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Governs the generation of beings and phenomena of nature. Protects those who wish to progress spiritually. Distinguished by genius; one of the great lights of philosophy.
Correspondence to Astrology
15° to 20° Pisces - Alchemy/Transformation
Info below from: UNIVERSE/CITY MIKAEL www.ucm.ca/en/info/the-72-angels
Qualities
Alchemy
Transforms evil into good
Healing
Regenerates, revitalizes, re-establishes harmony
Transforms, transmutes into spiritual gold
Masters instincts
Guides the first steps of the deceased into the other world
Transforms society with enlightened ideas
Helps accompany the dying
Distortions
Blockage, retention Tendency to get bogged down Problems of obesity Incomprehension of good and evil Atheism, disbelief Conflict, confrontation Incurable disease Fear of change and death Outbursts, excessive reactions Heaviness, overflow Incapable of setting objectives
Situations
Accompanying the dying Cancer Death Digestion Intestines Kidney stones Liver Mother Stomach
Transformation, transformation of evil into good
www.karmicangelclearings.com/page/491335722
Lucifer Angel Genius Bartholdi is the result of the passage of the forbidden and decision Freedom of Man, results DEATH. This death is the beginning of transmutation cycle of creation of man and of God himself, not under guardianship and without freedom.Bartholdi itself carried the sculpture of the winged female genius that dominates the red porphyry obelisk on which is written "Author / Lion of Belfort / and the Statue of Liberty / Enlightening the World." I'll have .....
From the Analogy ("The Matrix") page you learned that certain alchemist's authors praise Lucifer. And it doesn't stop there. It extends to their symbolism as well. It is important to STRESS that not all Masons worship Lucifer, only the top 5% do. Most of these writings were kept secret. Biblical admonition has been taken carefully, comparing alchemics teachings to the Holy Bible. In I John 4:1, we read: "Beloved, believe not every spirit, but try (test) the spirits whether they are of God: because many false prophets are gone out into the world." We see that any religious teaching that does not conform to Scripture is from a "false prophet." Many people still do not understand the importance of studying this subject to its logical conclusion. Their spiritual freedom is at stake. Remember two things about alchemy: "Cut through the outer shell and find a meaning; cut through that meaning and find another; under it, if you dig deep enough, you may find a third, a fourth -- who shall say how many teachings?" Many who are in alchemy are not aware that they are lied to. Finally, remember Albert Pike's bold assertion in Morals & Dogma, that "Masonry is identical to the ancient Mysteries," which means that all their teachings in all their books are precisely the same as the Ancient, Pagan, Satanic Mysteries. [p. 624, teachings of the 28th Degree] Of course these top 5% call Jesus Christ an "inferior god," they never, ever mention Him in their teachings or their rituals. This shouldn't surprise you since the Pope carries a bent Satanic cross as seen on another page which shames Christ on the cross.
Alchemits used Luciferic symbols within the layout of government center Washington D.C. worship Lucifer, the Light-Bearer. Lucifer and Satan are biblically the same individual, alchemy is really the worship of Satan. By quoting their own sources and depicting the symbols in which they use, this claim is proven. Alchemy gives itself away more through its symbols than it does in its writings. You saw in the analogy page of "The Matrix" that high level. Alchemists praise Lucifer. It is within these writings the "smoking gun" will be found, proof that Masons worship Satan. Once this is comprehended, you will understand why "they" have been trying to keep this all secret. If people really understood that Alchemy is the worship of Satan, no one in their right mind would join. Not only that but people would demand that this organization be outlawed. You have a continuous public relations campaign promoting the lie that Alchemy is not a religion, and is just a "good works social organization." As quoted above, you have secrets within secrets. LUCIFER PRAISED AS THE LIGHT-BEARER OF FREEMASONRY "Lucifer, the Light-bearer! Strange and mysterious name to give to the Spirit of Darkness! Lucifer, the Son of the Morning! Is it he who bears the Light, and with its splendors intolerable, blinds feeble, sensual, or selfish souls? Doubt it not!" [Albert Pike, Morals and Dogma of the Ancient and Accepted Scottish Rite of Freemasonry, p. 321, 19th Degree of Grand Pontiff; Red Emphasis added] Alchemists from the first initiation which is the first degree are urged to mightily "seek the Light!" The average Mason is continually saying that he is "seeking the Light," and will spend his entire life "moving toward the Light." People who haven't studied this subject would assume that this "Light" is the revelation of the God of the Bible. This statement is continuously held up to try to convince us that Masonry is Christian. In the above quote, Albert Pike is saying that Lucifer is the One who bears the Light of Alchemy. The sentence immediately preceding confirms not only that Lucifer is the Light-bearer, but that alchemys of previous degrees have been led to believe that the opposite was true. The wording of this sentence is difficut to understand unless you have special knowledge. Doc Marquis was asked for his explanation, lets look at what he had to say:, "The Apocalypse is, to those who receive the nineteenth Degree, the Apotheosis of that Sublime Faith which aspires to God Alone, and despises all the pomps and works of Lucifer." [Ibid.] It seems to contradict the sentence first quoted above, It appears to contradict the quote above where Pike identifies Lucifer as the Masonic Light-bearer. However when you understand the esoteric explanation from Doc Marquis, your understanding clears up completely.
The Apocalypse is identified first by Pike as being the Book of Revelation written by the Apostle John. Pike then states that similar books from other religions are just as 'inspired' as Revelation, mentioning Plato, Philo, the Sephar Yezirah, and the Sohar. Pike says all three of these books -- Apocalypse [Revelation], the Sephar Yezirah, and the Sohar, are all identically "inspired." And since the last two books are of non-Christian faiths, Albert Pike is saying that the contents of Revelation are no big deal. Therefore, it is no big deal that the Book of Revelation denigrates the "pomp and works" of Satan, since the God of that book is known to hate Satan.
Pike then says that these three books "are the completest embodiment of Occultism." [Ibid.] Now, we understand that Pike views the God of the Apocalypse as being the opposite but equal to Satan just as typical Occultists believe and teach!
Secondly, Doc Marquis provides the esoteric, occultic, explanation. Pike is also saying in this sentence that, in the previous 18 degrees, alchemists believed that God was the Light-bearer, but now, in this 19th Degree, Pike is giving them new revelation. This insight completely squares with stated Masonic policy of deliberately misleading alchemists in the lower degrees until they were really ready for the "truth." This is the truth -- MasonLucifer: A must to Knowledge.ry worships Lucifer. PIKE'S TYPICAL SATANIC PHRASE -- OUT WHERE EVERYONE CAN SEE Concrete evidence is then given by Pike of alchemist's worship of Satan/Lucifer on the very front of the cover of Morals and Dogma. Pike writes a Latin phrase just below the round seal of "God," this is a phrase proven to be Satanic. Any "Satanic brother" looking at this phrase would know that the contents of this book are Satanic. They would also understand that the entire religion of alchemy is Satanic. "DEUS MEUMQUE JUS" is this phrase. The literal meaning is "God and My Right" Doc Marquis says this statement is a typical one within Satanism. There is one meaning within another with this statement. The first meaning is that the Freemason can depend upon their God to determine their Right and Justice. The second meaning is, since the God of Freemasonry is Lucifer, Achemitss are saying that they are "using occult methods," through Lucifer, to achieve their Rights and Justice. This phrase is very powerful and dangerous within Saanism says Marquis. A Satanist knows the content within Pike's book is Satanism just by reading, "DEUS MEUMQUE JUS." They don't even have to read the book, just the phrase to know.
"SEETHING ENERGIES OF LUCIFER WITHIN YOUR HANDS!"
"The day has come when Fellow Craftsman must know and apply their knowledge. The lost key to their grade is the mastery of emotion , which places the energy of the universe at their disposal. Man can only expect to be entrusted with great power by proving his ability to use it constructively and selflessly. When the Alchemists learns that the key to the warrior on the block is the proper application of the dynamo of living power, he has learned the mystery of his Craft. The seething energies of Lucifer are in his hands, and before he may step onward and upward, he must prove his ability to properly apply energy. He must follow in the footsteps of his forefather, Tubal-Cain, who with the mighty strength of the war god hammered his sword into a plowshare."
Once the Alchemists learns to control his emotion and to apply the "dynamo of living power," the Mason can be assured of being able to control the "seething energies of Lucifer" in his hands. He makes the admission that Alchemy is the Craft, which is an old name for Witchcraft. Satanists are assured that, if they will join the coven and learn the Craft, he will control the supernatural power of Satan, just as Manly P. Hall promises here. As you can see, they have exposed themselves. Powerful proof that Alchemy is Satanism. The language is direct and clear. It is not cluttered with deliberately confusing arcane language that only an insider can understand.
