghost Festival is on the 15th night of the seventh month (14th in southern China).
In Chinese tradition, the fifteenth day of the seventh month in the lunar calendar is called Ghost Day and the seventh month in general is regarded as the Ghost Month (鬼月), in which ghosts and spirits, including those of the deceased ancestors, come out from the lower realm.
Distinct from both the Qingming Festival (in spring) and Chung Yeung Festival (in autumn) in which living descendants pay homage to their deceased ancestors, on Ghost Day, the deceased are believed to visit the living.
On the fifteenth day the realms of Heaven and Hell and the realm of the living are open and both Taoists and Buddhists would perform rituals to transmute and absolve the sufferings of the deceased. Intrinsic to the Ghost Month is ancestor worship, where traditionally the filial piety of descendants extends to their ancestors even after their deaths.
Activities during the month would include preparing ritualistic food offerings, burning incense, and burning joss paper, a papier-mâché form of material items such as clothes, gold and other fine goods for the visiting spirits of the ancestors
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Follow my rediscovery of the Hungry Ghosts "Yu Lan" Festival here:
七月盂蘭 Mid Summer Ghost Story
For my past visits to the Hungry Ghosts "Yu Lan" Festival here:
Hungry Ghosts "Yu Lan" Festival
More Chinese Temples images here:
Caves & Temples
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A battle between spearmen in a dream represents a blow of fate, a mishap, or a calamity. The way to avoid such a mishap is by spending money and efforts on God’s path. Such a battle also could mean an attack against one’s religion,a calumny, or mocking another person’s faith, or speaking ill of righteous people, or being sarcastic about religion, or it could mean slander, defamation, confuting someone, defaming him, vilification, or making libelous statements against someone. If one sees himself stabbing someone with a spear, a sword, a lance, or a wooden post in a dream, it means making or publishing libelous statements about someone, and in that case, he is the assailant and he is liable for his actions, also he will be subjected to the same destiny. If one stabs, wounds, or threatens someone with any of the above weapons, or if he points them toward the other person but does not attack him in the dream, it means that he will be tempted to slander or defame him, then he will withhold himself from doing so. If one sees people fighting with spears in a dream, it means that a plague will strike that place, or it could mean rising prices. If one sees them rebelling against the government in the dream, it means that prices will fall….
In a dream, a lance represents a branch of wood, stability based on one’s strength, or stepping away from the wrong path. A lance in a dream also represents a woman, a child, testifying to the truth, or going on a journey. A lance in one’s hand in a dream represents a grand son or a blessed son who will grow to preside over people and defend them with his own life. A broken lance in a dream represents an incurable deficiency or a disease that will inflict one’s child. Carrying a lance while riding a horse in a dream means authority with honor. If someone denies his ownership of a lance in a dream, it means an accident or a betrayal. If the lance belongs to a brother, then it means a calamity. If one does repair a broken lance in a dream, it means recovering from an illness. A lance without a spearhead in a dream means the death of one’s brother or child. A lance in a dream also represents a brother or a friend who will part with his brother or friend, or it could mean loss of one’s job. Walking with a lance in one’s hand in the middle of a marketplace in a dream means walking or strolling with one’s son. As for a pregnant woman, a metal lance means that she will deliver a girl, and that she will receive a gift of money or a present after her birth from other daughters. Carrying a lance with a flag raised on top of it in a dream means attaining a position that will earn fame. If one is challenged by someone holding a lance against him in a dream, it means that someone will hurt him with his words, or slander his family. Owning an extra lance in a dream means having a brother or a friend who will stand for one’s defence when needed. A long spear means injustice, or it could mean good health. If one bleeds from a wound caused by a lance in a dream, it means that he will be compensated for pain and suffering, or that he will return home from a longjourney. Multiple wounds from a lance in a dream mean financial compensation, though the source of money is loathsome. Fighting one’s enemies with a lance means earning dirty money. A person holding a lance in a dream also represents a teacher, an educator, or someone who helps his brothers and friends. (Also see Javelin)…
dreamingthedreams.com/meanings/spear/
Evelyn Underhill - 2012 - Aperçu - Autres éditions
There is a further excuse for this apparently eccentric proceeding, however, in the fact that the language of alchemy was ... Then there is the Vessel, or Athanor, in which the transmutation of base metal to gold took place : an object whose exact nature is veiled in much mystery. ... terms, is more often than not disguised in a strange heraldic and zoological symbolism dealing with Lions, Dragons, Eagles, ...
Yuki Okumura
1978 born in Aomori, Japan
Lives and Works in Tokyo
1997-2002 Tama Art University, Tokyo
2000 studied for one year at Queensland College of Art, Brisbane, Australia (as an exchange student)
2002-2004 Tokyo National University of Fine Arts and Music, Tokyo
Residency Programs
2007Irish Museum of Modern Art, Dublin, 3 months (funded by Nomura Cultural Foundation and EU Japan Fest Japan Commitee)
Laboratoire Village Nomade, La Corbiere, 1 month (funded by EU Japan Fest Japan Committee)
Tapei Artist Village, Taipei, 3 months (invited by the Department of Cultural Affairs of Taipei City Government)
Level-1, Kitakyushu, 1 month (organized by in-between)
2006Location One, NY, 6 months (funded by Asian Cultural Council)
Solo Exhibitions
2008"I Me Mine," MISAKO & ROSEN, Tokyo
2007"Half The World Away," Process Room, Irish Museum of Modern Art, Dublin
"Pop," Gallery Soap, Kitakyushu
2006"Can’t Get You Out Of My Head," Chelsmore Annex #18, New York
"Transfer," PARK4DTV, Amsterdam-based website
"Loophole," studio J, Osaka
2005"Be Here Now," Tochigi Prefectural Museum of Fine Arts Conference Room, Tochigi
"Transfer," Hiromi Yoshii Five, Tokyo
2000“Pubic Ping Pong Project,” Soapbox Gallery, Brisbane
"Pieces," QCA Gallery, Queensland College of Art, Brisbane
Selected Group Exhibitions
2008 “End of the Tunnel,” Shin-Marunouchi Building, Tokyo
"Art @ Agnes 2008," Agnes Hotel, Tokyo
2007 "Yuki Okumura / Will Rogan: everyday," MISAKO & ROSEN, Tokyo
“Peach Flower, Apricot Flower,” Sungsan Art Hall, Changwon, Korea
“Yuki Okumura / Wang Ya-hui: On And On And On,” Laboratoire Village Nomade, La Corbiere
"Recent Works," MISAKO & ROSEN, Tokyo
"Art @ Agnes 2007," Agnes Hotel, Tokyo
"Loop," Taipei Artist Village, Taipei
2006"Everyday Life is a Microcosm," Cornel University Department of Art’s Experimental Studio,
Ithaca, upstate NY
“Theory Of Everything,” Tank.tv, London (website)
"Peekskill Project 2006," Peekskill, upstate NY
"IRP Exhibition Summer 2006," Location One, NY
"Trans-boundary Experiences: Contemporary Art from China, Korea and Japan,"
Spool MFG, Binghamton, upstate NY
2005"The World is Mine," Hiromi Yoshii Five, Tokyo
2004"Episode_2nd Asia Art Now," Cheong-ju Art Center Gallery, Cheong-ju, Korea
"Time of My Life – Art with Youthful Spirit," Tokyo Opera City Art Gallery, Tokyo
2003"Tokyo - München," Akademie der Bildenden Künste München, Munich
"The 7th Gunma Biennale for Young Artists," The Museum of Modern Art, Gunma, Japan
"PresentA '03 -where, you," Chinretsukan Gallery, Tokyo National University of Fine Arts and Music, Tokyo
2002 "Emotional Site," Sagacho Syokuryo Building, Tokyo
"Projecting the Body: the opaque interface," Fukugan Gallery, Osaka
2001"The First Steps: Emerging Artists from Japan," Grey Art Gallery, New York
"New York: Philip Morris Art Award 24 Winners from 1996 to 2000”,
Fuji-TV Forum, Tokyo / Umeda Stella Hall, Osaka
2000 "Philip Morris Art Award 2000," Ebisu Garden Hall, Tokyo
1999"Rainbow," Tokyo Zokei University studio, Tokyo
Selected Screenings
2007"MAM SCREEN," Roppongi Hills, Tokyo
“Rencontres Internationales 2007,” Cinema l’Entrepot, Paris
"Compendium," LUX, London
“Dongfang: The Cinema of the Far East,” Castel Sant’Elmo, Naples
"Indblik," Henie Onstad Kunstsenter, Hovikkoden, Norway
"Transmutations," Musee des Beaux-Arts et de la Dentelle de Calais, Calais, France
2006 "Indblik", Herning Art Museum, Herning, Denmark
"Nomad Theatre vol.1: Another World," Uplink Factory, Tokyo
"Cinema Scope”, Scope Hamptons 2006, East Hampton Studios, NY
"Sonar," Centro de Cultura Contemporanea de Barcelona, Barcelona
"Theory of Everything," Workstation Arts Center, Beijing (Traveling to:
Location One, NY / Einstein Auditorium, New York University, NY / Asian Cultural Council, NY
Tainan National University of the Arts, Tainan
Prizes
2007 Stipend, The Nomura Cultural Foundation
2006 Residency Fellowship, Asian Cultural Council
2000 Grand Prix, Philip Morris Art Award 2000
Curatorial Projects
2006"Theory of Everything" (video screening)
Workstation Arts Center, Beijing / Tank.tv, London (online show) / Location One, NY /
Einstein Auditorium, New York University, NY / Asian Cultural Council Office, NY
homepage.mac.com/m_plus_n/theory_of_everything/
2004-05"The World is Mine," Hiromi Yoshii Five, Tokyo (group show)
Writings
2007Contributing to Review House
2005~"Contemporary Art’s Columns," LOAPS www.loaps.com/
Contributing to TABlog [Tokyo Art Beat Blog] www.tokyoartbeat.com/news.ja/
Contributing to BT / Monthly Art Magazine Bijutsu Techo
2004-05"Exhibition Review: Tokyo," BT / Monthly Art Magazine Bijutsu Techo, BIJUTSU SHUPPAN-SHA, Ltd.
Performances & Theatre Projects
2007 "Snow in June,” Taipei Artist Village Bamboo Room, Taipei (collaboration with Liu Shu-chuan)
"Drawer-Traveler in TAV,” Taipei Artist Village Room 201, Taipei
2006 "Can’t Get You Out Of My Head," Chelsmore Annex #18, NY
"Collect Saliva From The Audience And Fry It With A Frying Pan In Front Of Them,"
Spool MFG, Binghamton, USA / Uchida Bldg Complex, Tokyo
2005 "Contemporary Art Guitar Samurai," Traumaris, Tokyo
2004"Full of Memories," Tokyo Opera City Art Gallery, Tokyo
Lectures & Talks
2007 "Fractured Body in the New Generation," Tainan National University of the Arts, Tainan
"My Practice 1999~2007," Gallery Soap, Kitakyushu
“AIT ARTIST TALK #29: Will Rogan x Yuki Okumura,” AIT, Tokyo
2006 "Yuki Okumura x Koki Tanaka: On Universality," Uchida Bldg Complex, Tokyo
"Theory Of Everything," New York University, NY / Workstation Arts Center, Beijing
2005 "Writing Art, Reading Art,” BankArt School, Yokohama
Bibliographies
2008Onishi, Wakato. “Beyond Everyday: Creation Based on Mindset– Yuki Okumura and Satoko Nachi,” The Asahi Shimbun, January 6th evening edition
Nariai, Hajime. “Body, Flickering – Yuki Okumura,” introduction on exhibition “I Me Mine” at Misako & Rosen
2007Glinkowska, Aneta “Will Rogan + Yuki Okumura: everyday,” The Japan Times, August 2
Kojima, Yayoi. “Pick Up: Will Rogan / Yuki Okumura: Everyday,” ecocolo magazine, July
Iwamoto, Fumiwo. “Art of Video: The World’s Essential Fictitiousness and Technique to Survive in it.”
Yuki Okumura exhibition “Pop” brochure
Chou, Alexander. “International artists’ exhibition comes full circle.”
TAIWAN Journal Vol. XXIV No. 11.March 23
2006Perreau, Yann. “Tank.tv epate la galerie.” Libèration, Paris, July
Momus. “Supereveryday: Three New Japanese Artists.” Click Opera (online article)
Iwamoto, Fumiwo. “Details without Totality: An Aspect of Japanese Contemporary Art.”
Trans-boundary Experiences exhibition booklet
Allen, Jeffner. “Ephemeral Events, Planetary Sites: Noriko Ambe & Yuki Okumura at Spool MFG.”
Trans-boundary Experiences exhibition booklet
2005Yamamoto, Kazuhiro. “Yuki Okumura: The Optical Tunnel.” Picture in Motion Deluxe exhibition
brochure, Tochigi Prefectural Museum of Fine Arts
Hashimoto, Makoto. “Transfer.” Tokyo Art Beat Blog, Tokyo Art Beat (online article)
Tanaka, Koki. Yuki Okumura: Transfer invitation card, Hiromi Yoshii Five
2004Kojima, Yayoi. “Yayoi Kojima’s Art Paradise 2.” Ryuko Tsushin, Infas Publications, vol. 491
Hori, Motoaki. “Time of My Life – Art with Youthful Spirit.” exhibition catalogue,
Tokyo Opera City Art Gallery, Tokyo
Tsukamoto, Minami. “Exhibition Review: Yuki Okumura.” Shalalalalee, vol. 2
Okumura, Yuki. “Yuki Okumura Cultivates the End of the World.” The World is Mine
Exhibition catalogue, Hiromi Yoshii Five
2003Usuki, Naoko. “Yoko Ono’s Children?: Being an Artist in the Era without Strife.”
BT: Monthly Art Magazine Bijutsu Techo, Bijitsu Shuppan-sha, Ltd. Vol. 55 No. 841, p. 126
Shirasaka, Yuri. “Emotional Site.” Dazed and Confused Japan, Jan.
2002Shibusawa, Kazuhiko. “Last Event of Shokuryo Building: Emotional Site.”
The Sankei Shimbun newspaper, 23 Nov.
Fukuda, Yoshiki. “A Glimpse: Contemporary Art.” Bijutsu Forum 21, vol. 6, summer
2001Gumpert, Lynn. “Yuki Okumura.” First Steps: Emerging Artists from Japan exhibition catalogue,
Grey Art Gallery, New York University
Cotter, Holland. “Art Review; When East Goes West, The Twain Meet Here.” New York Times, March 23
2000Hoffie, Pat. “Yuki’s Rules.” Yuki Okumura: Pieces exhibition booklet,
Queensland College of Art Gallery, Brisbane
“Artist Getting Real.” The Weekend Echo newspaper, 22 Sept.