REVELATIONS OF TUBAL-CAIN Please take note that Hall makes reference to Tubal-Cain, above. We need to review this sentence because it too reveals Satanism. The Alchemist must "follow in the footsteps of his forefather, Tubal-Cain, who with the mighty strength of the war god hammered his sword into a plowshare." In the Alchemic Quiz Book, the candidate is asked this question: "Who was Tubal Cain?" Answer: "He is the Vulcan of the pagans." William P. Peterson. The Arcane Schools: A Review of their Origin and Antiquity: With a General History of Alchemy and Its Relation to the Theosophic Scientific and Philosophic Mysteries, Belfast, Ireland, William Tait, 1909, p. 30; also found in A. R. Chambers, Editor, Questions and Tubal-Cain is the password given in the Third Degree of Master Alchemist . You can identify Alchemy with paganism within this sentence. But what is the meaning of the Vulcan of the pagans? A very important question because Manly P. Hall advises the Mason that, once he has the seething energies of Lucifer in his hands, he is to walk in Tubal-Cain's footsteps.
Hall makes it sound like Tubal-Cain is one of the Greek gods, does he not? And, we know conclusively that Tubal-Cain is Vulcan of the Pagans. Let us review who Vulcan of the pagans is, by looking within occult sources. "Vulcan was a sun deity who was associated with fire, thunderbolts and light. The festival in honor of him was called the Vulcania in which human sacrifices were offered." [Percival George Woodcock, Short Dictionary of Mythology, New York, Philosophical Library, p. 152]. "According to Diel, he bears a family relationship to the Christian devil." [J.E. Cirlot, translated by Jack Sage, A Dictionary of Symbols , New York, Dorset Press, 1991, p. 362]. "It is fascinating to know that he married Venus, another name for Lucifer or the devil ." [Woodcock, op. cit., p. 150-151; Emphasis added] Manly P. Hall tells the Mason that he can have the seething energies of Lucifer in his hands, and then tells him to follow in the footsteps of the "Christian devil," to whom "human sacrifices" are offered. THE INFERNAL NAMES There may be some people who have read up to this point and still might be skeptical. Masonry cleverly masks its references to Satan. There are 77 names which pagans have used to refer to Satan over the centuries and they are in the Satanic Bible. We'll review some of these "Infernal Names" of Satanism found within Alchemy [Satanic Bible, Anton LaVey, p. 144-46]
We shall list the Freemason teaching on each of these names, and then the explanation. Baphomet -- "The Gnostics held that it [universal agent] composed the igneous [pertaining to fire] body of the Holy Spirit, and it was adored in the secret rites of the Sabbat or the Temple under the hieroglyphic figure of Baphomet or the hermaphroditic goat of Mendes ." [Pike, op. cit., p. 734, teaching of the 28th Degree; Emphasis added] It find absolutely incredible that the Freemasons should portray the Holy Spirit with the Satanic symbol, Baphomet.
Eliphas Levi created this symbol, one of the foremost Satanists and Alchemists of all time. The Baphomet is one of the most evil of all symbols. Looking closely at the Baphomet(left) you will see that the emphasis is on sex. This Being is androgynous -- both male and female -- you can see it has the breasts of a woman, and an erect phallus. You'll notice that the erect phallus has two serpents coiled around it. The Baphomet has the head of a "Horned Goat," another title for Satan.Alchemic and Occult Symbols Illustrated is a book in which Dr. Burns says, "In a book on witchcraft, The Complete Book of Witchcraft and Demonology ... the caption states that he is 'the horned god of the witches, symbol of sex incarnate'." [p. 51] And if you look at his right hand you will see Baphomet making the sign of the Devil's triad. "Baphomet is also known as the Sabbatic goat, in whose form Satan is to be worshipped at the Witches' Sabbath." [Frank Gaynor, Dictionary of Mysticism, New York, Philosophical Library, 1953, p. 24]. Then, we discovered that Baphomet is officially approved as a symbol of the Church of Satan [The Occult Emporium, Winter , 1993-1994, p. 54] and that it is worn by the Priest of Satan [Ibid., 1990-1991, p. 26]. Since Albert Pike linked Baphomet with the Goat of Mendes , we will show this obviously Satanic symbol, as well. It should also be noted that from the way a pentagram is normally seen(one point up, two down), rotating the pentagram 33 degrees you get a Satanic Pentagram. 33 is the highest degree there is in Alchemy.
www.theforbiddenknowledge.com/symbology/1o5.htm
Lucifer :Passage obligé vers la Connaissance
« Comment es-tu tombé des Cieux
Astre du Matin, fils de l’Aurore
Comment as-tu été jeté par terre
Toi qui vassalisais toutes les Nations
Toi qui disais en ton cœur :
J’escaladerai les Cieux par-dessus les étoiles de Dieu
J’érigerai mon trône, je siégerai sur la montagne de l’assemblée, dans les profondeurs du Nord,
Je monterai au sommet des nuages noirs
Je ressemblerai au Très Haut
Comment ! Te voila tombé au Schéol, dans les profondeurs de l’abîme »
ISAÏE XIV : 12-15
Dieu a prévu que l’Homme est appelé à jouir de la Connaissance, à l’acquérir et à accéder à la toute puissance sur la création que lui confère la Connaissance (ce qu’il n’a pas oublié de faire depuis). Mais le résultat du passage de l’interdit et de la prise de Liberté de l’Homme, a pour conséquence la MORT. Cette mort qui est le début du cycle de transmutation de la création de l’Homme et de Dieu lui-même, impossible sous tutelle et sans liberté. Cette mort acquise par transgression, devient un élément de la mise en marche du cycle cosmique, VIE-MORT, et donc de la possibilité de changement. L’Homme doit passer d’un état passif, jouir de la Connaissance, à un état actif, Connaître, en passant par la prise de possession de la Connaissance. Le but à atteindre est la divinité de l’Homme, qui ayant cueilli les fruits de la Connaissance, doit en transmuter la substance afin de s’en approprier les principes avant que d’accéder à l’Immortalité que lui confèrera l’état de Connaissant. En fait, le Serpent « LUCIFER » l’Homme et la Femme, participent à l’Unité en nous ramenant à l’UN. L’acte de rébellion consenti par Dieu, permet à l’Homme une amélioration sous forme de réintégration de sa propre divinité. Les égrégores Dieu et Lucifer, sont les inconscients de l’Homme. La Connaissance a offert la liberté de choisir entre le Bien et le Mal et donc d’évoluer sur l’arbre de Vie. LUCIFER libère l’homme de la tutelle de Dieu parce que Dieu l’a voulu. Il est un Dionysos judéo chrétien, génie de l’incarnation humaine, de l’individualité libre, expression visible de la vérité. Il est l’autre Verbe de Dieu, Archange déchu qui remonte et entraîne avec lui toute l’évolution humaine. Dans sa chute il aurait perdu une émeraude fixée à son front et dans laquelle aurait été taillé un vase qui ne serait autre que le GRAAL lequel aurait servi à récupérer « le sang du Christ » dont le symbole représente la Connaissance suprême qui procure l’illumination spirituelle, la montée des Ténèbres de la foi vers la Lumière de la GNOSE. Le terme est lâché : GNOSE
Cette Connaissance mystique des anciens Initiés (Isis, Eleusis, Dionysos, Pythagore) qui évoque la conception de la présence, en l’Homme, d’une étincelle divine dans le Monde soumis au destin, à la naissance et à la mort, et qui doit être réveillée par la contrepartie du Soi pour être finalement réintégrée dans le Tout Universel.
L’Homme se doit d’évoluer selon un schéma sur lequel se base quasiment l’intégralité des Ordres Initiatiques :
Niveau de la Matière : les Hyliques , esclaves prisonniers de la grotte de Platon, retenus par les chaînes de l’ignorance, incapables d’aller au delà de l’apparence et dont la pensée reste au niveau du geste et du rite confondant le mot et l’esprit.
Niveau de l’Esprit : les Psychiques, qui ont fait évoluer leur intellect et leur affectif, mais leurs mots n’aboutissent pas à l’idée claire et juste car l’intolérance, les passions et la peur, les aveuglent.
Niveau de l’Ame ou du Spirituel : les Pneumatiques qui sont les mystiques éclairés et initiés, ayant abandonné les préjugés, les fausses certitudes et valeurs, libres de la pesanteur de la matière. Ils sont capables de retrouver le sens perdu de la Parole et ont accès à la Gnose en s’élevant au niveau du spirituel.
Cette Gnose permet d’opérer la métamorphose de l’Homme et sa mutation interne.
Lorsque le profane se trouve dans le cabinet de réflexion, il lit ce mot : VITRIOL mais il ne sait pas encore qu’en inversant deux de ces lettres, le I et le R, il pourra écrire plus tard « L’OR I VIT « L’or, ce métal pur et précieux , qui pour les Alchimistes représente bien plus que cela, il est cette étincelle de Divinité que l’homme doit rechercher par la transmutation de ce métal vil et impur, le Mercure qui n’est autre que le symbole alchimique de LUCIFER.