The official state bird of Florida is the mockingbird. Northern Mockingbirds have extraordinary vocal abilities. They can sing up to 200 songs, including the songs of other birds, insect and amphibian sounds, even an occasional mechanical noise. The northern mockingbird is also the state bird of Texas, Arkansas, Tennessee and Mississippi.
Mockingbirds are a group of New World passerine birds from the Mimidae family. They are best known for the habit of some species mimicking the songs of other birds and the sounds of insects and amphibians, often loudly and in rapid succession. There are about 17 species in three genera. These do not appear to form a monophyletic lineage: Mimus and Nesomimus are quite closely related; their closest living relatives appear to be some thrashers, such as the Sage Thrasher. Melanotis is more distinct; it seems to represent a very ancient basal lineage of Mimidae.
When the survey voyage of HMS Beagle visited the Galápagos Islands in September to October 1835, the naturalist Charles Darwin noticed that the mockingbirds Mimus thenca differed from island to island, and were closely allied in appearance to mockingbirds on the South American mainland. Nearly a year later when writing up his notes on the return voyage he speculated that this, together with what he had been told about Galápagos tortoises, could undermine the doctrine of stability of species. This was his first recorded expression of his doubts about species being immutable which led to him being convinced about the transmutation of species and hence evolution.
Northern Mockingbird, Mimus polyglottos
Biscayne Park FL
I am sure that members of the Lands of Classic Castle (LCC) know the lenfel Sir Caelan Munro and his adventures. It is less known that he also has 4 older brothers, who are even more talented and capable than he is. Or at least they think so.
Special thanks go to my son Benő, who generously lent me some Duplo bricks used as the background.
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Part1: Sir Caelan's less than stellar older brother, Lennox Munro is the second son of 5 and his special skill is... incompetence. Lennox always thought of himself as an alchemist: he conducted numerous, yet so far unsuccessful experiments in his basement like the transmutation of iron into gold (disintegrated into a rusty cloud) or the development of the elixir of life (turned out to be an excellent rat poison). The failures made him even more dedicated and, against all odds, he actually discovered something: a colorless, odorless, lighter than air gas; a noble gas obviously, as he is nobility. One could say that his favorite frog (let's emphasize the lenfel stereotypes), King Ribbit played a great role in the process: he was chasing a fly, jumped on the tank and got accidentally inflated.
"Mwuahhahahaa! We will make a fortune with that, Ribbit! I have a cunning plan!!!"
Part2: Several hours later... Lennox constructed a basket and tied king Ribbit to it. "That is a beauty! Let's make a test flight immediately, what could possibly go wrong?"
Part3: The frog-propelled-basket-case-thingy, as he named it, worked like a charm. The view was spectacular, he could see the whole manor and the surroundings. "I'm the king of the wooooorld!", he yelled but soon enough he learnt the hard way that his invention had a serious vulnerability issue. A rather hungry white stork started to circle around the frog and seconds later the aviation term bird strike became a whole new meaning...
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PUBLIC ANNOUNCEMENT: please support my Monty Python and the Holy Grail project on CUUSOO. Thank you!
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This MOC was built for the “Lands of Classic Castle” (LCC) project over at www.classic-castle.com/.
For those interested in the LCC project, check out our Flickr group and the LCC forum “General Info”.
Come over and join the fun!
香爐放了:紅豆、黃豆、綠豆、黑豆, 白米 ,銅錢,黑火炭, 酒餅,代表五行也有說是招財喔~~
銅錢 - 金
火炭 - 木
酒餅 - 水
禮封 / 紅豆 - 火
白米 - 土
To achieve the balance of five elements, the tray is filled with rice, green beans, red beans, soya beans, charcoal, copper coin and wine cake. It is said to bring upon luck and fortune.
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The Ghost Festival, also known as the Hungry Ghost Festival, or Yu Lan is a traditional Chinese festival and holiday celebrated by Chinese in many countries. In the Chinese calendar (a lunisolar calendar), the Ghost Festival is on the 15th night of the seventh month (14th in southern China).
In Chinese tradition, the fifteenth day of the seventh month in the lunar calendar is called Ghost Day and the seventh month in general is regarded as the Ghost Month (鬼月), in which ghosts and spirits, including those of the deceased ancestors, come out from the lower realm.
Distinct from both the Qingming Festival (in spring) and Chung Yeung Festival (in autumn) in which living descendants pay homage to their deceased ancestors, on Ghost Day, the deceased are believed to visit the living.
On the fifteenth day the realms of Heaven and Hell and the realm of the living are open and both Taoists and Buddhists would perform rituals to transmute and absolve the sufferings of the deceased. Intrinsic to the Ghost Month is ancestor worship, where traditionally the filial piety of descendants extends to their ancestors even after their deaths.
Activities during the month would include preparing ritualistic food offerings, burning incense, and burning joss paper, a papier-mâché form of material items such as clothes, gold and other fine goods for the visiting spirits of the ancestors
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Follow my rediscovery of the Hungry Ghosts "Yu Lan" Festival here:
For my past visits to the Hungry Ghosts "Yu Lan" Festival here:
Hungry Ghosts "Yu Lan" Festival
More Chinese Temples images here:
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A Haiku Note:
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My Special Bookcase
a place for my Nothing Books
they'll be found within
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TIBETAN SMALL CABINET
The painting on this cabinet is of Siddhartha Gautama, namely Buddha, who was the founder of Buddhism. Buddha means "Awakened One" or "Enlightened One."
The Tibetan Cabinet is hand-painted demonstrating an embossed painting technique. This unique style of painting is from the region of Rajasthan, India. Each piece is crafted from the hands of local artists, therefore color and pattern will vary.
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................. From the Sayings of Buddha ...............
The greatest achievement is selflessness.
The greatest worth is self-mastery.
The greatest qualities is seeking to serve others.
The greatest precept is continual awareness.
The greatest medicine is the emptiness of everything.
The greatest action is not conforming with the worlds ways.
The greatest magic is transmuting the passions.
The greatest generosity is non-attachment.
The greatest goodness is a peaceful mind.
The greatest patience is humility.
The greatest effort is not concerned with results.
The greatest meditation is a mind that lets go.
The greatest wisdom is seeing through appearances.
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~ ( 1 ) - ( 2 ) - ( 3 ) - ( 5g ) - ( 5+) - ( 6 ) - ( 7 ) - ( 8 ) - ( * ) - ( 10+ ) - ( * ) ~
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“Nothing ever exists entirely alone; everything is in relation to everything else.”
~ The Buddha ~
~ (0110 0000) ~
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Come take a stroll with me through this enchanted forest where the day lingers in quiet solitude, the water taste like wine, and the sweet songs of nature transmute into an oeuvre of sensual bliss!
Best viewed large if you have the time!
Transmutation, one of the sculptures in the Burning Man exhibition in the Chatsworth estate country park.
In Part 2, I discussed how the Serpent was used as a symbol for not only initiation into the mysteries and immortality but also a symbol for sexuality, generation, death and rebirth due to the creature’s ability to shed its skin of the old to reveal a shiny new skin underneath. The mythologized Serpent, of course, does appear in almost every culture around the world over. Genesis 3 relays how the Serpent offers knowledge in the form of a fruit grown from the Tree of Knowledge (the “Good ” and “Evil” part may have have been added later as a gloss.) Like the Serpent, the Tree of Knowledge is sometimes considered to be a phallic symbol. This Fruit along with the Tree also were used to signify the result or effect of some cause, having both a positive and a negative effect and origin.
The Two Trees.
The Tree of Knowledge and digesting the forbidden fruit in Genesis according to Jewish tradition represented the primeval mixture or intermingling of good and evil, light and darkness in an almost Manichean fashion. Eating the fruit forbidden set off a chain reaction where humanity developed a “yeitzer hara” or “evil inclination.” Unlike the earlier Hebrews, who blamed themselves for their woes, the Jewish Rabbis believed God had implanted in the ‘heart’, the Hebrew place of the unconscious of each individual, at his birth or conception. The yezer was not hereditary. It was intrinsically good and the source of creative energy, but had a strong potential for evil through appetite or greed. Only strict observance of the Law could keep the strong, irrational passions it engendered under control. To the commentators in the five centuries before Christ, Adam’s death was due to his own “sinful actions”, and not to the Augustine-authored “original sin nature” or “ancestral sin” inherent in the DNA in the race of man because of the disobedience of the primal parents. The Zohar claims that Adam and Eve lost their immortality by ingesting the fruit which is ironically enough compared to the occult:
Hear what saith scripture when Adam and Eve ate of the fruit of the tree by which death entered into their souls or lower nature, ‘And when they heard the voice of the Lord of the Alhim walking in the garden’ (Gen. iii-8), or, as it ought to be rendered, had walked (mithhalech). Note further that whilst Adam had not fallen, he was a recipient of divine wisdom (hochma) and heavenly light and derived his continuous existence from the Tree of Life to which he had free access, but as soon as he allowed himself to be seduced and deluded with the desire of occult knowledge, he lost everything, heavenly light and life through the disjunction of his higher and lower self, and, the loss of that harmony that should always exist between them, in short, he then first knew what evil was and what it entailed, and, therefore, it is written, ‘Thou art not a God that approveth wickedness, neither shall evil dwell with thee’ (Is. v-5); or, in other words, he who implicitly and blindly follows the dictates of his lower nature or self shall not come near the Tree of Life.
According to the Babylonian Talmud, Adam and Eve were in the Garden of Eden for just twelve hours before being unceremoniously thrown out. This is half a day in Paradise. That snake sure was a fast worker! Yahweh gave Adam and Eve the tour round Eden, told them what they could or couldn’t do and had no sooner turned his back than they were disobeying him and he had to expel them and sentence them, and the whole human race to come, to hell-fire for all eternity. Is that not the biggest (pardon this author’s french) fuck up of all time? It takes a spectacular degree of incompetence to screw things up that badly, so quickly. And yet the source who engineered this monumental disaster is supposed to be the Creator of the Universe, all-knowing and all-powerful, incapable of error! It is any wonder why the Gnostics called the creator god of Genesis as a dark and brutal god who was also given names such as: Samael (Blind One) and Saklas (idiot-retard)?
The Catholic Church Father Irenaeus mentions in Adv. Hear. 1, 29, 3, that the Barbelognostics revered the classic Qabalistic symbol of the “Tree, which itself they call Knowledge (gnosis).” This Tree is generated by two more primordial entities or “Aeons” called “Man” and “Knowledge.” It is hard to know just what his source for this passage may have been, for the kabbalistic symbol of the Tree does not figure in any of the surviving versions of the Apocryphon of John. There is, however, a passage in the Church Father Origen’s description in Contra Celsum of the diagrams of the cosmos envisaged by the Ophites:
And everywhere there, the Tree of Life, and the resurrection of flesh from the Tree …
This passage suggests that the form of the Tree had been imposed on the whole diagram. The Church Father Origen also gives a number of “ten circles”, the traditional number of the emanations or “sefiroth” associated with the cosmic spheres in the Kabbalistic Tree of Life – though roughly only seven of them can have planetary names. This image of the spiritual powers circling in the heavenly spheres, which the Jewish scholar, Gershom Scholem has suggested entered Jewish esoteric teaching from Hellenistic-Egyptian traditions in the centuries before Christianity (or at least Christian gnosticism) arose bears also upon the enigma of the seven-headed form of Iao in the fourth sphere (as discussed in the Apocryphon of John), that of the Sun.
This idea of the Archons situated upon the astral “aerial toll houses” of Eastern Orthodoxy (and of course Gnosticism, especially in the First Apocalypse of James) does indeed seem to originate in ancient Egypt where the the Book of the Dead lists protective spells learned by initiates to guard against the dangerous “judges” during the post-mortem journey of the soul. Speculation in Christian and in Gnostic circles concerning the order of the celestial hierarchy hinged upon a few passages in the Pauline literature, which seem to imply, however, different sequences as Colassians 1:16 states:
For by him all things were created: things in heaven and on earth, visible and invisible, whether thrones or powers or rulers or authorities; all things were created by him and for him.
The names of the authorities are as follows, featured and listed in the Ophite doctrine, refuted by Celsus in Contra Celsum:
Michael – lion, Souriel – bull, Raphael – serpent, Gabriel – eagle, Thauthabaoth – bear, Erathaoth – dog, Taphabaoth/Onoel – ass.
The sequence was composed using the figures of four biblical Cherubim, to whom three new personages were added. The animal forms are derived from the biblical story of the famous vision of Ezekiel as is the iconography of the four evangelists. Ezekiel had seen four monstrous beings in the shape of winged men with four faces: of a man, a lion, a bull and an eagle, on each of the four sides. Jerome connects this tetramorph with the Four Evangelists, being Matthew, Mark, Luke and John.
05200
In the Trimorphic Protennoia, the Archons claim that they also were derived from a tree:
For as for our tree from which we grew, a fruit of ignorance is what it has; and also its leaves, it is death that dwells in them, and darkness dwells under the shadow of its boughs. And it was in deceit and lust that we harvested it, this (tree) through which ignorant Chaos became for us a dwelling place.
As mentioned in Part 1, the Gospel of John 15, 1-2 equates Christ with the vines and fruit of the Tree of Life in the Garden of Eden, which also sounds vaguely Dionysian. Dionysus was also called the surname Dendritês, the god of the tree, which has the same import as Dasyllius, the giver of foliage.
The Gospel of Truth also equates the cross to the tree of knowledge in the Garden of Eden:
He was nailed to a tree (and) he became fruit of the knowledge of the Father. It did not, however, cause destruction because it was eaten, but to those who ate it, it (cause) to become glad in the discovery, and he discovered them in himself, and they discovered him in themselves.
The Gospel of Philip also makes the connection between the Tree of Life, the resurrection via the chrism (anointing) and Jesus Christ, explicit:
Philip the apostle said, “Joseph the carpenter planted a garden because he needed wood for his trade. It was he who made the cross from the trees which he planted. His own offspring hung on that which he planted. His offspring was Jesus, and the planting was the cross.” But the Tree of Life is in the middle of the Garden. However, it is from the olive tree that we got the chrism, and from the chrism, the resurrection.
Elsewhere in the Gospel of Philip, the Tree of Knowledge of Good and Evil is identified with the flesh and the Law (the lower natures as opposed to the pnuematic one). Using a riff from the Epistle to the Romans 7:7-11, the author says:
“It has the power to give knowledge of good and evil. It neither removed him from evil, nor did it set him in the good. Instead it created death for those who ate of it. For when it said, ‘Eat this. Do not eat that.’ it became the beginning of death.”
The pseudepigraphic Jewish-apocalypse Book of Enoch 31:4, describes this tree of knowledge in the midst of the “Garden of Righteousness”:
It was like a species of the Tamarind tree, bearing fruit which resembled grapes extremely fine; and its fragrance extended to a considerable distance. I exclaimed, How beautiful is this tree, and how delightful is its appearance!
Irenaeus’ pupil, Hippolytus would write in Against All Heresies (VI, 27) on how the Valentinians compared the Logos to the fruit of the Tree of Life:
This (one) is styled among them Joint Fruit of the Pleroma. These (matters), then, took place within the Pleroma in this way. And the Joint Fruit of the Pleroma was projected, (that is,) Jesus,— for this is his name—the great High Priest. Sophia, however, who was outside the Pleroma in search of Christ, who had given her form, and of the Holy Spirit, became involved in great terror that she would perish, if he should separate from her, who had given her form and consistency.
He also writes that the Father projected a warrior Aeon as a defense mechanism to protect the Aeonic realm of the Pleroma from the shapeless void created by the fallen Sophia, who is often shaped in a Cross:
Now this (Aeon) is styled Horos, because he separates from the Pleroma the Hysterema that is outside. And (he is called) Metocheus, because he shares also in the Hysterema. And (he is denominated) Staurus, because he is fixed inflexibly and inexorably, so that nothing of the Hysterema can come near the Aeons who are within the Pleroma.
This description also matches with Irenaeus’ account (Against Heresies 1.3.5) on how the Valentinian Christians viewed the hidden, metaphysical meaning and nature of the Cross:
“They show, further, that that Horos of theirs, whom they call by a variety of names, has two faculties,-the one of supporting, and the other of separating; and in so far as he supports and sustains, he is Stauros, while in so far as he divides and separates, he is Horos. They then represent the Saviour as having indicated this twofold faculty: first, the sustaining power, when He said, “Whosoever doth not bear his cross (Stauros), and follow after me, cannot be my disciple; ” and again, “Taking up the cross follow me; ” but the separating power when He said, “I came not to send peace, but a word.” They also maintain that John indicated the same thing when he said, “The fan is in His hand, and He will thoroughly purge the floor, and will gather the wheat into His garner; but the chaff He will burn with fire unquenchable.” By this declaration He set forth the faculty of Horos. For that fan they explain to be the cross (Stauros), which consumes, no doubt, all material objects, as fire does chaff, but it purifies all them that are saved, as a fan does wheat. Moreover, they affirm that the Apostle Paul himself made mention of this cross in the following words: “The doctrine of the cross is to them that perish foolishness, but to us who are saved it is the power of God.” And again: “God forbid that I should glory in anything save in the cross of Christ, by whom the world is crucified to me, and I unto the world.”
In the above paragraph, Horos or Stauros (the cross of John) is the limit (X) of Plato’s Timaeus. Simon Magus taught this same exact thing as we will see below. The cross symbolizes the separation of powers and realms. It represents the apokatastasis, the Stoic conflagration, the baptism by fire. Paul the Apostle speaks of this fire that purifies and tries men’s works in 1 Corinthians 3:10-15. To be crucified to the world is to bear the symbol of the cross which is a flat-out denial of YHWH and the Elohim archons’ creation. It is to spit in the face of the Greek gods of fate like Socrates. It is hemlock to the flesh and to the spirit it is immortality.
It is the Cross of Christ, which in the Gnostic interpretation separates God from the manifest world, the uncreated, transcendent World of Forms from the Creator and the created realm, constituting a Separate and Hidden God. This limit in essence separates the “wheat from the tares”. At the same time, it also serves as a bridge between the saved sparks of light into the realm above. The extremely esoteric Sethian text, Allogenes, mentions a power or aeon by the name of “Kalyptos”, which can mean either “hidden” or “that which covers,” which may derive from the conception of the veil parting the higher from the lower realm. This power derives from the Aeon of Barbelo, which is also a state of being in which a spiritual power descends into matter. The position of Kalyptos comes very close to that of the Valentinian Horos, Stauros or Limit that separates the highest deity Bythos (Depth or Abyss) from the other Aeons that derive from him. This limit also functions though a second barrier between the “hysterema” of the material cosmos and the realm of the Aeons. Sophia also functions as a veil in On the Origin of the World.
lightning-flash-on-tree
All of these concepts are also reflected in Origen’s Contra Celsum (6, 33) in which he states that that on the diameter of one of the circles a sword of fire was depicted, the same one that had driven Adam and Eve from the earthly Paradise. This flaming sword guarded the Tree of knowledge (gnosis) and of life (zoe). If the sword was above the black line of Tartarus, then the tree of knowledge and of life has to be the series of circles starting from Gnosis and Sophia and leading through the circle of Life to the Father. This could be similar to the Kabbalistic number of 777 being the sum the paths that the Lightening Path of Creation travels down through the Tree of Life. It is through this channel that the Luciferian motif of bringing the light of heaven to the World of Action becomes apparent.
In Contra Celsum, Origen reports Celsus’ comments on the Christians (the Ophite-Sethian Gnostics in reality), who called their baptismal rite “seal” (recalling the Five Seals of the Sethians); the person who placed the seal was called “father”; the one who received it was called “son” and “young man”, answering: “I am anointed with the white chrism of the tree of life”. Celsus further down describes the Christian belief of “tree of life” being both synonymous with Christ and the resurrection in 6:34:
And in all their writings (is mention made) of the ‘tree of life’ (τό της ζωης ξύλον), and a resurrection of the flesh by means of the ‘tree’ (από ξύλου), because, I imagine, their teacher was nailed to a cross (σταυρω ένηλώθη), and was a carpenter by craft (τέκτων τήν τεχνην)…
Celsus connects a so-called “tree of life,” and a resurrection by means of the “tree,” to Jesus’ execution: that he was nailed to an execution pole and his trade being carpenter, joiner. The relevant point Celsus is making here is that Jesus was suspended on some kind of pole, and secured to it with nails. Clearly, the parallels between the Ophite diagram and the Kabbalistic Tree of Life, with the circles shown to have numerical values, are there.
The Trimorphic Protennoia and the hermetic Discourse on Eighth and Ninth in the Nag Hammadi library pre-suppose numerical values for the manifestations of God, as does the system of Valentinus as described by his enemy, Irenaeus, which envisioned the theoretical attainment of 10 divine Aeons. He also develops a system consisting of about thirty Aeons, which would suggest that he had taken the simpler Ophite system and expanded it until it was almost uncontrollable. Even more interesting is in the Sethian text, Melchizedek, it portrays Adam and Eve defeating the guardians of the Tree of Life with their own weapon!
For when they ate of the tree of knowledge, they trampled the Cherubim and the Seraphim with the flaming sword.
Fludd Sephirothic Tree web
The Sephirothic Tree by Robert Fludd
The Qabalah or Kabbalah itself has many similarities with Gnosticism in their closely related teachings of the hidden God and hypostatization of God’s attributes. The Sephirot (or Enumerations, which also means “book” in Hebrew) are the ten emanations of God (or infinite light: Ein Sof Aur) into the universe. These emanations manifest not only in the physical part of the universe, but also in the metaphysical one. Kabbalah distinguish four different worlds or planes: Atziluth, or World of Emanations, where the Divine Archetypes live; Beri’ah or World of Creations, where Highest Ranking Angels are; Yetzirah or World of Formations is the astral world; and Asiyah or World of Actions, is the physical plane and “low astral” plane. Each of these worlds are progressively grosser and denser (one can see the strong Kabbalistic influence on Neo-Platonic thought here as well), but the ten Sephiroth manifest in all of them.
The Kabbalah is rooted in the Merkavah and Assyrian traditions, and the Kabbalah defines Sefirot is also based on the great visions described by Ezekiel. The Sephiroth constitutes the “Tree of Life”, and is aligned in three columns, each headed by a Supernal. The names of the Sephirot are: Kether (Crown), Chochman (Wisdom), Binah (Understanding), Chesed (Mercy), Gevurah (Severity), Tiphareth (Redeemer), Netzach (Victory), Hod (Majesty), Yesod (Foundation), Malkhuth (Kingdom). Some clear Christian and Gnostic associations on the Tree of Life is down the middle path, with Keter relating to the Father, which emanates into Tipharet relating to the Holy Ghost, and Christ as the Solar Logos and Savior, which emanates to Yesod, relating to the Son. This being the path by which God emanates into Malkut, the physical world
The Manichean Psalm CCXX illustrates the theme of matter receiving the spiritual Light rather well by using Tree imagery:
They rose, that they belong to Matter, the children of Error, desiring to uproot thy unshakable tree and plant it in their land. Matter and her sons divided me up amongst them, they burnt me in their fire, they gave me a bitter likeness.” … “I am the sweet water that is beneath the sons of Matter.
SophiaInTree
Alchemical image of the Divine Sophia as a Tree of Learning and source of the Elixir of Life.
In Jewish Wisdom literature, it was Khokhmah who personified the female Divine. She is understood as an emanation of God, yet she resonates with the Hebrew Goddess who is otherwise assailed in the Old Testament, by Jehovah especially Asherah, the Queen of Heaven. Proverbs 3:18 calls up an image of Khokhmah that originates in the oldest core of Jewish culture: “She is a Tree of Life to all who lay hold of her.” In the same book, Khokhmah sings, “The one who finds me, finds life.” A similar aretalogy can be found in the Sethian text, Thunder-Perfect Mind. The creation story of the 2nd, Century Gnostic, Valentinus of Alexandria, the greatest of Sophia’s devotees, describes the origin and essence of the matter composing this world as emotionally and psychically consubstantial with Sophia as indicated by Irenaeus in Against Heresies, 5, 4:
This mother they also call Ogdoad, Sophia, Terra (Gaia), Jerusalem (cf. Gal. 4:26), Holy Spirit, and, with a masculine reference, Lord. Their mother dwells in that place which is above the heavens, that is, in the intermediate abode; the Demiurge in the heavenly place, that is, in the hebdomad; but the Cosmocrator in this our world. The corporeal elements of the world, again, sprang, as we before remarked, from bewilderment and perplexity, as from a more ignoble source. Thus the earth arose from her state of stupor; water from the agitation caused by her fear; air from the consolidation of her grief; while fire, producing death and corruption, was inherent in all these elements, even as they teach that ignorance also lay concealed in these three passions.
Furthermore, she knows:
the beginning and end and middle of times, the alternations of the solstices and the changes of the seasons, the cycles of the year and the constellations of the stars, the nature of animals and the tempers of wild animals, the powers of spirits and the thoughts of human beings, the varieties of plants and the virtues of roots… (Wisdom 7:15-22)
The imagery of the tree is also included in Simon Magus’s cosmology, as reported by Hippolytus of Rome, is a powerful model that describing some rare concepts that Simononians in the early third century work described in the Philosophumena, as the “Great Declaration” or “Great Announcement”. Simon very much describes a tree of fire that consumes itself. This is a third century Simonian document, positing that the root of all existence is infinite, and abides in man, who serves as its dwelling-house. The Logos or the Word is projected down by the luciferian Lightening Flash through the Aeons and into the manifest world and man. From the original root, the hidden principle, spring three pairs of manifestations of: Mind and Thought, Voice and Name, Reasoning and Reflection.
The Father is, moreover, “He that hath stood” in relation to premundane existence; “He that standeth” in relation to present being; and “He that shall stand” in relation to the final consummation. Man is simply the realization of “boundless power,” the ultimate end of the cosmic process in which the godhead attains self-consciousness. This infinite power works in all of the aeons as a compound name: He who stands, has stood, and will stand; a term alluded to in the Clementine Homilies and Recognition’s which say, that Simon Magus considered himself as the “Standing One” along with the “that power of God which is called Great”.
The Simonian author employs very Stoic language in describing what is hidden and revealed in the divine Fire, the original Boundless Power that is the stuff that the original Ineffable God is made of—the equivalent of the Qabalistic Ein Sof or Kether—the Crown. In this above entry (linked above) by Hippolytus, he refers to Simon’s theology of the “fruit from the Tree” as being the quintessential product of the human incarnation. The tripartite division of spirit, psyche and matter are simply manifest expressions of the original Stoic-like Divine Fire. This concealed fruit or “Hidden Power” which is another term that he used, requires a key in the conscious process of imagining or beholding a power to form mental images.
The Simonian author interestingly uses the term “imagining” as a reference of becoming divinized or be initiated into the mysteries. But this can only be manifested “if its imagining has been perfected and it takes the shape of itself.” Later, the text mentions a “storehouse” which is a room, located adjacent to a royal chamber within a palace where the gold, jewels and other wealth are stored. Here, the Simonian author is referring to the treasure-house and the storehouse, both concepts that are found within the Pistis Sophia that refer to a location within the “House of Many Mansions” of John 14:2.
Simon Magus also appealed to Matthew 12:33, as Hippolytus writes in Refutations of All Heresies VI, 11:
If, however, a tree continues alone, not producing fruit fully formed, it is utterly destroyed. For somewhere near, he says, is the axe (which is laid) at the roots of the tree. Every tree, he says, which does not produce good fruit, is hewn down and cast into fire.
This, of course, was also Marcion’s (and much later in Mani’s theological two principle system) main scriptural justification for his radical dualism in Christ’s maxim that a good tree does not bear evil fruit, nor does an evil tree bear bad fruit. So if we also interpret that in terms of origins, then the evil god could not possibly have originated from the good god, because good things do not produce evil things, and vice versa. The Gospel of Thomas says something very similar:
(45) Jesus said, “Grapes are not harvested from thorns, nor are figs gathered from thistles, for they do not produce fruit. A good man brings forth good from his storehouse; an evil man brings forth evil things from his evil storehouse, which is in his heart, and says evil things. For out of the abundance of the heart he brings forth evil things.”
The fact is Simon had a similar doctrine that condemned false religion and predicted a final dissolution of the cosmos, presumably dissolved in fire, so that Simon’s elect can be redeemed, viz. the Great Announcement; Hippolytus, Refutation of All Heresies, 6:14; Irenaeus, Against Heresies, 1.23.3.
These words from Simon and John resonate with a key saying of Jesus in Matthew 7:17-20,
Even so every good tree bringeth forth good fruit; but a corrupt tree bringeth forth evil fruit. A good tree cannot bring forth evil fruit, neither can a corrupt tree bring forth good fruit. Every tree that bringeth not forth good fruit is hewn down, and cast into the fire. Wherefore by their fruits ye shall know them.
This was a key saying used by the Gnostics and Marcionites. Could it be that this metaphor originated from John the Baptist, from whom Simon also learned this same metaphor?