Il s’avère que l’Alchimie assimile LUCIFER à l’œuvre au noir, la Putréfaction, sous une forme non démoniaque mais rédemptrice. Il représente la Pierre Brute, matière initiale de l’œuvre, qui sous son aspect vil et repoussant, n’en demeure pas moins le pilier de toute l’œuvre, car recelant en son sein, la lumière à suivre, l’étoile que suivirent les mages pour parvenir à l’Enfant philosophal.
LUCIFER représente des forces immenses qui travaillent en nous obscurément, à la réalisation du parangon humain. Les deux natures chez l’Homme sont Mortelle, être de chair, et Originelle Immortelle, être de lumière.
Deux voies différentes s’ouvrent à la prise de conscience :
L’Involution (VITRIOL) qui est la matérialisation progressive de l’esprit
L’Evolution qui est la réapparition de l’Esprit émergeant au sein de la Matière qu’il a fécondée, animée, évertuée.
Comme l’Alchimiste, l’Homme peut engager la transformation, la transmutation de sa propre nature existentielle.
« Lumière et vie, voilà ce qu’est le Dieu et Père de qui est né l’Homme. Si donc tu apprends à te connaître comme étant fait de vie et de lumière et que ce sont là les éléments qui te constituent, tu retourneras à la Vie. » (Hermès Trismégiste)
La poursuite du grand Œuvre est le symbole du chemin nécessaire à la réalisation de la transfiguration de l’âme, prélude à la résurrection de la figure divine originelle : l’Homme véritable, l’Adam Kadmon.
Créé par Dieu, l’ange devenu Homme par la chair doit de son vivant et dans ses actes opérer une mue pour ressusciter en toute conscience et librement sa grandeur angélique.
LUCIFER : PASSAGE OBLIGE VERS LA CONNAISSANCE
La quête Luciférienne est la quête du Graal, nous sommes tous des enfants de LUCIFER, ceux qui font des efforts vers la Connaissance et la Sagesse. En loge, nous venons chercher la lumière que nous dispense « notre Lucifer », notre très Vénérable Maître car c’est par lui que se transmet la Lumière qui ouvre nos travaux, qui nous fait passer des Ténèbres à la Lumière, du monde profane au Macrocosme, de Lucifer au GADLU.
Dieu et LUCIFER, lumière et obscurité sont les deux facettes de cette réalité suprême qui n’est qu’un.LUCIFER est la réflexion de Dieu à l’intérieur de nous même, l’ombre de notre Etre Divin en nous même. L’influx Luciférien est une force sans laquelle la Terre n’aurait pu poursuivre son évolution. La chute du grain de blé et son implantation en cette Terre, lui donnent une particulière chance d’éclosion : celle de devenir Dieu. Celui qui veut monter doit d’abord descendre, la chute hors du Monde de Lumière, l’exil et le combat dans le Monde de l’Aveuglement et de l’Ignorance, permet la triomphale rédemption finale.
LUCIFER et CHRIST sont complémentaires, ils sont les Ténèbres et la Lumière, le Pentagramme pointe en bas évoquant la Connaissance transcendante qui renvoie à la quête d’immortalité et d’absolu pour LUCIFER et pointe en haut pour CHRIST dont la rédemption lui permet l’accès au Divin.
Mais alors, lorsque le Compagnon voit pour la première fois l’Etoile Flamboyante, celle-ci ne devrait elle pas être pointe vers le bas et ne se redresser que lorsqu’il passe des Ténèbres à la Lumière, qu’il renaît HIRAM ?
Le sceau de Salomon est explicite, un Triangle vers le haut et un Triangle vers le bas ce qui permet à l’Homme Luciférien de se positionner au centre, pas encore pneumatique mais plus du tout Hylique. Un peu comme le positionnement du Maître maçon qui, une fois la transmutation opérée, est passé de l’Equerre au compas mais revient se positionner au centre pour parfaire son évolution spirituelle.
Albert Pike Maître alchimiste du XIX ème Siècle avait déjà largement compris la nécessité du passage obligé par l’instruction Luciférienne et avait dit à ce propos, je cite : « Pour les F :. M :. Gnostiques, le G.A.D.L.U est Lucifer, »le porteur de Lumière ». L'Alchimie devrait être maintenue dans la pureté de la doctrine luciférienne « (sic).
Mais le Connaissant n’en est pas pour autant un Sage. Le savoir pouvant donner le pouvoir, l’évolution spirituelle de l’Homme se fera en fonction de la bonne ou mauvaise utilisation qu’il en fera. Il se doit de dompter son savoir et de le faire évoluer de la Matière vers l’Esprit, de l’Equerre vers le Compas en faisant que le Compas reste ouvert sur l’Equerre, de LUCIFER vers le DIVIN.
« Il est de la nature de la Lumière de ne pouvoir paraître à nos yeux sans être revêtue de quelque corps et il faut que ce corps soit propre aussi à recevoir la Lumière.
Là où donc est la Lumière, là doit être aussi nécessairement le véhicule de cette lumière. Voila le moyen le plus facile pour ne point errer. Cherche donc la Lumière de ton Esprit, la Lumière qui est enveloppée dans les Ténèbres et apprends de là que le sujet le plus vil de tous les ignorants est le plus noble selon les Sages » (BOUDDHA)
Gnôthi Seauton (Connais toi toi-même)
J’ai dit Très Vénérable Maître.
Pierre Jean Louis Germain Soulages (French: [sulaʒ]; Occitan: Pèire Solatges; 24 December 1919 – 25 October 2022) was a French painter, printmaker, and sculptor. In 2014, President François Hollande of France described him as "the world's greatest living artist."[1] His works are held by leading museums of the world, and there is a museum dedicated to his art in his hometown of Rodez. Soulages produced 104 stained-glass windows for the Romanesque architecture of the Abbey Church of Sainte-Foy in Conques from 1987 to 1994. He received international awards, and the Louvre in Paris held a retrospective of his works on the occasion of his centenary. Soulages said, "My instrument is not black but the light reflected from the black."[18] Naming his own practice Outrenoir (Beyond Black), the paintings he produces are known for their endless black depth, created by playing with the light reflected off of the texture of the paint. Knowing that he needed a new term to define the way that he worked, Soulages invented 'Outrenoir' to define his practice. Not having a translation into English, the closest meaning is 'beyond black'; in a 2014 interview he explained the definition of the term, "Outrenoir doesn't exist in English; the closest is "beyond black." In French, you say "outre-Manche," "beyond the Channel," to mean England or "outre-Rhin," "beyond the Rhine," to mean Germany. In other words, "beyond black" is a different country from black."[19]
The infatuation Soulages had with black began long before his investigations with 'Outrenoir' at the age of 60.[20] Initially inspired by his interest in the prehistoric [19] and his want of retreating to something more pure, primal and deliberately stripped of any other connotations, he says of his fascination with the colour, "during thousands of years, men went underground, in the absolute black of grottoes, to paint with black."[20] "I made these because I found that the light reflected by the black surface elicits certain emotions in me. These aren't monochromes. The fact that light can come from the colour which is supposedly the absence of light is already quite moving, and it is interesting to see how this happens."[19]
Applying the paint in thick layers, Soulages' painting technique includes using objects such as spoons, tiny rakes and bits of rubber to work away at the painting, often making scraping, digging or etching movements depending on whether he wants to evoke a smooth or rough surface. The texture that is then produced either absorbs or rejects light, breaking up the surface of the painting by disrupting the uniformity of the black.[21][22] He often used bold cuts in vertical and horizontal lines, the crevasses and forms created by using angles and contours. In his recent work from 2013 to 2014, Soulages began to explicitly vary the pigment used in the paint, mixing matte and glossy types of black as well as hardened densities of black pigment.[23] Preferring to suspend the paintings like walls, he uses wires to hang them in the middle of the room, "I always liked paintings to be walls rather than windows. When we see a painting on a wall, it's a window, so I often put my paintings in the middle of the space to make a wall. A window looks outside, but a painting should do the opposite—it should look inside of us".[19]
Instead of having titles, Soulages paintings are uniformly named as "Peinture" (transl.: Painting), followed by size and date of production.[7] 17 December 1966 from 1966, in the collection of the Honolulu Museum of Art demonstrates the artist's boldly brushed black on white canvases.[24] His works had to be hung without frames in exhibitions. en.wikipedia.org/wiki/Pierre_Soulages. an insistent dichotomy. Nothing happens in Soulages' painting, while it does in Marfaing's. I want to tell you: Just look! I would go so far as to dare to say that here, Soulages doesn't push himself. We can't say anything about that. On the other hand, once again, in Marfaing's painting, it's a different tune. We feel that something is happening (or in the plural). In 1985, but this is a hypothesis (I do not have all of Soulages' work at my disposal), Soulages began to dig into the painting, that is to say to sculpt it, which, very soon, would give rise to real furrows of paint, increasingly thick, deep, earthy; in which, oh miracle of the unexpected!, the light would come to vibrate with an infinity of values and tones, transmuting the initial black material into something else, which, until then, had never been seen or envisaged; and there the true Soulages "begins", that is to say, his genius - and I am speaking here of the genius of invention; for that is also what genius is. art-icle.fr/andre-marfaing-etait-il-meilleur-peintre-que-.... The Strange Mystery of the Dripping Soulages
Paint that becomes liquid again... This is the bizarre, still unexplained phenomenon affecting several Pierre Soulages paintings dating from the late 1950s. A team of CNRS researchers has investigated. You can share an article by clicking on the share icons in the top right corner.