Then went out to him Jerusalem, and all Judaea, and all the region round about Jordan, And were baptized of him in Jordan, confessing their sins. But when he saw many of the Pharisees and Sadducees come to his baptism, he said unto them, “O generation of vipers, who hath warned you to flee from the wrath to come? Bring forth therefore fruits meet for repentance: And think not to say within yourselves, that you have Abraham for your father: for I say unto you, that God is able of these stones to raise up children unto Abraham.” (Cf. John 8:39, 44; 1:17-18)
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In the text On the Origin of the World, it states that the tree of life and the tree of gnosis are situated “to the north of Paradise” and is identified as Epinoia. The Greek name Epinoia carries the meaning of “understanding” or “thought” or “purpose”. She is sent to dwell within Adam, her role being to give him consciousness of his divine origins and the way to return to the Pleroma. The author of On the Origin of the World makes a positive evaluation of the Garden of Eden:
And the tree of eternal life is as it appeared by God’s will, to the north of Paradise, so that it might make eternal the souls of the pure, who shall come forth from the modelled forms of poverty at the consummation of the age. Now the color of the tree of life is like the sun. And its branches are beautiful. Its leaves are like those of the cypress. Its fruit is like a bunch of grapes when it is white. Its height goes as far as heaven. And next to it (is) the tree of knowledge (gnosis), having the strength of God. Its glory is like the moon when fully radiant. And its branches are beautiful. Its leaves are like fig leaves. Its fruit is like a good appetizing date. And this tree is to the north of Paradise, so that it might arouse the souls from the torpor of the demons, in order that they might approach the tree of life and eat of its fruit, and so condemn the authorities and their angels.
This depiction is in stark contrast with how the the Apocryphon of John depicts Eden as more of a zoo-like prison of the authorities:
And the archons took him and placed him in paradise. And they said to him, ‘Eat, that is at leisure,’ for their luxury is bitter and their beauty is depraved. And their luxury is deception and their trees are godlessness and their fruit is deadly poison and their promise is death. And the tree of their life they had placed in the midst of paradise.
The Apocalypse of Moses is primarily an account about Adam’s death, its cause and cure. Seth is procured along with Adam’s many other children which leads Adam to recount briefly the story of the temptation, the fall, and the the first parents’ punishment in chapters 7-8. Adam’s narrative explains the reason for his present plight. Adam then subsequently sends his wife Eve and son Seth to paradise in search of the oil of mercy that will bring him relief. (9:3) On the way to the garden, Seth is attacked by a beast (in chapters 10-12) which seems to be evidence that God’s curse in Genesis 3:15 is in effect. Adam’s request to be saved is subsequently denied.
(The oil of Mercy) will not be yours now, but at the ends of the times. Then will arise all flesh from Adam to the great day …. , and then all the joy of paradise will be given to them. … (13:2-4)
Adam knows he is going to die and later on in Chapters 22-29, God appears in paradise on his chariot while accompanied by his angels. His throne is fixed, and he indicts and sentences his creatures from the consequences of the fall being spelled out in detail in chapters 24-26. Adam seeks the oil of mercy but God commands the angels to get on with the expulsion (27:4-28:1). Again Adam pleads, this time for access to the Tree of Life (28:2). God’s response to Adam’s plea is met with a reproof:
You shall not take from it now … if you keep yourself from all evil, as one about to die, when again the resurrection comes to pass, I shall raise you up. And then there shall be given to you from the tree of life. (28:3-4)
Another time, Adam pleads with God for herbs from Eden to offer incense and seeds to grow food. God is kind enough to grant this request before Adam and Eve are kicked out from the garden in Chapter 29. The text concludes on a solemn yet promising note which expands on Genesis 3:19:
I told you that you are dust, and to dust you will return. Again I promise you the resurrection. I shall raise you up to the last day, in the resurrection, with every man who is of your seed. (41:2-3)
In the concluding portion of the book, it describes Eve’s death and her burial by Seth, who is commanded to bury in this fashion everyone who dies until the day of the resurrection. These ideas are also reflected in the apocryphal the Book of the Cave of Treasures, where the dying Adam assembles his sons, including Seth for a request to embalm him with myrrh, cassia and balsam and to leave his body in the Cave of Treasures, situated at a side of a high mountain but below paradise.
Seth himself was also considered to be the archetypal father and savior of the Gnostics, resulting from the Jewish exegesis and combination of various biblical themes: (1) that of “the sons of God” in Gen 6:4 (LXX), (2) that of Seth as “another seed” appointed by God in place of the slain Abel in Gen 4:25, who (3) was fathered by Adam as a son in his own likeness and image according to Gen 5:3.
These themes, in combination with Gen 1:26, concerning the god “Man” created in the image and likeness of God, implied the divine nature of Seth, the “planter” of the heavenly seed (Gen 4:25). Seth would recover from “the great aeons” the glory that had left Adam and Eve at their Fall, caused by the Ialdabaoth. Seth would preserve his seed against the repeated attempts of Ialdabaoth to steal it by keeping it separate from the lustful seed of Cain which came from the Archons. At the end of time, Seth (or Sophia in On the Origin of the World) would destroy Ialdabaoth and his followers in a Revelations-styled apocalypse and reinstate his seed, the part of mankind untainted by lust, into its original glory. The strongest instant that we see Seth as a Gnostic Savior is in the Apocalypse of Adam, where Adam tells his son Seth:
And the glory in our hearts left us, me and your mother Eve, along with the first knowledge that breathed within us.
Later, Adam called his son “by the name of that man who is the seed of the great generation as a planter of the righteous seed”, recalling 1 Corinthians 15: 35-49 by Paul the Apostle, who compared the resurrection to a seed. Paul states that when a plant sprouts forth from the seed, and the remnants of the seed whither away. The plant came from the seed, but the plant isn’t the seed, and the seed isn’t the plant. They’re two distinct things, and the plant doesn’t come to life until the seed dies. So what Paul is saying is that spirit is deposited as a seed in the body, and it remains a seed until the body dies and decomposes. Then the spirit sprouts forth from the body, and the body is transmuted into a spiritual body, which also recalls the Parable of the Sower in Matthew, Mark and Thomas. It isn’t reanimation of a corpse at all as Catholic Church Fathers such as Irenaeus and especially Tertullian, have maintained (Against Heresies, 5.12.1, De Resurrectione Carnis). Paul’s theology concerning the spiritual resurrection isn’t so far removed from the ideas expressed in the Great Announcement:
…the manifested side corresponds to the trunk, limbs, leaves, and encasing bark. All these members of the tree are set ablaze from the all-consuming flame of the fire and destroyed. But as for the fruit of the tree, if it’s for is perfect and it assumes the true shape, it is gathered into the storehouse, not thrown into the fire.
Here, the vegetation and tree motifs are evident. Returning to the Gnostics—is it from Seth’s descendants who would possess the Gnosis. The Apocryphon of John suggests that Sophia prepared a place for the souls in heaven, where Jesus, the incarnation of the aeon Christ would disclose the true knowledge of how to return to their true home in with the Spirit (in Pleroma), where they would ascend past the rulers (archons) and their astral spheres and be healed of all deficiency and become holy and faultless. To gain these higher realms, one must ascend above the Seven Heavens of Chaos into the Aeons as stated in the Gospel of the Egyptians:
Then there came forth from the great aeons four hundred ethereal angels, accompanied by the great Aerosiel and the great Selmechel, to guard the great, incorruptible race, its fruit, and the great men of the great Seth, from the time and the moment of Truth and Justice, until the consummation of the aeon and its archons, those whom the great judges have condemned to death.
The Apocryphon of John spells it out in a more concise manner:
And he placed seven kings – each corresponding to the firmaments of heaven – over the seven heavens, and five over the depth of the abyss, that they may reign. And he shared his fire with them, but he did not send forth from the power of the light which he had taken from his mother, for he is ignorant darkness.
Origen, despite being one of the Church Fathers (and theological enemies of the Gnostics), he actually had a doctrine very much influenced by Platonism (but stood firmly against groups like the Valentinians and Marcionites). Origen also did not accept the historicity of the Bible nor did he interpret it literally. One example of this can be taken from De Prinicipiis, 4.1.16, where he discusses the Genesis creation myth more as an allegory:
No one, I think, can doubt that the statement that God walked in the afternoon in paradise, and that Adam lay hid under a tree is related figuratively in Scripture, that some mystical meaning may be indicated by it.” And “those who are not altogether blind can collect countless instances of a similar kind recorded as having occurred, but which did not literally take place? Nay, the Gospels themselves are filled with the same kind of narratives; for example, the devil leading Jesus up into a high mountain, in order to show him from thence the kingdoms of the whole world, and the glory of them.
Likewise, the Valentinians viewed scripture as allegorical on three different levels that corresponded to the three natures. The earlier Gnostics viewed the Old Testament as a symbolic record of the struggle between Yaldabaoth-Jehovah and Sophia as testified in Irenaeus’ account in Against Heresies, VII, 3:
They maintain, moreover, that those souls which possess the seed of Achamoth are superior to the rest, and are more dearly loved by the Demiurge than others, while he knows not the true cause thereof, but imagines that they are what they are through his favour towards them. Wherefore, also, they say he distributed them to prophets, priests, and kings; and they declare that many things were spoken (7) by this seed through the prophets, inasmuch as it was endowed with a transcendently lofty nature. Themother also, they say, spake much about things above, and that both through him and through the souls which were formed by him. Then, again, they divide the prophecies [into different classes], maintaining that one portion was uttered by the mother, a second by her seed, and a third by the Demiurge. In like manner, they hold that Jesus uttered some things under the influence of the Saviour, others under that of the mother, and others still under that of the Demiurge, as we shall show further on in our work.
As we can see, the Tree was an important universal symbol for not only the Gnostics, Simonians, Valentinians, etc, but to groups like the Jewish-Kabbalists, alchemists and many occult groups throughout the ages. The Tree is highly associative with the idea of the descent and crucifixion (and eventual ascent and resurrection) of spirit into and from matter as seen in Sophia-Achamoth’s fall from the celestial world and into the prima materia which parallels the Genesis account of the fall of Eve, the “mother of the living”. In Plato’s Timaeus, do we find the account of the Fall of Atlantis, (as strange as it might sound) which could be read as symbolic of the Divine tragedy and catastrophe so predominant in Gnostic cosmology and theology.
In Part 4, we will investigate a possible Gnostic exegesis of the Atlantis myth and other Greek tales, the Gnostic science of human physiology and the mind relating to Genesis, where and how exactly Orthodox theology developed from and ultimately became victorious as a common religious Christian doctrine, along with some concluding final thoughts on this series.
theaeoneye.com/2013/05/14/forbidden-fruit-in-the-midst-of...
Bhopal, India
HAPPY DEEPAWALI. :)
Deepawali is festival of lights where the lights or lamps signify victory of good over the evil within every human being. For more information refer to this Wikipedia article. :)
Well watching the sky on this festival is fun but yes the consequences to environment are really harsh. That's why I don't celebrate the festival with crackers.
This picture is hand-shake error, yes, again. I was going to delete it but at that moment I got the scene of The Lord of the Rings in my mind in which a fire cracker transmutes into a huge dragon. Then I found little birds flying all over in the frame. It's my perspective. Tell me yours. :)
Please post your comments in English. :)
Waxed-paper lanterns written with the words "慈航普渡" bringing upon the well-wishes of salvation for the hungry spirits to pass on to the other side where they will no longer suffer.
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** Origin and facts of the Hungry Ghost Festival:
The Ghost Festival, also known as the Hungry Ghost Festival, or Yu Lan is a traditional Chinese festival and holiday celebrated by Chinese in many countries. In the Chinese calendar (a lunisolar calendar), the Ghost Festival is on the 15th night of the seventh month (14th in southern China).
In Chinese tradition, the fifteenth day of the seventh month in the lunar calendar is called Ghost Day and the seventh month in general is regarded as the Ghost Month (鬼月), in which ghosts and spirits, including those of the deceased ancestors, come out from the lower realm.
Distinct from both the Qingming Festival (in spring) and Chung Yeung Festival (in autumn) in which living descendants pay homage to their deceased ancestors, on Ghost Day, the deceased are believed to visit the living.
On the fifteenth day the realms of Heaven and Hell and the realm of the living are open and both Taoists and Buddhists would perform rituals to transmute and absolve the sufferings of the deceased. Intrinsic to the Ghost Month is ancestor worship, where traditionally the filial piety of descendants extends to their ancestors even after their deaths.
Activities during the month would include preparing ritualistic food offerings, burning incense, and burning joss paper, a papier-mâché form of material items such as clothes, gold and other fine goods for the visiting spirits of the ancestors
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More images of the Hungry Ghosts "Yu Lan" Festival here:
Hungry Ghosts "Yu Lan" Festival
More Chinese Temples images here:
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Photo shot with Nikon D600 + AF-S NIikkor 50mm f/1.8G
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At the altar, offerings for the God & Goddess who will be the guardian of spirits include tea, rice wine, pickle, types of grains ( ie. rice, forbidden rice), nuts and fresh fruits.
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** Origin and facts of the Hungry Ghost Festival:
The Ghost Festival, also known as the Hungry Ghost Festival, or Yu Lan is a traditional Chinese festival and holiday celebrated by Chinese in many countries. In the Chinese calendar (a lunisolar calendar), the Ghost Festival is on the 15th night of the seventh month (14th in southern China).
In Chinese tradition, the fifteenth day of the seventh month in the lunar calendar is called Ghost Day and the seventh month in general is regarded as the Ghost Month (鬼月), in which ghosts and spirits, including those of the deceased ancestors, come out from the lower realm.
Distinct from both the Qingming Festival (in spring) and Chung Yeung Festival (in autumn) in which living descendants pay homage to their deceased ancestors, on Ghost Day, the deceased are believed to visit the living.
On the fifteenth day the realms of Heaven and Hell and the realm of the living are open and both Taoists and Buddhists would perform rituals to transmute and absolve the sufferings of the deceased. Intrinsic to the Ghost Month is ancestor worship, where traditionally the filial piety of descendants extends to their ancestors even after their deaths.
Activities during the month would include preparing ritualistic food offerings, burning incense, and burning joss paper, a papier-mâché form of material items such as clothes, gold and other fine goods for the visiting spirits of the ancestors
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More images of the Hungry Ghosts "Yu Lan" Festival here:
Hungry Ghosts "Yu Lan" Festival
More Chinese Temples images here:
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Photo shot with Nikon D600 + AF-S NIikkor 50mm f/1.8G
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If you are interested in purchasing this image, please visit Getty Images page at:
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On the occasion of the 56th International Art Exhibition of la Biennale di Venezia, one of Venice’s most celebrated landmarks, the Basilica of San Giorgio Maggiore, will host Together, a major exhibition of new works by Spanish artist Jaume Plensa.