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Pierre Soulages' paintings flow. They melt. This phenomenon affects the canvases of the very late 1950s, inspired by American painting, the most beautiful, gestural, and subtly colored, and not the black and repetitive monochromes of the last forty years, mostly painted in acrylic. In reality, this sudden fantasy of the medium, unprecedented in the history of art, also affects paintings by other artists painted during the same period. Those of the Americans Willem de Kooning and Joan Mitchell, the Dutchman Karel Appel, the Canadian Jean Paul Riopelle, or the Frenchmen Georges Mathieu and André Marfaing. All have in common the fact that they lived in Paris at the same time, purchased from the same color dealers, and saw their works exhibited as soon as they were finished. In order to elucidate this mystery, a scientific team from the CNRS has therefore examined the works of Pierre Soulages, preserved at the Musée des Abattoirs in Toulouse. www.telerama.fr/sortir/l-etrange-mystere-des-soulages-qui...
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What happened three days ago is a very bad story, a 63-year-old man shot two women in the face, one 48 years old, the other 49 years old, and then took his own life, all of which happened in a town in the province of Catania, one of them allegedly had an extramarital affair with the killer: in 2022 120 women were killed, 97 of them were killed in the family or emotional sphere, of these 57 died for hand of the partner or former partner. This tragic and sad incipit linked to the ever-present drama of feminicides, to introduce the photographic story that I made in the town of Savoca (Messina - Sicily) on 08/13/2022, of a very particular representation that was held last time in August 2018; is a narration that pits Evil (a devil armed with a long grappling hook) against Good (Saint Lucia, who holds a silver palm leaf in her hands), the Evil-Devil tries to seduce-distract Saint Lucia with own grappling hook, instead Saint Lucia remains impassive in front of her flattery: violence against women in this very suggestive representation finds distant and deep roots, Saint Lucia actually represents those women who in medieval times had to suffer the abuses perpetrated by the Baron of Savoca nicknamed "Barone Altadonna", which making use of the law "ius primae noctis" (from the Latin "right of the first night"), referred to the "right" according to which a feudal lord could rape a newly married woman on her wedding night. Therefore, 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 report of 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 living re-enactment of the history of St. Lucia takes place on two consecutive days, Saturday and Sunday: here I try to tell some moments of Saturday, the day during which the celebration does not take place in its full beauty, it is the day during which "the silver palm" is delivered "from the Lucia of the previous edition" to the "Lucia of the current edition", it is the day during which the last details are tested, above all the "impassivity of the little girl who impersonates Saint Lucia", lovingly called "the Lucia".. 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.
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E' una bruttissima storia quanto accaduto tre giorni fa, un uomo di 63 anni, ha ucciso a colpi di pistola in pieno volto due donne, una di 48 anni, l'altra di 49 anni, per poi togliersi la vita, il tutto accaduto in una cittadina in provincia di Catania, una di loro avrebbe avuto una relazione extraconiugale con l'assassino: nel 2022 sono state 120 le donne uccise, 97 di loro sono state uccise in ambito familiare o affettivo, di queste 57 hanno trovato la morte per mano del partner o ex partner. Questo tragico e triste incipit legato al sempre attuale dramma dei femminicidi, per introdurre il racconto fotografico che ho realizzato nella cittadina di Savoca (Messina - Sicilia) il 13/08/2022, di una particolarissima rappresentazione che si era tenuta l'ultima volta nell'agosto del 2018; è una narrazione che vede contrapposto il Male (un diavolo armato di un lungo rampino), al Bene (Santa Lucia, che stringe tra le mani una foglia di palma d'argento), il Male-Diavolo tenta di sedurre-distrarre Santa Lucia col proprio rampino, invece Santa Lucia resta impassibile davanti le sue lusinghe: la violenza sulle donne in questa rappresentazione molto suggestiva, trova radici lontane e profonde, Santa Lucia in realtà rappresenta quelle donne che in epoca medioevale dovevano subire gli abusi perpetrati dal Barone di Savoca soprannominato "Barone Altadonna", che avvalendosi della legge "ius primae noctis" (dal latino "diritto della prima notte"), si riferiva al “diritto” secondo cui un signore feudale poteva violentare una donna appena sposata durante la sua prima notte di nozze. Quindi 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 tutti 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 della 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 Santa Lucia avviene in due giornate consecutive, il sabato e la domenica: qui tento di raccontare alcuni momenti della giornata del sabato, giorno durante il quale la festa non si svolge nel pieno della sua bellezza, è il giorno durante il quale “la palma d’argento” viene consegnata “dalla Lucia della edizione precedente” alla “Lucia dell’attuale edizione”, è il giorno durante il quale si testano gli ultimi dettagli, soprattutto si mette alla prova “l’impassibilità della bambina che impersona Santa Lucia”, chiamata amorevolmente “la Lucia”. 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, chiamato 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 stringe 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.
So this is Princess, one of the five fearless young orphans of G-Force "DEDICATED! INSEPARABLE! INVINCIBLE!" who are vigilantly "PROTECTING EARTH'S ENTIRE GALAXY!"...Welcome to 1978 and BATTLE OF THE PLANETS. Imagine if you will that her awesome motorcycle is upgraded now to a speeder bike which like G-Force's ship, the Fiery Phoenix ("TRANSMUTE!") has the ability to become a super-powered vehicle of flaming energy in times of dire trouble.
Damn those trans oranges are tough to build with and photograph. My entry for the CMF category for this year's LSB contest. About 14x7x8 studs.
Battle Of The Planets intro sequence: www.youtube.com/watch?v=acOnskcyrtA
If I've got one motto regarding photography, one saying that encapsulates everything I believe about this art, one piece of advice that'll allow you to skip academic study, one sentence that'll crack your mind wide open and allow you to ascend to the heights of an artistic Mount Olympus, it is this:
Snake in the shot always works.
Relatedly, one of my favorite sentences to hear, one that transmutes during the sound waves' travel from my cochlea to my brain, one that rings out like the horn of Gabriel, is this:
"Wanna see my snake?"
These FaceTime shoots are going juuuuust fine.
在香港，盂蘭盛會是根據社區舉辦，往往同一區可能有兩個以上的祭典。
In Hong Kong, the prayers ceremony is a community activities. There are often 2 or more different ceremonies within the same district.
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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:
=====
Excerpt from irisvanherpen.com:
Chemical Crows – A group of crows living around Van Herpen’s studio triggered her association with black magic and alchemy. Crows are known for their intelligence, predilection for glittering objects, and are traditionally associated with secrecy and symbolism.
Van Herpen shares with alchemists a passion for controlling and transmuting materials. As alchemists tried to turn base metals into gold, so Van Herpen has transformed in several designs gold-coloured ribs of 700 children’s umbrellas into shapes reminiscent of the movement of wings and feathers. The quest of the alchemists to change 'all metals into gold by using the right chemicals', gave Iris the idea to change the active and mysterious crows into gold and to manipulate the reality of material control. The collection is handcrafted from thousands of brass ribs, so as to maintain the refinement of the feathers, but hard as gold. What the alchemists were doing back then, gaining the control over materials, is actually relevant now that 3D-printing is upcoming.
經師棚相對大士台，掛滿佛、菩薩和護法的潮州刺繡，中央是釋迦牟尼佛、東方藥師佛及阿彌陀佛。經師誦經念佛，消除眾生孽障。勝會最後一日，經師舉行「放焰口」法事，讓孤魂「聞經享食」。
盂蘭勝會的經棚是其中重要的部份。經棚是面對著附薦棚，大師們在經棚裡日夜誦經，超度幽靈，以脫離苦困。
One of the five pavilions at the Hungry Ghosts Festival event, the Praying Pavilion is where priests will chant prayers day and night, to relieve the spirits from sufferings.
=====
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:
=====
This is a shot of a laser musical performance at city of Hang Zhou.
The laser tunnel meant through time travel, audience went back to the old time when the story happened.
This story of Butterfly Lovers:A Tale of the Chinese Romeo and Juliet :
Yingtai Zhu, the only daughter of a prosperous family, despairs at the prospect of staying within the walls of her family's compound until she marries and goes off to live behind a new set of walls. More educated than most girls, she persuades her father to allow her to masquerade as a man and travel to Hangzhou to study with Master Zhou. On the way, she meets Shanbo Liang and the two become friends and "sworn brothers." Yingtai has difficulty concealing her gender from him, especially after she falls in love with him. Nonetheless, she keeps up the pretense until she is called home, entrusting Mrs. Zhou to reveal her secret after her departure. Of course Shanbo wants to marry her once he learns the truth-but her parents have found her a groom. The story, based on a Chinese folktale, has all of the elements of a great tragic love affair, including misunderstandings, withheld information, meddling servants, jealous rivals, tears, psychosomatic illnesses-and last but not least-an ending in which the star-crossed lovers are transmuted into a pair of butterflies. Yingtai is an engaging and clever heroine, never willing to give up the pursuit of her desires. Shanbo can be downright dense at times, but he makes a romantic leading man, even though he is never as resolute or courageous as Yingtai. He loves her beyond death, and that's what counts in this kind of story.
經師棚相對大士台，掛滿佛、菩薩和護法的潮州刺繡，中央是釋迦牟尼佛、東方藥師佛及阿彌陀佛。經師誦經念佛，消除眾生孽障。勝會最後一日，經師舉行「放焰口」法事，讓孤魂「聞經享食」。
盂蘭勝會的經棚是其中重要的部份。經棚是面對著附薦棚，大師們在經棚裡日夜誦經，超度幽靈，以脫離苦困。
One of the five pavilions at the Hungry Ghosts Festival event, the Praying Pavilion is where priests will chant prayers day and night, to relieve the spirits from sufferings.
=====
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:
=====
盂蘭勝會的經棚是其中重要的部份。經棚是面對著附薦棚，大師們在經棚裡日夜誦經，超度幽靈，以脫離苦困。
One of the five pavilions at the Hungry Ghosts Festival event, the Praying Pavilion is where monks will chant prayers day and night, to relieve the spirits from sufferings.
=====
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:
=====
transmute: to change or alter in form, appearance, or nature and especially to a higher form
as soon as i saw her i knew...
she stopped me in my tracks. she evoked a feeling that was so familiar, she was exactly the object i was looking for on my walk that day. it was as if she jumped right out of my head and into reality.
staring straight up into the sun, changing and shifting under the cloth as if she could finally breathe while trying to set herself free.
she became the perfect image to illustrate the metamorphosis i have been undergoing lately.
this is one of my newest images and she is so very dear to me.
i hope she speaks to you too.
經師棚相對大士台，掛滿佛、菩薩和護法的潮州刺繡，中央是釋迦牟尼佛、東方藥師佛及阿彌陀佛。經師誦經念佛，消除眾生孽障。勝會最後一日，經師舉行「放焰口」法事，讓孤魂「聞經享食」。
盂蘭勝會的經棚是其中重要的部份。經棚是面對著附薦棚，大師們在經棚裡日夜誦經，超度幽靈，以脫離苦困。
Accompanying the chanting are a small Chinese ochestra, seen here is the Chinese trumpet - which is often used in many ceremonies, including both funerals and weddings.
Next to it is the "Yang Qing" - with it's crispy and delicate tunes, it plays the role of a piano in Chinese music.
One of the five pavilions at the Hungry Ghosts Festival event, the Praying Pavilion is where priests will chant prayers day and night, to relieve the spirits from sufferings.
=====
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:
=====
Prompt
A surreal scene with a vibrant, ultra-detailed style. The foreground features a human figure with long, flowing silver hair, rendered in a hyper-realistic manner. The skin is transmuted to reveal an intricate anatomical study with colorful musculature and bones, adorned with vivid, tribal-like tattoos. Running behind her, a majestic tiger with its mouth wide open in a roar, showing sharp fangs. The tiger's fur is a striking mix of orange, black, and white, with realistic texture. The background is a deep, rich purple, contrasting sharply with the bright elements in the foreground. Shadows are precisely defined, highlighting the contours of both the human figure and the tiger. The scene is full of dynamic motion, with a sense of energy and power emanating from the composition. The meticulous detail in both the tiger's fur and the anatomical features of the human figure create a visually striking and dramatic piece.
Bees Trained to Collect Gold Dust
In the Upper Congo past gold mining's legacy left a moonscape of large and small open pits. Some of these pits date to the turn of the previous century. These historical gold ore extractions were notably inefficient leaving behind small, but significant, amounts of gold dust hidden amidst vast acreages of mining spoil.
Enter the trained bees.
The Native Bee Laboratory, in a unique public / private partnership with the Gold Consortium, has trained bees to detect and retrieve the globular gold dust found in these former mines. As can be seen in this picture of a typical Golden Bee nest, these animals can be extremely effective little "gold diggers".
Future plans call for programming these bees to not only gather gold, but to perform the actual transmutation of in situ cupprous outcroppings into gold or near gold. Such opportunities, where no opportunities previously existed, allow micro-fabrication and bio-diversification within such small spaces that individual agents (e.g., paleofarmers and septuagenarians) could reap the rewards that opportunity vacuums were formerly devoid of.
BeeNews Release Date: April 1, 2017
The emotion of beauty is always obscured by the appearance of the object
Music: Right Click and select "Open link in new tab"
www.youtube.com/watch?v=_qpygIcPdXE
Transmuted Matter · Stereolab
Tell me, tell me what do you see
Through the eye of the heart
What do you see through the eye of the heart?
An Infra Red shot of one of the Radical Horizons sculptures at Chatsworth which were originally produced for the Burning Man Festival in the Nevada Desert.
www.chatsworth.org/events/burning-man/
This Sculpture is called The Transmutation and is by Arturo Gonzales and Maru Izaguirre.
Try the Chatsworth audio guide for more info
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---- 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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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 both days: Saturday and Sunday (on Sandey is the day during which the feast 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 nel 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 del sabato e della domenica (la domenica 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.
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Savoca, rappresentazione Santa Lucia 2016
U Diavulazzu - Festa Santa Lucia a Savoca (ME) 2011
U Diavulazzu - Festa Santa Lucia a Savoca (ME) 2011 - Rappresentazione del Martirio
Savoca, intervista a Vincenzo Pasquale per i Festeggiamenti di S. Lucia
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DIFF 2014 - I AM NOJOOM, AGE 10 AND DIVORCED
Divorced at Age 10 | Nat Geo Live
LA SPOSA BAMBINA (Clip HD ufficiale ita) | Nojoom condotta in casa del marito
LA SPOSA BAMBINA (Clip HD ufficiale ita) | Riconsegnata ai genitori
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
Nan, nan, nan !
Je ne vous le dirai pas.
Pourquoi savoir ?
C'est juste une image qui ne demande rien de plus qu'à être vue.
Un moment d'égarement ?
La volonté d'étonner ?
Rien de tout ça !
C'est juste ue photo faite avec une optique ancienne bidouillée et qui, minute après minute, s'est transformée, transmutée, remaniée, évoluée, arrangée et renouvelée.
Je l'ai intitulée " Ros'âme ", ça doit vous mettre sur la piste. 😉
Je prends peut-être un mauvais chemin.
Je suis sans doute sur une pente savonneuse.
Mais j'aime bien et, n'est-ce pas le plus important ?
Alors, à toutes et à tous, c'est avec Ros'âme que je vous souhaite une excellente semaine, du courage pour certains, de bonnes vacances pour d'autres.
Soyez forts et profitez à fond !
A très bientôt avec peut-être une photo un peu plus académique !
static.flickr.com/33/37183776_ae2bbabe4d_o.jpg
from "Collapsed Vision"- a place where distant memories evolve into merged panoramas.
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What happened three days ago is a very bad story, a 63-year-old man shot two women in the face, one 48 years old, the other 49 years old, and then took his own life, all of which happened in a town in the province of Catania, one of them allegedly had an extramarital affair with the killer: in 2022 120 women were killed, 97 of them were killed in the family or emotional sphere, of these 57 died for hand of the partner or former partner. This tragic and sad incipit linked to the ever-present drama of feminicides, to introduce the photographic story that I made in the town of Savoca (Messina - Sicily) on 08/13/2022, of a very particular representation that was held last time in August 2018; is a narration that pits Evil (a devil armed with a long grappling hook) against Good (Saint Lucia, who holds a silver palm leaf in her hands), the Evil-Devil tries to seduce-distract Saint Lucia with own grappling hook, instead Saint Lucia remains impassive in front of her flattery: violence against women in this very suggestive representation finds distant and deep roots, Saint Lucia actually represents those women who in medieval times had to suffer the abuses perpetrated by the Baron of Savoca nicknamed "Barone Altadonna", which making use of the law "ius primae noctis" (from the Latin "right of the first night"), referred to the "right" according to which a feudal lord could rape a newly married woman on her wedding night. Therefore, 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 report of 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 living re-enactment of the history of St. Lucia takes place on two consecutive days, Saturday and Sunday: here I try to tell some moments of Saturday, the day during which the celebration does not take place in its full beauty, it is the day during which "the silver palm" is delivered "from the Lucia of the previous edition" to the "Lucia of the current edition", it is the day during which the last details are tested, above all the "impassivity of the little girl who impersonates Saint Lucia", lovingly called "the Lucia".. 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.