Plensa (Spain, b.1955) is one of the world’s foremost artists working in the public art space, with permanent works spanning the globe including the Crown Fountain (Chicago), Echo (Seattle), Breathing (London) and Roots (Tokyo). The exhibition is curated by Clare Lilley, Director of Programmes at Yorkshire Sculpture Park. The works in the exhibition all make their debut in San Giorgio and reflect the artist’s continued interest in a bodily relationship to space, scale, material and place.
For four hundred years the Basilica of San Giorgio Maggiore has been a place of worship, communication and meditation, where Palladio’s profound architecture creates a stilling and contemplative environment. Plensa’s response to this powerful space is Together; a conversation between two sculptures - hand, suspended beneath the cupola in the foreground of the altar, and head, sited in the nave. Placed on the dominant west-east axis of the building, the works set up a line of spiritual and intellectual discourse which evokes emotion and seeks to connect with his viewers on an intuitive level.
As a speaker of five languages alongside a nomadic life that takes him around the globe, Plensa’s work reflects a desire to break down barriers. Merging difference is a cornerstone of his work, and here it is further emphasized by the installation of meticulous drawings and a group of five alabaster portraits in the contiguous Officina dell’Arte Spirituale, located 300 meters from the entrance to the Basilica on the island’s northern edge. Plunged in darkness and lit to reveal their luminous opacity, the sculptures were carved using reformed scans of real girls; chosen because, like nomads, they have traveled, settled and traveled again. Chosen, too, because they are teenage girls on the cusp of leaving and arriving, whose potential – like that of all humanity – so deeply glows.
Plensa’s sculptures reference a Judeo-Christian tradition while connecting with a much longer human history, where the making of art has social purpose and which we see played out across histories and geographies – in heads from the Croatian Upper Paleolithic, carved some 26,000 years ago; in exquisite, elongated hands incised in stone from 1300 BCE Egypt. For these and other reasons, Plensa’s forms will connect people and welcome them into the Basilica. Made from stainless steel which distills and diffuses light, Plensa’s hand and head are at times transmutable hazes that pull and root the gaze. The opening, gestural hand formed from characters of eight languages, speaks of a coming together of peoples and traditions. Similarly, Nuria’s face speaks of diversity; indeed the subject is the daughter of a Chinese friend in Barcelona, who in her young life has already crossed many borders.
Clare Lilley, Curator, commented: “Plensa’s installations for the Isola di San Georgio Maggiore are testament to his acute understanding of space and scale. His sculptures do not impose themselves on these historic spaces; rather they capture and reflect the actual light and shadows within to communicate a metaphorical language. Both visually stunning and intimate, they draw our attention to a world where migration and difference challenge civilized behavior; in this place, which for centuries has welcomed world travelers, Plensa’s work will connect people of many faiths and of no faith.
In collaboration with the monks of the Abbazia di San Giorgio, as part of the cultural activities of the Benedicti Claustra Onlus, Together hopes to advance the Benedictine community’s efforts to develop a number of restoration projects of the monumental Palladian complex on San Giorgio Maggiore. Inspired by textual elements in the body of Plensa’s work, the project has contributed a significant donation to restore the Abbazia’s 15th and 16th Century illuminated manuscripts; prayer books previously too delicate for public view. (Press release)
“Everything is dual; Everything has poles; Everything has its pair of opposites; Like and unlike are the same: Opposites are identical in nature, but different in degree; Extremes meet; All truths, are but half-truths; All paradoxes may be reconciled.” Hermes-Thoth
I am sure that members of the Lands of Classic Castle (LCC) know the lenfel Sir Caelan Munro and his adventures. It is less known that he also has 4 older brothers, who are even more talented and capable than he is. Or at least they think so.
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Part1: Sir Caelan's less than stellar older brother, Lennox Munro is the second son of 5 and his special skill is... incompetence. Lennox always thought of himself as an alchemist: he conducted numerous, yet so far unsuccessful experiments in his basement like the transmutation of iron into gold (disintegrated into a rusty cloud) or the development of the elixir of life (turned out to be an excellent rat poison). The failures made him even more dedicated and, against all odds, he actually discovered something: a colorless, odorless, lighter than air gas; a noble gas obviously, as he is nobility. One could say that his favorite frog (let's emphasize the lenfel stereotypes), King Ribbit played a great role in the process: he was chasing a fly, jumped on the tank and got accidentally inflated.
"Mwuahhahahaa! We will make a fortune with that, Ribbit! I have a cunning plan!!!"
Part2: Several hours later... Lennox constructed a basket and tied king Ribbit to it. "That is a beauty! Let's make a test flight immediately, what could possibly go wrong?"
Part3: The frog-propelled-basket-case-thingy, as he named it, worked like a charm. The view was spectacular, he could see the whole manor and the surroundings. "I'm the king of the wooooorld!", he yelled but soon enough he learnt the hard way that his invention had a serious vulnerability issue. A rather hungry white stork started to circle around the frog and seconds later the aviation term bird strike became a whole new meaning...
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PUBLIC ANNOUNCEMENT: please support my Monty Python and the Holy Grail project on CUUSOO. Thank you!
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This MOC was built for the “Lands of Classic Castle” (LCC) project over at www.classic-castle.com/.
For those interested in the LCC project, check out our Flickr group and the LCC forum “General Info”.
Come over and join the fun!
"We explained there that the whole of existence in (all) its simple and composite worlds is arranged in a natural order of ascent and descent, so that everything constitutes an uninterrupted continuum. The essences at the end of each particular stage of the worlds are by nature prepared to be transformed into the essence adjacent to them, either above or below them. This is the case with the simple material elements; it is the case with palms and vines, (which constitute) the last stage of plants, in their relation to snails and shellfish, (which constitute) the (lowest) stage of animals. It is also the case with monkeys, creatures combining in themselves cleverness and perception, in their relation to man, the being who has the ability to think and to reflect. The preparedness (for transformation) that exists on either side, at each stage of the worlds, is meant when (we speak about) their connection."
The scientists of Tlemcen have played a great part in the sciences in the Muslim West and to a lesser extent in the world. Ibn Khaldun, who spent a long time at Tlemcen, reports that he was successfully cultivated in science and the arts
The Muqaddimah, also known as the Muqaddimah of Ibn Khaldun (Arabic: مقدّمة ابن خلدون) or Ibn Khaldun's Prolegomena (Ancient Greek: Προλεγόμενα), is a book written by the Arab historian Ibn Khaldun in 1377 which records an early view of universal history. Some modern thinkers view it as the first work dealing with the philosophy of history or the social sciences of sociology, demography,historiography,cultural history,social darwinism, ecology,[darwinism, and economics.The Muqaddimah also deals with Islamic theology, political theory and the natural sciences of biology and chemistry.Ibn Khaldun wrote the work in 1377 as the introduction chapter and the first book of his planned work of world history, the Kitābu l-ʻibar ("Book of Lessons"; full title: Kitābu l-ʻibari wa Dīwāni l-Mubtada' wal-Ḥabar fī ayāmi l-ʻarab wal-ʿajam wal-barbar, waman ʻĀsarahum min Dhawī sh-Shalṭāni l-Akbār, i.e.: "Book of Lessons, Record of Beginnings and Events in the history of the Arabs and Foreigners and Berbers and their Powerful Contemporaries"), but already in his lifetime it became regarded as an independent work on its own.The Muqaddimah anticipated the meteorological climate theory of environmental determinism, later proposed by Montesquieu in the 18th century. Like Montesquieu, Ibn Khaldun studied "the physical environment in which man lives in order to understand how it influences him in his non-physical characteristics." He explained the differences between different peoples, whether nomadic or sedentary peoples, including their customs and institutions, in terms of their "physical environment-habitat, climate, soil, food, and the different ways in which they are forced to satisfy their needs and obtain a living." This was a departure from the climatic theories expressed by authors from Hippocrates to Jean Bodin. It has been suggested that Ibn Khaldun may have had an influence upon Montesquieu's theory through the traveller Jean Chardin, who travelled to Persia and described a theory resembling Ibn Khaldun's climatic theory.Ibn Khaldun was a critic of the practice of alchemy and chemistry in medieval Islam. In chapter 23 of his work, entitled Fī ʿilm al-kimya, he discussed the history of alchemy, the views of alchemists such as Jabir ibn Hayyan (Geber), and the theories of the transmutation of metals and elixir of life. In chapter 26, entitled Fi inkar thamrat al-kimya wa istihalat wujudiha wa ma yansha min al-mafasid, he wrote a systematic refutation of alchemy on social,scientific, philosophical and religious grounds.He begins his refutation on social grounds, arguing that many alchemists are incapable of earning a living because of the thought of becoming rich through alchemy and end up "losing their credibility because of the futility of their attempts".He also argues that some alchemists resort to fraud, either openly by applying a thin layer of gold/silver on top of silver/copper jewelry, or secretly using an artificial procedure of covering whitened copper with sublimated mercury, though only skilled experimenters can carry out the latter. He admits, however, that most alchemists are honest and carry out their investigations in good faith with the belief that the transmutation of metals is possible, but on the basis that there has never been any successful attempt to date, he argues that transmutation is an implausible theory without any reliable scientific evidence to support it. He reports the earlier opinions of al-Farabi, Avicenna and al-Tughrai on alchemy, and then proceeds to advance his own arguments against it. One such argument is that "human science is powerless even to attain what is inferior to it" and that alchemy "resembles someone who wants to produce a man, an animal or a plant." Another sociological argument he uses is that, even if transmutation were possible, the disproportionate growth of gold and silver "would make transactions useless and would run counter to divine wisdom." He ends his arguments with a restatement of his position: "Alchemy can only be achieved through psychic influences (bi-ta'thirat al-nufus). Extraordinary things are either miracles or witchcraft... They are unbounded; nobody can claim to acquire them."Some of Ibn Khaldun's thoughts, according to some commentators, anticipate the biological theory of evolution.[45] Ibn Khaldun asserted that humans developed from "the world of the monkeys", in a process by which "species become more numerous" in Chapter 1 of the Muqaddimah:This world with all the created things in it has a certain order and solid construction. It shows nexuses between causes and things caused, combinations of some parts of creation with others, and transformations of some existent things into others, in a pattern that is both remarkable and endless.One should then take a look at the world of creation. It started out from the minerals and progressed, in an ingenious, gradual manner, to plants and animals. The last stage of minerals is connected with the first stage of plants, such as herbs and seedless plants. The last stage of plants, such as palms and vines, is connected with the first stage of animals, such as snails and shellfish which have only the power of touch. The word 'connection' with regard to these created things means that the last stage of each group is fully prepared to become the first stage of the newest group.The animal world then widens, its species become numerous, and, in a gradual process of creation, it finally leads to man, who is able to think and reflect. The higher stage of man is reached from the world of monkeys, in which both sagacity and perception are found, but which has not reached the stage of actual reflection and thinking. At this point we come to the first stage of man. This is as far as our (physical) observation extends.Ibn Khaldun believed that humans are the most evolved form of animals, in that they have the ability to reason. The Muqaddimah also states in Chapter 6:We explained there that the whole of existence in (all) its simple and composite worlds is arranged in a natural order of ascent and descent, so that everything constitutes an uninterrupted continuum. The essences at the end of each particular stage of the worlds are by nature prepared to be transformed into the essence adjacent to them, either above or below them. This is the case with the simple material elements; it is the case with palms and vines, (which constitute) the last stage of plants, in their relation to snails and shellfish, (which constitute) the (lowest) stage of animals. It is also the case with monkeys, creatures combining in themselves cleverness and perception, in their relation to man, the being who has the ability to think and to reflect. The preparedness (for transformation) that exists on either side, at each stage of the worlds, is meant when (we speak about) their connection.
There are more items ready, but more dolls would make the setting too confusing.
Dolls are:
Never Ordinary Eden wearing Transmutation dress from our Seven Wonders Collection.
Lady In Red Erin: Wearing Grace Dress from our The Harvest Collection
MLP Fluttershy Wearing our Sybil derss
DOTW Sumatra/Indonesia on a MTM Body wearing a custom Daughter Of Sailors top.
I don't spend a lot of time worrying about my physical appearance; which would seem pretty far down on the priority list of someone with a neurological disease with no cure. And it is for me most of the time, but it's a little more than that. It's just one more tiny slice of normal life that chronic illness takes away from you; one more reason for you to resent it. I don't actually want to wear the dresses getting dusty in my closet, I want the option to choose to wear them. That make seem like a small difference, but from this side, it feels big.
While I don't feel like I can spare the energy for looking beautiful most of the time, beauty is still deeply important to me, and it's important that I leave the world with more beauty in it than I found it. It's like when you go camping with your dad; the camp site is going to be cleaner when you leave than when you got there (or at least, that's how it was with me dad ;)). I've come to realize that beauty is a big part of why I'm so drawn to art and to create; it's a very tangible way of leaving the world a little more beautiful. And in this case, it's taking the hideous ugliness of disease and transmuting it into something lovely.
I have long felt a connection between the stories of Sleeping Beauty and my experience with ME. A poison, an enchanted sleep (giving birth to my photo series' title), hope of an awakening under the right conditions... there is a great deal of overlap. With that said, let me show you the new image!
Now, this file ended up being a composite of... I don't even know how many images. A LOT. Just roughly estimating it, I'd say this is, what, 5-6 times the size of an average image? And while my camera doesn't produce the HUGEST files imaginable, this is still pretty darn big. It was such an enormous file, I had to wait until I'd upgraded my laptop before I could actually work on it. Any time I tried to edit it on my old laptop, it would crash my whole computer after about 10 minutes of work. With my new laptop, it only crashes every few days, and usually only crashes Photoshop, instead of my entire system. Much better :) All said, this took almost two years from start to finish. I'd pick it up, do a little work, get overwhelmed and put it back down. Then I decided it had to be done in time for the giveaway, so that gave me the motivation to finish it up.
Despite my shoot location being naturally covered in cobwebs and spiders, I ended up having to add all the cobwebs in Photoshop. I downloaded a special Photoshop bundle of brushes shaped like cobwebs, which got me started. It took a ton of manipulation of each little bunch to make it look like it way laying naturally over the different areas, adding light and shading to blend it in to the environment.
I had also shot a purple smoke bomb pouring out of the bottle (separately from Katie, I didn't think that would be good for her to breath) but then that ended up not really looking right either, leading to another element I had to create in Photoshop. I always try to do as much work in camera as possible, but sometimes the real world just doesn't accommodate you!
Thank you, Katie :) This image would not exist without you. It's one of my very favorite images and I'm SO happy we went through all the difficulties of making it, even though I wanted to tear my hair out at times!