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E' una bruttissima storia quanto accaduto tre giorni fa, un uomo di 63 anni, ha ucciso a colpi di pistola in pieno volto due donne, una di 48 anni, l'altra di 49 anni, per poi togliersi la vita, il tutto accaduto in una cittadina in provincia di Catania, una di loro avrebbe avuto una relazione extraconiugale con l'assassino: nel 2022 sono state 120 le donne uccise, 97 di loro sono state uccise in ambito familiare o affettivo, di queste 57 hanno trovato la morte per mano del partner o ex partner. Questo tragico e triste incipit legato al sempre attuale dramma dei femminicidi, per introdurre il racconto fotografico che ho realizzato nella cittadina di Savoca (Messina - Sicilia) il 13/08/2022, di una particolarissima rappresentazione che si era tenuta l'ultima volta nell'agosto del 2018; è una narrazione che vede contrapposto il Male (un diavolo armato di un lungo rampino), al Bene (Santa Lucia, che stringe tra le mani una foglia di palma d'argento), il Male-Diavolo tenta di sedurre-distrarre Santa Lucia col proprio rampino, invece Santa Lucia resta impassibile davanti le sue lusinghe: la violenza sulle donne in questa rappresentazione molto suggestiva, trova radici lontane e profonde, Santa Lucia in realtà rappresenta quelle donne che in epoca medioevale dovevano subire gli abusi perpetrati dal Barone di Savoca soprannominato "Barone Altadonna", che avvalendosi della legge "ius primae noctis" (dal latino "diritto della prima notte"), si riferiva al “diritto” secondo cui un signore feudale poteva violentare una donna appena sposata durante la sua prima notte di nozze. Quindi 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 tutti 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 della 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 Santa Lucia avviene in due giornate consecutive, il sabato e la domenica: qui tento di raccontare alcuni momenti della giornata del sabato, giorno durante il quale la festa non si svolge nel pieno della sua bellezza, è il giorno durante il quale “la palma d’argento” viene consegnata “dalla Lucia della edizione precedente” alla “Lucia dell’attuale edizione”, è il giorno durante il quale si testano gli ultimi dettagli, soprattutto si mette alla prova “l’impassibilità della bambina che impersona Santa Lucia”, chiamata amorevolmente “la Lucia”. 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, chiamato 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 stringe 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.
digital art 2013
created for the
The 2nd Annual "ME, MYSELF & I" Challenge at THE HYPOTHETICAL AWARDS
A look at the path I walk...yep head in the clouds, and sometimes I have to be cut off at the knees but a small price to pay for this amazing journey.....maybe the end of the blues dear Connie....!
Thanks to Paul Boudreau for his perceptive taste in music.
For you listening pleasure
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click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;
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www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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What happened three days ago is a very bad story, a 63-year-old man shot two women in the face, one 48 years old, the other 49 years old, and then took his own life, all of which happened in a town in the province of Catania, one of them allegedly had an extramarital affair with the killer: in 2022 120 women were killed, 97 of them were killed in the family or emotional sphere, of these 57 died for hand of the partner or former partner. This tragic and sad incipit linked to the ever-present drama of feminicides, to introduce the photographic story that I made in the town of Savoca (Messina - Sicily) on 08/13/2022, of a very particular representation that was held last time in August 2018; is a narration that pits Evil (a devil armed with a long grappling hook) against Good (Saint Lucia, who holds a silver palm leaf in her hands), the Evil-Devil tries to seduce-distract Saint Lucia with own grappling hook, instead Saint Lucia remains impassive in front of her flattery: violence against women in this very suggestive representation finds distant and deep roots, Saint Lucia actually represents those women who in medieval times had to suffer the abuses perpetrated by the Baron of Savoca nicknamed "Barone Altadonna", which making use of the law "ius primae noctis" (from the Latin "right of the first night"), referred to the "right" according to which a feudal lord could rape a newly married woman on her wedding night. Therefore, 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 report of 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 living re-enactment of the history of St. Lucia takes place on two consecutive days, Saturday and Sunday: here I try to tell some moments of Saturday, the day during which the celebration does not take place in its full beauty, it is the day during which "the silver palm" is delivered "from the Lucia of the previous edition" to the "Lucia of the current edition", it is the day during which the last details are tested, above all the "impassivity of the little girl who impersonates Saint Lucia", lovingly called "the Lucia".. 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.
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E' una bruttissima storia quanto accaduto tre giorni fa, un uomo di 63 anni, ha ucciso a colpi di pistola in pieno volto due donne, una di 48 anni, l'altra di 49 anni, per poi togliersi la vita, il tutto accaduto in una cittadina in provincia di Catania, una di loro avrebbe avuto una relazione extraconiugale con l'assassino: nel 2022 sono state 120 le donne uccise, 97 di loro sono state uccise in ambito familiare o affettivo, di queste 57 hanno trovato la morte per mano del partner o ex partner. Questo tragico e triste incipit legato al sempre attuale dramma dei femminicidi, per introdurre il racconto fotografico che ho realizzato nella cittadina di Savoca (Messina - Sicilia) il 13/08/2022, di una particolarissima rappresentazione che si era tenuta l'ultima volta nell'agosto del 2018; è una narrazione che vede contrapposto il Male (un diavolo armato di un lungo rampino), al Bene (Santa Lucia, che stringe tra le mani una foglia di palma d'argento), il Male-Diavolo tenta di sedurre-distrarre Santa Lucia col proprio rampino, invece Santa Lucia resta impassibile davanti le sue lusinghe: la violenza sulle donne in questa rappresentazione molto suggestiva, trova radici lontane e profonde, Santa Lucia in realtà rappresenta quelle donne che in epoca medioevale dovevano subire gli abusi perpetrati dal Barone di Savoca soprannominato "Barone Altadonna", che avvalendosi della legge "ius primae noctis" (dal latino "diritto della prima notte"), si riferiva al “diritto” secondo cui un signore feudale poteva violentare una donna appena sposata durante la sua prima notte di nozze. Quindi 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 tutti 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 della 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 Santa Lucia avviene in due giornate consecutive, il sabato e la domenica: qui tento di raccontare alcuni momenti della giornata del sabato, giorno durante il quale la festa non si svolge nel pieno della sua bellezza, è il giorno durante il quale “la palma d’argento” viene consegnata “dalla Lucia della edizione precedente” alla “Lucia dell’attuale edizione”, è il giorno durante il quale si testano gli ultimi dettagli, soprattutto si mette alla prova “l’impassibilità della bambina che impersona Santa Lucia”, chiamata amorevolmente “la Lucia”. 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, chiamato 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 stringe 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.
yesterday make a first touch on him after 21 of February left him for some time..... WIP
Magister of Transformation (Transmutation)
Photo by Alexey Geets
I Only Want You
Speaking In Tongues
So Easy
Flames Go Higher
Bad Dream Mama
English Girl
Stacks O' Money
Midnight Creeper
Stuck In The Metal
Already Died
Kiss The Devil
Whorehoppin' (Shit, Goddamn)
San Berdoo Sundburn
Wastin' My Time
Miss Alissa
Who'll love the Devil?
Who'll song his song?
Who will love the Devil and his song?
Who'll love the Devil?
Who'll kiss his tongue?
Who will kiss the Devil on his tongue?
Eagles of Death Metal is an American rock band from Palm Desert, California, formed in 1998 by best friends Jesse Hughes and Josh Homme. Despite their band name, Eagles of Death Metal is not a death metal band. The story goes that a friend was introducing Josh Homme to the death metal genre. When he played a song by the Polish band Vader and made a claim that the song was within the death metal genre, Homme then referred to Vader as "The Eagles of Death Metal". After hearing this phrase, he wondered what a cross between the Eagles and a death metal band would sound like. With that, the band was born.
TRANSFORMATIONS OF AVALOKITESVARA.In case, young man of good family, creatures, carried off by the current of rivers, should implore the Bodhisattva Mahâsattva Avalokitesvara, all rivers will afford them a ford.
The concert of November 13th never ended. I would thus like, this time, to have in mind the image of a public who applauds jubilant and of a group happy to be there, greeting the crowd before leaving the scene(stage). I feel irreparably bound(connected) to this public and to this group from now on. At night of November 13th, we found ourselves parked in an inner courtyard with a part(party) of the group: the bass player, the sound engineer, etc. We had discussed. See again(revise) them on stage, with the physical courage which it always supposes, and in particular in these circumstances, it will be a very strong image. Finally, it is doubtless a positive image of myself whom I fetch through them. The hours pass, the term approaches, and I have more and more the feeling that it is about the concert.
www.lefigaro.fr/musique/2016/02/16/03006-20160216ARTFIG00...
In its psychological association the eagle shares and opposite symbolism which can be reversed through personal effort. Being symbolic of St. John the evangelist most firmly established in the intellectual realm, the eagle symbolizes the height of intellectual activity; however, this bird also can represent the degrading, consuming passion, of the intellect, which causes humans not to be ruled by the mind but the body. The eagle displays such behavior when he interrupts his elegant flight to swoop down on his prey to satisfy his carnal needs. At times humans behave the same way, their passions control them. This is the reason the eagle symbolized Adam, the first man, in medieval bestiaries: Adam, too, who originally dwelt close to heaven, lost his glory when sighting the forbidden fruit. Humankind like the eagle can improve its status by returning to the intellectual realm. This also has alchemical symbolism: when an experiment failed the alchemist had to start over again.The eagle's alchemical symbolism can readily be recognized in that the goals of alchemy are the transmutation of base (impure) metals or spirits into more purer or finer ones. This called for the destruction of the base metals to release the spirit and the renewal or reunion of the spirit in the new one. This is a renewal process, the death one the one and birth of the new, symbolized in the eagle. The eagle is thought as a royal bird as alchemy was called the royal art.
www.themystica.com/mystica/articles/~alchemy/eagle.html
But already, the room stamps for reminders(abseilings). Encouraged by mooses(run-ups) francophiles of Jesse Hughes, who wrapped himself later(just now) with a scarf(sling) blue, white, red knitted which anonymous hands tightened(stretched out to) him(her) since the pit, and by this three-colored(French) guitar which he took(brought) out for his last piece, the crowd demands La Marseillaise. It will be Brown Sugar, Rolling Stones. For whom dreamed about the " first concert besides of (its) life ", it is a value far more rock 'n' roll. At night, on the boulevard where the crowd passes by, Jesse Hughes's deep words resound as a mantra: " mother fucker, nobody will prevent me from continuing this trick "
Mais déjà, la salle frappe du pied pour les rappels. Encouragé par les élans francophiles de Jesse Hughes, qui s’est enveloppé tout à l’heure d’une écharpe bleu, blanc, rouge en tricot que des mains anonymes lui ont tendue depuis la fosse, et par cette guitare tricolore qu’il a sortie pour son dernier morceau, la foule réclame La Marseillaise. Ce sera Brown Sugar, des Rolling Stones. Pour qui rêvait du « premier concert du reste de [sa] vie », c’est une valeur autrement plus rock’n’roll. Dans la nuit, sur le boulevard où la foule s’écoule, les paroles profondes de Jesse Hughes résonnent comme un mantra : « Enculés de votre mère, personne ne m’empêchera de continuer ce truc. »
En savoir plus sur www.lemonde.fr/attaques-a-paris/article/2016/02/17/eagles...
connard, personne ne m'empêchera de continuer ce tour est plus juste
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www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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What happened three days ago is a very bad story, a 63-year-old man shot two women in the face, one 48 years old, the other 49 years old, and then took his own life, all of which happened in a town in the province of Catania, one of them allegedly had an extramarital affair with the killer: in 2022 120 women were killed, 97 of them were killed in the family or emotional sphere, of these 57 died for hand of the partner or former partner. This tragic and sad incipit linked to the ever-present drama of feminicides, to introduce the photographic story that I made in the town of Savoca (Messina - Sicily) on 08/13/2022, of a very particular representation that was held last time in August 2018; is a narration that pits Evil (a devil armed with a long grappling hook) against Good (Saint Lucia, who holds a silver palm leaf in her hands), the Evil-Devil tries to seduce-distract Saint Lucia with own grappling hook, instead Saint Lucia remains impassive in front of her flattery: violence against women in this very suggestive representation finds distant and deep roots, Saint Lucia actually represents those women who in medieval times had to suffer the abuses perpetrated by the Baron of Savoca nicknamed "Barone Altadonna", which making use of the law "ius primae noctis" (from the Latin "right of the first night"), referred to the "right" according to which a feudal lord could rape a newly married woman on her wedding night. Therefore, 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 report of 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 living re-enactment of the history of St. Lucia takes place on two consecutive days, Saturday and Sunday: here I try to tell some moments of Saturday, the day during which the celebration does not take place in its full beauty, it is the day during which "the silver palm" is delivered "from the Lucia of the previous edition" to the "Lucia of the current edition", it is the day during which the last details are tested, above all the "impassivity of the little girl who impersonates Saint Lucia", lovingly called "the Lucia".. 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.
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E' una bruttissima storia quanto accaduto tre giorni fa, un uomo di 63 anni, ha ucciso a colpi di pistola in pieno volto due donne, una di 48 anni, l'altra di 49 anni, per poi togliersi la vita, il tutto accaduto in una cittadina in provincia di Catania, una di loro avrebbe avuto una relazione extraconiugale con l'assassino: nel 2022 sono state 120 le donne uccise, 97 di loro sono state uccise in ambito familiare o affettivo, di queste 57 hanno trovato la morte per mano del partner o ex partner. Questo tragico e triste incipit legato al sempre attuale dramma dei femminicidi, per introdurre il racconto fotografico che ho realizzato nella cittadina di Savoca (Messina - Sicilia) il 13/08/2022, di una particolarissima rappresentazione che si era tenuta l'ultima volta nell'agosto del 2018; è una narrazione che vede contrapposto il Male (un diavolo armato di un lungo rampino), al Bene (Santa Lucia, che stringe tra le mani una foglia di palma d'argento), il Male-Diavolo tenta di sedurre-distrarre Santa Lucia col proprio rampino, invece Santa Lucia resta impassibile davanti le sue lusinghe: la violenza sulle donne in questa rappresentazione molto suggestiva, trova radici lontane e profonde, Santa Lucia in realtà rappresenta quelle donne che in epoca medioevale dovevano subire gli abusi perpetrati dal Barone di Savoca soprannominato "Barone Altadonna", che avvalendosi della legge "ius primae noctis" (dal latino "diritto della prima notte"), si riferiva al “diritto” secondo cui un signore feudale poteva violentare una donna appena sposata durante la sua prima notte di nozze. Quindi 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 tutti 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 della 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 Santa Lucia avviene in due giornate consecutive, il sabato e la domenica: qui tento di raccontare alcuni momenti della giornata del sabato, giorno durante il quale la festa non si svolge nel pieno della sua bellezza, è il giorno durante il quale “la palma d’argento” viene consegnata “dalla Lucia della edizione precedente” alla “Lucia dell’attuale edizione”, è il giorno durante il quale si testano gli ultimi dettagli, soprattutto si mette alla prova “l’impassibilità della bambina che impersona Santa Lucia”, chiamata amorevolmente “la Lucia”. 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, chiamato 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 stringe 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.
七姐暗動凡心，偷到人間與董永結緣。玉帝獲悉此事，強遣已懷身孕的七姐返回天宮。後永勤奮讀書，高中狀元，七姐重臨人間，把孩子交永撫養，從此仙凡永隔。
祭典期間，神公戲演員會扮演“天姬送子”一幕，把人偶送給理事，喻為”添丁帶福“。而扮演”董永“的演員則把官帽送上，喻為”陞官發財“。
During the hungry ghost prayers ritual, there is a section where the Chinese Opera actors will hand over a puppet and a governor's hat to the committee members, giving the symbolic meaning of prosperity 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
=====
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:
=====
A sincere thank YOU and Happy Holidays from Ravenghost Interiors!
Stop on by Cosmopolitan Club & Lounge and pick up YOUR Dreaming Tree Experience:
Magic abounds in this ancient tree luminary as it's butterfly companions and leaves transmute from one hue to the next.
Wield power over all these lovely custom effects: Tap the roots for an extensive and easy to use Owner's menu.
Seriously, Thank You everyone for your continued support! Enjoy! <3
Artists are wonderous. They transmute the world As It Is to As It Could Be, the alchemy of Ordinary turned Extraordinary by simply daring to dream.
Your mind, Artist, is a gift. Be giving.
"The Eye of the Storm", December 2024, modeled by Jimmie Parten
My Website : Twitter : Facebook : Instagram : Photocrowd
'Muamba Grove no.1' by Vanessa da Silva, 2021
This is one of the sculptures exhibited in Regents Park as part of the 2021 Frieze Sculpture Exhibition. It finished a couple of weeks ago but pretty sure it'll return next Summer.
Anyone else detect a hint of Salvador Dali in these colourful, melting, somewhat anthropomorphic internal organs ?
Click here for more shots of art around the world : www.flickr.com/photos/darrellg/albums/72157612656572177
From the Frieze website, "Muamba Grove series explores the intersection between the human body, nature and transmutation. Seen as unrooted bodies, genderless, neither human or part of nature, they are hybrids metamorphosing into something still unknown."