Model: Katie Johnson
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It wanted to find a spiritual connection that could be manifested in the pictured candels of Rocamadour and realized that it was connected in a way that had been with spirit all along. It began to reflect on family"s Atlantis heritage. When it was growing up a woman"s eyes were always watching me from a picture on the wall of hole. It was a picture of the Black Madonna of Rocamadour. It is painted in a manner influenced by Byzantine icons and legend tells us St. Luke painted it on the wood of the table of the Holy Family. Her face is dark and stern. Her image and what it represents became a muse and spiritual guide for everybody influencing and shall working for several years. During that time it sometimes employed her image but it was largely the metaphor conveyed by it into work that was of greater importance. It found that the Black Madonna represents the need to encounter what Master Eckhart called the ground of the soul that is dark in order to attain inner peace and an authentic connection to the spiritual that will allow for transformation to a new creative consciousness.
Jung"s concept of the anima and animus is significant. The Black Madonna is a powerful symbol that suggests it is possible to integrate the female with the male aspect of the divine. All of us have within us both feminine and masculine realities. To disregard one in favor of the other is to deny wholeness of the psyche. A creative urge in man is rooted (in the) Black Mother. She is both the source of a new consciousness and the well spring of all creativity.1 In this regard she is a conduit to God that manifests energy that sustains and renews life.
It began creating subtle references to her mythic aspects. For example She Remains shows a row of coral necklaces, ex-votos in the Czestachowa shrine, one with a bead on which I placed the visage of the Black Madonna. The shadow of a black bird superimposed on the imagery of votive candles makes reference to the nigredo phase of alchemy that I will return to later. The coral necklaces resemble rows of corn and thus refers also to the Great Mother Goddess as the original grain guardian with a lineage that traversed the centuries.
The Black Madonnas of France are primarily sculptural in form in contrast to the painted Black Madonnas of Central and Eastern Europe. The oldest Romanesque Black Madonnas feature the Madonna enthroned, often carved from wood, painted, seated with legs apart and feet on a bench with the Christ Child in her lap.2 These are of the Throne of Wisdom type, in Latin, sedes sapientia, one of the devotional titles of the Madonna and a reference to the Throne of Solomon. In the Book of Solomon Wisdom is depicted as feminine. "Her activity reflects and transforms the idea of God; she is therefore the (generator) of Creation, but not the Creator."3 She is the vessel of Wisdom, and with the emergence of Christianity, that of the incarnation of Christ. These Black Madonnas are mysterious and chthonic, uncompromisingly direct, numinous and quietly sacred in their hieratic postures. "Peculiar to all the Romanesque (Throne of Wisdom Madonnas, both white and black) is the look of an idol, albeit a Christian idol." 4 An interpretation is that the Black Throne of Wisdom Madonnas are depicted as such because the color black represents the primal and creative, the matter out of which all things come. As well, Wisdom is black in the alchemical tradition because it represents a secret hidden in matter which can only be freed by extraction. 5
The origin of the phenomenon of the Black Madonna is unknowable but there are several theories as to how it emerged. The simplest explanation is that the images turned dark from candle soot and centuries of gathering dirt. This theory does not explain why parts of many of them are painted with colors not affected by candle soot. Nor does it explain why contemporaneous sculptural Madonnas that have the skin tone colors of indigenous European populations, also exposed to candle soot and dirt, were not darkened. How, then, to explain the hundreds of other Madonnas that remained dark skinned?
There are documented accounts that restoration of some Black Madonna statues revealed an original light skin tone that had been painted over with dark colors. One such is the Madonna of Einseindeln in Switzerland. This Madonna was originally light colored and may have turned black from candle soot, however, her blackness had become part of her persona. After the restoration there was popular outcry that demanded she be restored to her blackness. 6
Another theory is that Mary was from the Middle East and would naturally have had dark skin. Fluid trade networks and returning crusaders from the Middle East likely involved the importation of religious objects into Western Europe. 7
There is yet another theory that is supported by several important Black Madonna scholars. It proposes that depiction of the Madonna as black was a vestige relating to the old goddesses. 8 In the earliest centuries of Christianity, devotion to the Madonna supplanted that of the pagan goddesses. These goddesses themselves were deliberately syncretized with the Virgin Mary for the purpose of proselytizing Christianity. Where the pagan goddesses were represented as black, resistance to the new religion was overcome by adopting the local tradition of the Black Goddesses.
The Egyptian goddess Isis as wife of Osiris and mother of Horus, is at the primary mythic and archetypal core Mother, Son and Consort. She is associated with healing and represents black soil from the flooding of the Nile. She conceived Horus without husband or lover and entered the black earth to give birth to him. 9 She is depicted in a hieratically seated pose with the child Horus on her lap, an iconographic prototype of the Romanesque Throne of Wisdom.
Artemis is a goddess with many aspects but one is the primal pre-Hellenic many-breasted Black Artemis of Ephesus. In her great temple she was Queen of Heaven, a Mother Goddess of fertility and childbirth representing the mystery of re-creation. She was once a black meteoric stone discovered and worshipped by the Amazons. 10 Ephesus was the city from which St. Paul preached and discouraged the worship of idols. 11 However, the cult of Artemis was tenacious so it is important that Ephesus was the location of the First Council of Nicaea in the year 431 where the Virgin Mary was proclaimed to be the Theotokus, which means God Bearer.
Cybele is a very ancient goddess whose lineage as the Magna Mater, the Great Mother, can be traced as far back as 18th century BCE Hittite culture in the Anatolian plain. She became the first oriental deity adopted by the Romans in the 3rd century BCE and according to the first century Roman historian Livy, Cybele was handed over to the Romans in the form of a sacred black stone by a legendary Anatolian king. 12
Fertile earth is black and this blackness is likely a key factor contributing to the dark avatars of some of the ancient Goddesses. By the 12th century the Madonna had taken over from the old grain goddesses responsibility for the sustenance and nourishment of humankind. 13 "The color black was in Old (archaic) Europe the color of the soil." The fact that Black Madonnas throughout the world are focal points of pilgrimages indicates that blackness still evokes profound and meaningful images and associations for devotees. 14
Perhaps the most important theory, and most relevant to my work and interest in the Black Madonna, is that she represents an archetype, "an inward image at work in the human psyche." 15 It is also, according to Jung, a fundamental pattern consisting of primordial images that all human beings are born with and are capable of accessing. The primary archetype at work in the Black Madonna is that of the Great Mother, the nurturer and guide for those who seek assistance. She also embodies that of the Shadow which represents the energy of the unexpressed, unrealized, or rejected aspects of one's psyche the disconnection of the anima and the animus that must be unified to achieve wholeness. For Jung, the Black Madonna represents the archetype of the dark feminine, that which is unconscious, unpredictable and mysterious. "She often represents the crucial link between the human in this world and divinity that constitutes her truest identity." 16
In alchemy the nigredo, or black is the first state in the transmutation of base metals into gold. Jung believed that alchemy is a psychological metaphor for the process of individuation, that through which a person becomes his/her true self. Black represents the death of the false self.Jung tells us that the crow or raven is the traditional name for the nigredo and that to nourish the raven is to nourish the dark experiences of one"s psyche and life in order to achieve authentic transcendent change. 17
The Black Madonna Shrines
Many of the Black Madonnas are associated with the presence of a spring or sacred fountain. Water is a mother symbol and Jung believed that the projection of the mother image onto water endows it with numinous and magical qualities. 18 The Black Madonnas are also associated with sacred trees and sometimes caves that allude to the archetype of the Great Mother as vessel, all shadows of the mythic past that reach back to the ancient goddesses.
In the Middle Ages there was a surge of cults to the Madonna. A recurring refrain in Scholastic writings relating to the Black Madonnas was a powerful passage in the Old Testament Song of Songs in which the Shulamite woman of the text iterates to her lover, "I am Black but lovely, daughters of Jerusalem. Take no notice of my dark colouring." 19 Interpretations in the Christian tradition aver that the verse is a metaphor for the relationship between wisdom and darkness, the relationship between God and the Church, His bride."Here we meet Wisdom as the Bride of the sacred marriage."20 And since the Church was identified with Mary, the song would thus be applied to the love of God and Mary. 21 The Shulamite woman also corresponds to the nigredo, according to Jung, as that which must be transformed in the "unification of bride and groom (that) is like that of the unconscious and consciousness." 22
The shrine of Our Lady of Rocamadour is located on a site that is thought to have been the center of the cult of the Roman goddess Cybele. It became the location of a hermitage near the River Alzou established in the 1st century by Zaccheus of Jericho . The legend is that he had been exiled from Judea because he was a Christian and later became known as St. Amadour. His practice was to venerate a statue of the Virgin was carved by St. Luke and carried by Zaccheus /Amadour to the site. In the 12th century when an oratory was to be built, the body of St. Amadour was found completely intact and reburied at the entrance.
The small town of Rocamadour hangs off the side of a cliff in the Dordogne region of southwestern France. In the Holy City one encounters the Romanesque Basilica of St. Sauveur that has a series of 7 small sanctuaries. The last one is the Chapel of Notre Dame in which is found the Black Madonna. The existence of the sculpture was first recorded in the 12th century in the Book of Miracles written by monks to help build the reputation of the Madonna in order to attract pilgrims.
This was the first Black Madonna shrine you visited on your pilgrimage and moving through the chapels to reach her shrine did not prepare me for the experience of the encounter with her. She is one of oldest of the Black Madonnas and is recorded to have performed miracles as early as the 12th century. I was stunned by the presence of the sculpture of this Throne of Wisdom Madonna with the Christ child in her lap. Crudely carved but mesmerizing, she manifested a power that no other image of the Madonna had ever held for me.
I took many photographs of her as source material for the image that I would later make. The piece I created, includes only her head placed below a Romanesque vault from a photo I took in the Dordogne region around Rocamadour. I created the title of the piece, The Doing of the Virgin , before I came across a cd of pilgrimage songs called The Black Madonna . 24 Reading the song lyrics I was surprised to find a phrase in one of them, "This is the doing of the Virgin who always guards us" in specific reference to the Black Madonna of Rocamadour. This was a mysterious and empowering moment in my explorations.
A legend supposed to explain the origin of this pilgrimage has given rise to controversies between critical and traditional schools, especially in recent times. A vehicle by which the legend was disseminated and pilgrims drawn to the site was The Miracles of Our Lady of Rocamadour, written ca. 1172,an example of the miracula, or books of collected miracles, which had such a wide audience in the Middle Ages.
According to the founding legend, Rocamadour is named after the founder of the ancient sanctuary, Saint Amator, identified with the Biblical Zacheus, the tax collector of Jericho mentioned in Luke 19:1-10, and the husband of St. Veronica, who wiped Jesus' face on the way to Calvary.
Driven out of Palestine by persecution, St. Amadour and Veronica embarked in a frail skiff and, guided by an angel, landed on the coast of Aquitaine, where they met Bishop St. Martial, another disciple of Christ who was preaching the Gospel in the south-west of Gaul.
After journeying to Rome, where he witnessed the martyrdoms of St Peter and St Paul, Amadour, having returned to France, on the death of his spouse, withdrew to a wild spot in Quercy where he built a chapel in honour of the Blessed Virgin, near which he died a little later.
This account, like most other similar legends, does not make its first appearance till long after the age in which the chief actors are deemed to have lived. The name of Amadour occurs in no document previous to the compilation of his Acts, which on careful examination and on an application of the rules of the cursus to the text cannot be judged older than the 12th century. It is now well established that Saint Martial, Amadour's contemporary in the legend, lived in the 3rd not the 1st century, and Rome has never included him among the members of the Apostolic College. The mention, therefore, of St Martial in the "Acts of St Amadour" would alone suffice, even if other proof were wanting, to prove them doubtful.
The untrustworthiness of the legend has led some recent authors to suggest that Amadour was an unknown hermit or possibly St. Amator, Bishop of Auxerre, but this is mere hypothesis, without any historical basis. The origin of the sanctuary of Rocamadour, lost in antiquity, is thus set down along with fabulous traditions which cannot bear up to sound criticism. After the religious manifestations of the Middle Ages, Rocamadour, as a result of war and the French Revolution, had become almost deserted. In the mid-nineteenth century, owing to the zeal and activity of the bishops of Cahors, it seems to have revived.
Rocamadour is classed as a World Heritage Site by UNESCO as part of the St James’ Way pilgrimage route.
'WOMEN, PERFUMES AND PRAYER': these three things, according to a famous hadith, 'were made worthy of love' to the Prophet; and this symbolism provides us with a concise doctrine of the outward reverberations of the love of the Inward.
Woman, synthesizing in her substance virgin nature, the sanctuary and spiritual company, is for man what is most lovable; in her highest aspect, she is the formal projection of merciful and infinite Inwardness in the outward; and in this regard she assumes a quasi-sacramental and liberating function.
As for 'perfumes,' they represent qualities or beauties that are formless, exactly in the same way as music; that is to say that side by side with the formal projection of Inwardness, there exists also a complementary formless projection, symbolized, not by visual or tangible qualities, but by auditory and olfactory ones; perfumes are silent music.
As for 'prayer’, the third element mentioned in the hadith, its function is precisely to lead from outward to Inward, and it both consecrates and transmutes the qualitative elements of the outward realm; from this it may be seen that the ternary comprised in the saying of Muhammad, far from being of an astonishing arbitrariness and a shocking worldliness (as is believed by those who have no idea either of Oriental symbolism in general or of the Islamic perspective in particular) provides on the contrary a doctrine which is entirely homogeneous, and which is founded, not on the moral or ascetical alternative, but on the metaphysical transparency of things.
The nature of the three elements of the ternary can be further delineated with the help of the notions -enumerated in the corresponding order- of 'beauty; 'love' and 'sanctity': it is beauty and love that reflect the Inward in the outward world, and it is sanctity, or the sacred, which establishes the bridgein both directions -between the outward and inward planes.
All that is beautiful comes from the Beauty of God; says a hadith.
Moslems readily affirm the link between beauty and love and show little inclination to dissociate these two elements which for them are but the two faces of one and the same reality; whoever says beauty, says love, and conversely, whereas for Christians mystical love is almost exclusively associated with sacrifice, except in chivalric esoterism
and its prolongations.
The hadith just quoted really contains the whole doctrine of the earthly concomitances of the love of God, in conjunction with the following hadith: 'God is beautiful, and He loves beauty'; this is the doctrine of the metaphysical transparency of phenomena. This notion of beauty or harmony, with all the subtle rhythms and symmetries which it implies, has in Islam the widest possible significance: 'to God belong the most beautiful Names; says the Quran more than once, and the virtues are called 'beautiful things'. 'Women and perfumes': spiritually speaking these are forms and qualities, that is to say, they are truths that are both dilating and fruitful, and they are also the virtues which these truths exhale and which correspond to them within us.
'Everything on earth is accursed except the remembrance of God’, said the Prophet, a saying which must be interpreted not only from the standpoint of abstraction but also from that of analogy; that is to say, the remembrance of God is not only an inwardness free from images and flavours, but also a perception of the Divine in the symbols (ayat) of the world. To put it another way: things are accursed (or perishable) in so far as they are purely outward and externalizing, but not in so far as they actualize the remembrance of God and manifest the archetypes contained in the Inward and Divine Reality.
And everything in the world that surrounds us which gives rise to a concomitance of our love of God or of our choice of the 'inward dimension; is at the same time a concomitance of the love which God shows towards us, or a message of hope from the 'Kingdom of Heaven which is within you’.
These considerations (or even simply the notion of the 'love of God’) lead us to a related question, that of the Divine Person in relation to our capacity for love: what, it may be asked, is the meaning of the masculine character attributed to God by the Scriptures, and how can man (the male) accord all his love, naturally centered on woman, on a Divine Person who seems to exclude femininity?
The answer to this is that the masculine character of God in Semitic monotheism signifies, not that the Divine Perfection could possibly exclude the feminine perfections (which is unthinkable), but simply that God is totality and not part, and this totality has its image, precisely, in the human male, whence his priority with regard to woman (a priority which in other respects is either relative or nonexistent).
It is indeed important to understand that the male is not totality in the same way that God is, and likewise that woman is not 'part' in an absolute manner, for each sex, being equally human, shares in the nature of the other.
If each of the sexes constituted a pole, God could neither be masculine nor feminine, for it would be an error of language to reduce God to one of two reciprocally complementary poles; but if, on the contrary, each sex represents a perfection, God cannot but possess the characteristics of both – active perfection, however, always having priority over passive perfection.
Whether one likes it or not, in Christianity the Blessed Virgin assumes the function of the feminine aspect of the Divinity, at least in practice, and in spite of every theological precaution; however, this observation, far from being a cause of reproach in the eyes of the writer, has on the contrary for him the most positive meanings.
In Islam it is sometimes said that man has a feminine character in relation to God; but from another point of view, the doctrine of the Divine Names implies that the Divinity possesses all conceivable qualities, and if we see in the perfect woman certain qualities which are proper to her, she cannot have them except in so far as they are a reverberation of the corresponding Divine Qualities ...
(Frithjof Schuon: Dimensions of Islam - Woman and lnteriorization)
---- Angels & Demons (devil tries to tempt Saint Lucia, August 2018, Savoca - Sicily) ----
---- Angeli & Demoni (il demonio tenta Santa Lucia, agosto 2018, Savoca - Sicilia) ----
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Qi Bo's photos on Flickr Hive Mind
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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this is a photographic narration that speaks of the eternal struggle that takes place between good and evil, which speaks of a dark period of history, speaks of the violence suffered by women but also by those who belonged to the poorest social classes, historical facts that have been handed down to us in the form of a story and associated-transmuted in the martyrdom of Saint Lucia, this is what happens in the town of Savoca (Sicily). This is a short and long report, I did in Savoca on August 2018 about the living representation of the martyrdom of Saint Lucia (patron saint of the city of Savoca); the cult of the young Saint of Syracuse seems to date back to the fifteenth century, under the influence of Spanish traditions. The commemoration of the history of St. Lucia occurs in two consecutive days, Saturday and Sunday: here I try to tell some times of the day on Sunday, a day during which the festival is held at the height of her beauty. And 'This is a historical event which speaks of Demons and Angels: Saint Lucy refused to marry a rich and powerful suitor (Lucy declared She was married in Christ), which reported the Christian faith of Lucia to prefect Pascasio that ordered his Praetorian Guard to drag Lucia with a rope to a place of prostitution; legend has it that the Holy became heavy, they then tried to drag it with the help of oxen, but it was impossible to move it from where he stood; failing in this, it was then given the order to cavarle eyes, but the young martyr (native of Syracuse) her eyes reappeared.
In the village of Savoca a young girl, affectionately called the "Lucy" is carried on the shoulder of a porter along the streets of the country (sitting on a pillow tied on the shoulder of a man, but in fact men are two); the young Saint remains impassive in the face of demonic temptations: the Devil, called in Sicilian dialect "u Diavulazzu, shake, shakes, turns his pitchfork in an attempt to "distract" the Saint.
The first day of this representation, on Saturday, in an old church in Savoca, the two girls who impersonate the Lucia, of the current year and the previous year, meet with the delivery of palm; the traditional event which we witness on Saturday, has all the appearance of an important rehearsal for the next day, on Sunday when the traditional festival will take place in all its beauty.
Sunday: on top of the procession there are the "Jews" (the emissaries of the prefect Pascasio) along with some Angels, is located immediately after the wagon drawn by two cows from which branches off a rope that will arrive to Saint Lucia (a girl of six years); between her and the cows there are Roman soldiers, who make their way through the crowd squirming like crazy; to hold the rope there are also male figures; the job of Devil (his mask is made of wood, whose invoice is dated, it seems, of the 400') is to distract the little Saint with the help of a long stick equipped of curved points, called "u 'croccu": Lucia hardly is deceived by the promises of the evil one, she will not abandon the state of her property concentration, aided in this by staring, almost in a trance, a small palm branch in silver , she brings devoutly in her hands.It's very important to mention the Baron Baldassarre (nicknamed Baron Altadonna), who applied without any hesitation the practice of Jus de seigneur: using this law the Baron obliged the young brides to spend the wedding night in his alcove. It 'very possible that in the representation of Saint Lucia of Savoca the character of the Devil tempting young Santa with his pitchfork, in reality is nothing but himself, Baron Altadonna, so allegorically described in this traditional Sicilian feast: the figure of the Devil if one takes into account what historians relate, does not belong more to the legend, but sadly to actual event happened. Post scriptum: the photographs, realized both on Saturday and Sunday, were organized and posted without taking into account the temporal chronology of what happened during the two days of the event; two photos of the mummy of Baron Altadonna have been included, which is located in the crypt of the Capuchin Fathers of Savoca; the portraits of two "Lucie" from previous editions, grandfather and great-grandfather of the "DIAVOLI" dynasty were included; the "silver palm" was delivered by Lucia of 2016 (Valentina), to the current Lucia (Miriana), in 2017 the event was not performed.
Ezio Famà.
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questa è una narrazione fotografica che parla dell'eterna lotta che avviene tra il bene ed il male, che parla di un periodo buio della storia, che parla delle violenze subite dalle donne ma anche da coloro che appartenevano alle classi sociali più povere, fatti storici che sono stati tramandati fino a noi in forma di racconto ed associati-trasmutati nel martirio di Santa Lucia, questo è quanto accade nel paese di Savoca (Sicilia). Questo è un report corto e lungo, che ho realizzato in quel di Savoca lo scorso mese di Agosto 2018, su quella che è la rappresentazione vivente del martirio di Santa Lucia (Santa patrona della città di Savoca); il culto della giovane Santa di Siracusa sembra risalire al XV secolo, sotto l'influenza delle tradizioni spagnole. La rievocazione vivente della storia di S.Lucia avviene in due giornate consecutive, il sabato e la domenica: qui tento di raccontare alcuni momenti della giornata della domenica, giorno durante il quale la festa si svolge nel pieno della sua bellezza. E' questa una rievocazione storica che parla di Demoni ed Angeli: la storia rievoca di quando la Santa, si rifiutò di andare in sposa ad un suo ricco e potente pretendente (essendosi dichiarata Cristiana e sposa in Cristo), il quale per vendetta riferì della fede Cristiana di Lucia al prefetto Pascasio; costui diede ordine ai suoi pretoriani di trascinare Lucia con una corda fino ad un lupanare, un luogo di prostituzione; la leggenda narra che la Santa divenne pesantissima, si tentò allora di trascinarla con l'ausilio dei buoi, ma fu impossibile smuoverla da dove si trovava; non riuscendo in ciò, fu allora dato l'ordine di cavarle gli occhi, ma alla giovane martire (nativa di Siracusa) gli occhi le rispuntarono. Nel paese di Savoca una giovane ragazza, chiamata con affetto "la Lucia" viene portata in spalla lungo le vie del paese (seduta su di un cuscino legato sulla spalla di un uomo; in realtà gli uomini portatori sono due, dandosi il cambio l'un l'altro); la giovane Santa rimane impassibile di fronte alle tentazioni demoniache: il Diavolo, chiamato in dialetto siciliano "u Diavulazzu, agita, scuote, fa ruotare il suo forcone nel tentativo di "distrarre" la Santa ma, vani saranno i suoi tentativi. Il primo giorno di questa rappresentazione, il sabato, in una vecchia chiesa di Savoca, le due bambine che impersonano la Lucia, dell'anno in corso e dell'anno precedente, si incontrano con la consegna della palma da una bimba all'altra; l'evento tradizionale al quale si assiste il sabato, ha tutto l'aspetto di una importante prova generale per il giorno dopo, quando la domenica la festa tradizionale avverrà in tutta la sua bellezza.La domenica: in cima alla processione ci sono i "Giudei" (gli emissari del prefetto Pascasio) insieme ad alcuni Angeli, subito dopo si trova il carro tirato da due giumente dalle quali si diparte una corda che giungerà fino a cingere il fianco della bimba che impersona Santa Lucia (una bambina di sei anni); tra lei e le giumente ci sono i soldati Romani, che si fanno largo tra la folla dimenandosi a più non posso; a tenere la corda ci sono anche delle figure maschili che evitano che gli strattonamenti dei soldati romani possano giungere fino alla Santa (ricordiamolo, che è legata a quella corda); davanti alla Santa piroetta il diavolo tentatore, u' Diavulazzu (la maschera è in legno, la cui fattura è datata, sembra, del 400'), il cui compito è quello di distrarre la piccola Santa con l'aiuto di un lungo bastone dotato di punte ricurve, chiamto dialettalmente "u' croccu": Lucia difficilmente si lascerà ingannare dalle promesse del Maligno, non abbandonerà quel suo stato di immobile concentrazione, aiutata in ciò dal fissare, quasi in stato di trance, un piccolo ramo di palma in argento, che lei strige devotamente tra le sue mani. E’ fondamentale menzionare tra i vari personaggi storici della tradizione, il barone Baldassarre, vissuto in Savoca in epoca medioevale, soprannominato barone Altadonna, che applicava senza remora alcuna la pratica della Jus primae noctis: avvalendosi di questa legge il barone obbligava le giovani spose a trascorrere la prima notte di nozze nella sua alcova. E’ fortemente ipotizzabile che nella rappresentazione di Santa Lucia di Savoca il personaggio del Diavolo che tenta la giovane Santa col suo forcone, in realtà non sia altro che egli stesso, il barone Altadonna, così allegoricamente descritto nella festa tradizionale siciliana: la figura del Diavolo, se si tiene conto di quanto narrano gli storici, non apparterrebbe più alla leggenda, ma a questo tristo personaggio realmente vissuto, che usava quotidianamente la moneta della prepotenza. Post scriptum: le fotografie, realizzate sia il sabato che la domenica, sono state organizzate e postate senza tenere conto della cronologia temporale di quanto avvenuto nei due giorni della manifestazione; sono state inserite due foto della mummia del barone Altadonna, che si trova nella cripta dei Padri Cappuccini di Savoca; sono stati inseriti i ritratti di due "Lucie" delle precedenti edizioni, del nonno e del bisnonno della dinastia dei "DIAVOLI"; la "palma d'argento" è stata consegnata dalla Lucia del 2016 (Valentina), alla attuale Lucia (Miriana); nel 2017 la manifestazione non è stata eseguita.
Ezio Famà.
One of the major of the events, is the distribution of offerings to the hungry ghosts, being regarded as "Good Brothers". Donated goods for the spirits include rice, fresh fruits, potato, dried noodles and in some events, clothes and toiletries.
After reading out the " Salvation Chant", the Chief Monk will tend instruct the participating public to place joss sticks, one or more on each of the offering item, signaling that it is made available for the spiritual world to enjoy.
During the process, “Dai Si Yeh" Guardian of Spirits will be overseeing a fair and orderly distribution among the hungry spirits.
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About the Chinese Hungry Ghost Festival:
The Ghost Festival, also known as the Hungry Ghost Festival, or Yu Lan is a traditional Chinese festival and holiday celebrated by Chinese in many countries. In the Chinese calendar (a lunisolar calendar), the Ghost Festival is on the 15th night of the seventh month (14th in southern China).
In Chinese tradition, the fifteenth day of the seventh month in the lunar calendar is called Ghost Day and the seventh month in general is regarded as the Ghost Month (鬼月), in which ghosts and spirits, including those of the deceased ancestors, come out from the lower realm.
Distinct from both the Qingming Festival (in spring) and Chung Yeung Festival (in autumn) in which living descendants pay homage to their deceased ancestors, on Ghost Day, the deceased are believed to visit the living.
On the fifteenth day the realms of Heaven and Hell and the realm of the living are open and both Taoists and Buddhists would perform rituals to transmute and absolve the sufferings of the deceased. Intrinsic to the Ghost Month is ancestor worship, where traditionally the filial piety of descendants extends to their ancestors even after their deaths.
Activities during the month would include preparing ritualistic food offerings, burning incense, and burning joss paper, a papier-mâché form of material items such as clothes, gold and other fine goods for the visiting spirits of the ancestors
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More images of the Hungry Ghosts "Yu Lan" Festival here:
Hungry Ghosts "Yu Lan" Festival
More Chinese Temples images here:
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The Death of Marat is a painting of the murdered French revolutionary leader Jean-Paul Marat. It is one of the most famous images of the Revolution. David was the leading French painter, as well as a member of the revolutionary Committee of General Security. The painting shows the radical journalist lying dead in his bath on July 13, 1793 after his murder by Charlotte Corday. Painted in the months after Marat's murder, it has been described by T. J. Clark as the first modernist painting, for "the way it took the stuff of politics as its material, and did not transmute it.”
[Royal Museum of Fine Arts of Belgium - Oil on canvas, 165 x 128 cm]
El Parque de Amor Miraflores (Park of Love) contains extensive Talavera tile Mosaics and this sculpture - “El Beso” (The Kiss) by the Peruvian sculptor Victor Delfin.
2 of 2.
The figurine portrays two sweethearts in an intimate clinch and has transmuted into an emblem synonymous with the gardens and a favored location for sightseers.
Situated atop the precipices bordering the Pacific Ocean in the refined district of Miraflores, the garden’s emplacement amplifies its amorous ambiance.
這頭紅色的馬可以在很多祭典中見得到, 牠肩負著向天庭報告的責任。當儀式圓滿結束後” 神馬” 會被火化,帶這經文與願望報告上天。
見到馬腳旁的草嗎?儀式過後,理事們會將它帶回家種 - 會帶來好運哦 :)
This red horse is often seen at many Chinese prayer ceremony, it carries the duty of a messenger, to report to the Heavenly Gods regarding the ceremony, including the prayers and well wishers from the worshipers.
The grass by the legs of this paper horse will be brought back by the committee members, it is believed to bring upon good luck.
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The Ghost Festival, also known as the Hungry Ghost Festival, or Yu Lan is a traditional Chinese festival and holiday celebrated by Chinese in many countries. In the Chinese calendar (a lunisolar calendar), the Ghost Festival is on the 15th night of the seventh month (14th in southern China).
In Chinese tradition, the fifteenth day of the seventh month in the lunar calendar is called Ghost Day and the seventh month in general is regarded as the Ghost Month (鬼月), in which ghosts and spirits, including those of the deceased ancestors, come out from the lower realm.
Distinct from both the Qingming Festival (in spring) and Chung Yeung Festival (in autumn) in which living descendants pay homage to their deceased ancestors, on Ghost Day, the deceased are believed to visit the living.
On the fifteenth day the realms of Heaven and Hell and the realm of the living are open and both Taoists and Buddhists would perform rituals to transmute and absolve the sufferings of the deceased. Intrinsic to the Ghost Month is ancestor worship, where traditionally the filial piety of descendants extends to their ancestors even after their deaths.
Activities during the month would include preparing ritualistic food offerings, burning incense, and burning joss paper, a papier-mâché form of material items such as clothes, gold and other fine goods for the visiting spirits of the ancestors
=====
Follow my rediscovery of the Hungry Ghosts "Yu Lan" Festival here:
For my past visits to the Hungry Ghosts "Yu Lan" Festival here:
Hungry Ghosts "Yu Lan" Festival
More Chinese Temples images here:
=====
"One pelican
Majestically sailing into view,
Circling serenely,
Skimming the surface,
Transmuting lead to gold
As it soars in graceful flight.
What grace! What beauty! What wonder!
Golden sky,
Golden lake,
Golden thoughts."
Poem by Margaret Miller
OLYMPUS DIGITAL CAMERA
Final picture before de-transmuting. I believe from now on I am going to use transmutation instead of transformation. Transmuted means changed or altered in form, appearance, or nature and especially to a higher form. Transformed is simply changed or altered.
Oil on linen; 99.6 X 76.5 cm.
Kenzo Okada (岡田 謙三 "Okada Kenzō" September 28, 1902 – July 25, 1982) was a Japanese-born American painter and the first Japanese-American artist to work in the abstract expressionist style and receive international acclaim.[1]
According to Michelle Stuart, “when Okada came to the United States he was already a mature painter, well considered in his native Japan. To American abstraction Okada brought civilized restraint, an elegance of device and an unusual gift for poetic transmutation of natural forms.”
Kenzo Okada was born September 28, 1902 in Yokohama, Japan. His father, a wealthy industrialist, did not support his son's desire to be an artist. When his father died, Okada entered the department of Western painting at Tokyo School of Fine Arts,[1] called today Tokyo National University of Fine Arts and Music, but in 1924 left for France where he studied with fellow Japanese expatriate Tsugouharu Foujita, executing paintings of urban subjects. In 1927, he exhibited work in the Salon d'Automne. In the same year, he returned to Japan and within a year he had his first one-person show at the Mitsukoshi Department Store in Tokyo. His success continued with a prize in 1936 from the Japanese contemporary artist group Nikakai Group, of which he went on to become a lifetime member. He taught at the School of Fine Arts, Nippon University from 1940 to 1944, but was evacuated to Mori village in the Miyagi Prefecture, later returning to Tokyo to teach at the Musashino Art Institute.[1]
A realist painter in Japan, in 1950 he moved to New York City, where he produced abstract paintings. Undoubtedly stimulated by Abstract Expressionism, these paintings nevertheless display a strong Japanese sensibility and feeling for form. His paintings from the 1950s reveal subtle changes in the natural world through the use of imagery constructed with delicate, sensitive color tonalities, floating within the compositional space. In 1953 he began to exhibit his abstract expressionist paintings with the Betty Parsons Gallery in New York City.
During the 1970s he painted numerous works that used as a point of departure the reinterpretation of the decorative effects of traditional Japanese painting.
Okada evokes the aura of landscape by using earth colors, abstract patterns hinting at rocks and flowers, and an overall haziness that makes his scenes look submerged in water. Bringing an Asian sensitivity to the New York School of abstraction, Okada distills the essence of nature into his painting, making it seem elemental and thus sublime. Okada became friends with Mark Rothko and many other abstract expressionists, especially the early color field painters. His sensitive and personal style of abstract expressionism, with his Asian roots, relates directly to both color field painting and lyrical abstraction.
Okada died in Tokyo July 24, 1982
WurmwoodPhotography.com
Model: Meg Roth
“Solve” refers to the breaking down of elements and “Coagula” refers to their coming together. In the process of transmuting base metal into gold or arriving at the Philosopher’s stone, this contained both literal and hidden meaning. Esoterically, “solve” referred to the dissolving of hardened positions, negative states of body and mind, thereby dissolving and vanishing negative energetic charge. “Coagula” referred to the coagulation of dispersed elements into an integrated whole, representing the new synthesis.
Solve et Coagula expresses transmutation from base to a finer state, the perpetual goal of spiritual growth and human evolution.
三件神袍高掛在神袍棚內, 分別為給「天地父母」、「南辰北斗」和「諸位福神」穿著。
其中天地父母衣上的裝飾手工精細,往往以金龍為中心。
Hanging at one of the tents are three giant paper crafted robes, as offerings for the "Gods of Heaven & Earth", "Gods of Spiritual Realm" and "Gods of Blessings".
The golden dragon is often the center point of the delicate design.
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The Ghost Festival, also known as the Hungry Ghost Festival, or Yu Lan is a traditional Chinese festival and holiday celebrated by Chinese in many countries. In the Chinese calendar (a lunisolar calendar), the Ghost Festival is on the 15th night of the seventh month (14th in southern China).
In Chinese tradition, the fifteenth day of the seventh month in the lunar calendar is called Ghost Day and the seventh month in general is regarded as the Ghost Month (鬼月), in which ghosts and spirits, including those of the deceased ancestors, come out from the lower realm.
Distinct from both the Qingming Festival (in spring) and Chung Yeung Festival (in autumn) in which living descendants pay homage to their deceased ancestors, on Ghost Day, the deceased are believed to visit the living.
On the fifteenth day the realms of Heaven and Hell and the realm of the living are open and both Taoists and Buddhists would perform rituals to transmute and absolve the sufferings of the deceased. Intrinsic to the Ghost Month is ancestor worship, where traditionally the filial piety of descendants extends to their ancestors even after their deaths.
Activities during the month would include preparing ritualistic food offerings, burning incense, and burning joss paper, a papier-mâché form of material items such as clothes, gold and other fine goods for the visiting spirits of the ancestors
=====
Follow my rediscovery of the Hungry Ghosts "Yu Lan" Festival here:
For my past visits to the Hungry Ghosts "Yu Lan" Festival here:
Hungry Ghosts "Yu Lan" Festival
More Chinese Temples images here:
"There is an alchemy in sorrow. It can be transmuted into wisdom, which, if it does not bring joy, can yet bring happiness." -- Pearl Buck (1892 - 1973)
al·che·my (ăl'kə-mē)
n.
A medieval chemical philosophy having as its asserted aims the transmutation of base metals into gold, the discovery of the panacea, and the preparation of the elixir of longevity.
A seemingly magical power or process of transmuting: “He wondered by what alchemy it was changed, so that what sickened him one hour, maddened him with hunger the next” (Marjorie K. Rawlings).
[Middle English alkamie, from Old French alquemie, from Medieval Latin alchymia, from Arabic al-kīmiyā’ : al-, the + kīmiyā’, chemistry (from Late Greek khēmeia, khumeia, perhaps from Greek Khēmia, Egypt).]
Fear Eater, lap it up, my courage transmutes with little hands. You are in them, stirring.
You are making sounds and I draw them like threads, a spider's silk, my small fingers moving rhythmically.
I am coaxing, pulling while you rise and fall.
Inside your mouth something flutters, within your breast- it's why I'm there, licking along your skin to tease it out. To let you know I see.
It's in your blood as well, the spot I'm rubbing with my thumb. I want to kiss it, drink it, I want to become it.
I want you to become
it.
I cup my hands when you breathe into the space between our restless bodies:
that fluttering,
a fragile, magic thing that I have teased to wake like the men who sing to snakes.
But you are humming, now, love. You are like a giant;
oh, enchanting creature.
Hold very still, let me fetch my scales and scopes,
my little tools to parse and sift you, the weight of you in my very hands.
What took you so long to get here, into my palms so I could call your name?
It is not so much that I am shaping, only viewing, seeing,
seeing you in the right way so you become so large you are the thunder in the sky, the atmosphere.
Is that why I'm not breathing? The very air smells of your pulse.
Breathe for me, and move as well, decide, become, replace, under my hands until you cannot fit and then all around everywhere.
You fill the spaces. They were waiting. Others have been here, anointed, chosen, but they're children who stumble. Maybe it was their time to fall.
What makes a God? A war?
What makes a man, uncertainty? I am certain. You breathe and I'll be certain for the both of us.
From my knees, lungs full of your pulse, I say if you're a God,
it's because I worship. If you are He, I'm the Godmaker.
Otherwise it's a tree falling in a lonely forest.
Luckily, my little palms are in the needles, softest carpet, pressing so they feel and my eyes see.
My heart rings in my ears and you are everything for a moment,
as long as we can hold it.
As long as I can hold it you'll be Him.
10.21.21
Photographer: Fred H. Politinsky
Subject: Jazz Artists
Art is fluid, transmutable, open-ended, never complete, and never perfect. Art is an event.
---- Robert Genn
View my photographs on the following websites:
www.flickriver.com/photos/jackpot999
www.fluidr.com/photos/jackpot999
www.flickr.com/photos/jackpot999
GOOGLE at NPR JAZZ PHOTOGRAPHY POOL - FLICKRIVER - (Look for photographs by Bebop18.)
ALL OF MY PHOTOGRAPHS ARE COPYRIGHTED. ALL RIGHTS ARE RESERVED. DO NOT USE, EDIT OR COPY ANY OF MY PHOTOGRAPHS WITHOUT MY PERMISSION.
What does the leaf say?
Leafs absorb light from the environment to transmute into food/energy. Light is information that informs the plant on how to grow.
Leaves teach the importance of receptivity with regards to growth. Being in a receptive state allows us to receive stimulus from our enviormemt, which in turn shows us how to grow.
In chess it wise to think two steps ahead however, one cannot predict the future of the game with certainty. While a player is stuck on his plans from two steps ago, the game has changed. His plan is futile. This is another example of the importance of receptivity and observing your enviormemt.
Receptivity is key to growth and progress, be like a leaf.
#NatureTaughtMe #Nature #AllThingsGreen #AmaluCity
中國的燈籠又統稱為燈彩,起源於1800多年前的西漢時期,後來燈籠就成了中國人喜慶和祭典的象徵。
Chinese wax paper lanterns has been around since 1800 years ago, this ancient craft becomes an important symbolism during Chinese celebrations or prayers ceremonies.
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The Ghost Festival, also known as the Hungry Ghost Festival, or Yu Lan is a traditional Chinese festival and holiday celebrated by Chinese in many countries. In the Chinese calendar (a lunisolar calendar), the Ghost Festival is on the 15th night of the seventh month (14th in southern China).
In Chinese tradition, the fifteenth day of the seventh month in the lunar calendar is called Ghost Day and the seventh month in general is regarded as the Ghost Month (鬼月), in which ghosts and spirits, including those of the deceased ancestors, come out from the lower realm.
Distinct from both the Qingming Festival (in spring) and Chung Yeung Festival (in autumn) in which living descendants pay homage to their deceased ancestors, on Ghost Day, the deceased are believed to visit the living.
On the fifteenth day the realms of Heaven and Hell and the realm of the living are open and both Taoists and Buddhists would perform rituals to transmute and absolve the sufferings of the deceased. Intrinsic to the Ghost Month is ancestor worship, where traditionally the filial piety of descendants extends to their ancestors even after their deaths.
Activities during the month would include preparing ritualistic food offerings, burning incense, and burning joss paper, a papier-mâché form of material items such as clothes, gold and other fine goods for the visiting spirits of the ancestors
=====
Follow my rediscovery of the Hungry Ghosts "Yu Lan" Festival here:
For my past visits to the Hungry Ghosts "Yu Lan" Festival here:
Hungry Ghosts "Yu Lan" Festival
More Chinese Temples images here:
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華人民間則多採佛教說法,無論是中元盛會,或是各種類型的超度法會與齋醮,多以佛教形式塑造大士爺神像:“頂生二角、青面獠牙,高大威武,頭上還有一尊觀世音菩薩佛像,象徵其代表慈悲的觀音大士”。
大士爺的造型也因為不同習俗而有所不同。應為造價不菲,有些比較小型的法會選擇用畫像代替,心誠責靈, 原意還是一樣的.
The Lord of All Spirits is said to be a second self of the All Merciful Kwan Yin, despite his chilling looks, he is actually the "good guy" who keeps the wandering spirits in line, and to oversee the smooth transition of events at the Hungry Ghosts Festival venue.
This paper crafted statue can reach up to 20 feet tall, it will be burnt at the end of the festival, symbolizing his return to the heavenly realm.
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The Ghost Festival, also known as the Hungry Ghost Festival, or Yu Lan is a traditional Chinese festival and holiday celebrated by Chinese in many countries. In the Chinese calendar (a lunisolar calendar), the Ghost Festival is on the 15th night of the seventh month (14th in southern China).
In Chinese tradition, the fifteenth day of the seventh month in the lunar calendar is called Ghost Day and the seventh month in general is regarded as the Ghost Month (鬼月), in which ghosts and spirits, including those of the deceased ancestors, come out from the lower realm.
Distinct from both the Qingming Festival (in spring) and Chung Yeung Festival (in autumn) in which living descendants pay homage to their deceased ancestors, on Ghost Day, the deceased are believed to visit the living.
On the fifteenth day the realms of Heaven and Hell and the realm of the living are open and both Taoists and Buddhists would perform rituals to transmute and absolve the sufferings of the deceased. Intrinsic to the Ghost Month is ancestor worship, where traditionally the filial piety of descendants extends to their ancestors even after their deaths.
Activities during the month would include preparing ritualistic food offerings, burning incense, and burning joss paper, a papier-mâché form of material items such as clothes, gold and other fine goods for the visiting spirits of the ancestors
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Follow my rediscovery of the Hungry Ghosts "Yu Lan" Festival here:
For my past visits to the Hungry Ghosts "Yu Lan" Festival here:
Hungry Ghosts "Yu Lan" Festival
More Chinese Temples images here:
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