© D.Godliman
Male
The prothonotary warbler is 13 cm (5.1 in) long and weighs 12.5 g (0.44 oz). It has an olive back with blue-grey wings and tail, yellow underparts, a relatively long pointed bill and black legs. The adult male has a bright orange-yellow head. Females and immature birds are duller and have a yellow head. In flight from below, the short, wide tail has a distinctive two-toned pattern, white at the base and dark at the tip.
Distribution
It breeds in hardwood swamps in extreme southeastern Ontario and eastern United States. It winters in the West Indies, Central America and northern South America. It is a rare vagrant to western states, most notably California.
Behavior and ecology
It is the only eastern warbler that nests in natural or artificial cavities, sometimes using old downy woodpecker holes. The male often builds several incomplete, unused nests in his territory; the female builds the real nest. It lays 3–7 eggs.
The preferred foraging habitat is dense, woody streams, where the prothonotary warbler forages actively in low foliage, mainly for insects and snails.
The song of this bird is a simple, loud, ringing sweet-sweet-sweet-sweet-sweet. The call is a loud, dry chip, like that of a hooded warbler. Its flight call is a loud seeep
Status
These birds are declining in numbers due to loss of habitat. They are also parasitized by the brown-headed cowbird (Molothrus ater), or outcompeted for nest sites by the house wren (Troglodytes aedon). It is listed as endangered in Canada. The species persists in protected environments such as South Carolina's Francis Beidler Forest currently home to more than 2,000 pairs, the densest known population.
This bird was named after prelates in the Roman Catholic Church known as the protonotarii, who wore golden robes. It was once known as the golden swamp warbler.]
The prothonotary warbler became known in the 1940s as the bird that, in front of the House Un-American Activities Committee, established a connection between Whittaker Chambers and Alger Hiss. Chambers had testified that Hiss enjoyed bird-watching, and once bragged about seeing a prothonotary warbler. Hiss later testified to the same incident, causing many members to become convinced of the pair's acquaintance.
This bird is mentioned in A Sand County Almanac by Aldo Leopold as the "[J]ewel of my disease-ridden woodlot", "as proof that dead trees are transmuted into living animals, and vice versa. When you doubt the wisdom of this arrangement, take a look at the prothonotary."
John James Audubon's painting of a prothonotary warbler is the third plate in his Birds of America.
Source: Wikipedia
This quirky hippie-style specialty shop has been part of our neighborhood ever since I can remember. Sadly, it has now become a memory.
The website still exists:
"At The Alchemy Store, our goal is to provide our customers with the necessary tools to create real change in their lives and to deepen their connection to their true essence. Alchemy is the power to change. Our Transformative candles harness the power of intention through consciousness, sound and reiki energy to manifest the change we want to see in our lives... We hope that you enjoy our products as much as we do and that they help you on your path of alchemy."
I remembered alchemy had to do with transformation but had to remind myself of the actual definition:
"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."
Aeon Von Zark’s gaze is inscribed within the lens like a portal to the invisible, an invitation to perceive what lies beyond the boundaries of the tangible. The half-closed, half-open eye suggests a dual vision of reality: the external, raw world, and an inner realm inhabited by shadows and light.
The grainy texture of the black and white image unveils the furrows of time, each wrinkle becoming a line of narrative etched upon the skin. The camera, both shield and instrument of transmutation, is not merely a tool but an extension of vision, a weapon of dissidence against oblivion.
There is a tension in this portrait between mastery and surrender, between piercing lucidity and the play of mystery. The hand framing the lens reinforces the sensation of absolute control, of capturing the world through the sheer power of sight. And yet, the image pulses with fierce humanity, with a breath of irreverence and tenderness intertwined.
This photograph is not merely a portrait: it is a statement of intent, a visual signature that proclaims the independence of the observer, the creator, the dissident in search of fragments of eternity.
So this is just another piece of artwork based on a scrapped crossover story idea I had. Along with a summary on how this story was to play out.
Thousands of years ago Mata Nui and Teridax fought on Bara Magna. Unlike the main timeline the battle ended with Mata Nui destroying Bara Magna using the fragments of Aqua Magna and Bota Magna in a desperate attempt to finish off Teridax once and for all.
The Kanohi Ignika survived, drifting through space and crash landing on Earth. Later discovered on the Orkney Islands and acquired by Arthur after forming a bond with the mask.
Several years later, the mask receives a message. A mysterious figure calling it through space. Arthur takes the Ignika and travels with Micah and Johnny Thunder to the location. Finding themselves at the coliseum in Metru Nui (The head of the great spirit robot partly survived, crashing onto a dead planet).
The mysterious figure is revealed to be Turaga Vakama, who tells the trio of the events that transpired thousands of years ago. When Mata Nui destroyed Bara Magna the inhabitants of the Matoran Universe were teleported to the Red star, trapped there due to a malfunction in the teleport. The star is deteriorating and only the Ignika can help free them.
Arthur, Micah and Johnny travel from the coliseum through the ruins of Metru Nui, finding a way onto the surface of the planet. Along the way they are attacked by Rahkshi and Makuta Teridax (Who survived the destruction by transferring his essence into the body of Ahkmou. And now has become a hideous tentacled mass of shadow, Matoran pieces and armour).
Arthur uses the Ignika to fend off Teridax, but soon the Makuta notices that the Ignika is slowly killing Arthur due to his more organic physiology unable to handle the power of the mask. He offers Arthur a chance to be free of the mask, but Arthur refuses.
The trio escape to the planet's surface, but Teridax follows close behind with his army of Rahkshi. Seeing no other alternative, Arthur puts on the Ignika, summoning the red star. The energies of the red star make contact with Arthur and the Ignika, however Teridax taunts Arthur and states that he will take control of the inhabitants when they arrive.
The Ignika takes control of Arthur, sending a blast of life energy that disintegrates the Rahkshi. As Teridax attempts to attack the Ignika incapacitates him, realising that the Makuta is simply nothing more than energy. Using Arthur's abilities, the Ignika transmutes Teridax into life energy, stripping him of consciousness and using his life force to terraform the planet. Teridax defiantly attempts to resist, stating that he is nothing. Speaking through Arthur the mask replies coldly 'And nothing you shall remain'.
Arthur however is rapidly deteriorating, Micah begs the Ignika to release Arthur but both their consciousnesses have become too linked. Micah tries to make Arthur remember past events, able to forcibly remove the Mask which then summons the teleportation sequence.
In a flash of blinding light, the inhabitants of the Matoran universe are returned. Witnessing a new world teeming with life and lush vegetation.
The mask uses it's power one last time to restore Arthur, saving him from death. With a new world and a second chance, the former inhabitants of the Matoran Universe celebrate and begin work on building a new life for themselves.
Arthur returns the Ignika to the inhabitants, leaving with Micah and Johnny after the celebrations end.
Hi.
Welcome to “Alchemy”.
I’ve been told that my writing is cryptic. I say I mostly communicate in 2 layers. “Alchemy” is my hermetical statement.
Hermeticism has a long tradition of cloaking their written ideas in a labyrinth of coded jargon set with traps to mislead the uninitiate. Alchemists were forced to write about a spiritual discipline under a materialistic guise in order to avoid accusations of blasphemy from the church and state. Their entire philosophy revolved around their belief that man's soul was divided within himself after the fall of Adam. By purifying the two parts of man's soul, man could be reunited with God (or in psychology, Jung’s divine marriage: coming into wholeness as a human being). Generally Alchemy is centered on the transmutation of base metals into noble ones. For Hermeticism, Alchemy is fundamentally concerned with spiritual enlightenment and illumination. In this sense, the transmutation of lead into gold is an analogy for personal transmutation, purification and perfection of the soul, the evolution. Groups like the Rosicrucians and Freemasons have a continued interest in alchemy and its symbolism.
“Alchemy” is a series of visual allegories, besides being former experiments (on the border between science and charlatanism) meant to detract you from a physical plane and deliver you into mysticism via transformation and criticism.
As far as the etymology goes, the term Alchemy means Black Earth as the antique name for Egypt – borrowed by Greeks: Chemia, then by the Arab culture: Al Kimiya, arrived to Latin languages: alchymia. Modern Greek turned it into Chymeia (mixture) that would stand for today’s chemistry. The ultimate goal of Alchemy was the artificial creation of life including human life and the search for the philosopher’s stone (or grand elixir of immortality in the Chinese culture) which other is not but a metaphor for a hidden spiritual truth or power that would lead to that goal (passed by God to Adam).
“Alchemy” in the Hermetic key looks for the philosopher’s stone inward. Find yourself and you’ll find God (As above so below – the Hermetic axiom). Cuz God is within you.
Lastly, the philosopher’s stone is created by the alchemical method known as The Magnum Opus or The Great Work. The Great Work of Alchemy is often described as a series of four stages represented by colors (changes of chemical processes).
- nigredo, a blackening or melanosis
- albedo, a whitening or leucosis
- citrinitas, a yellowing or xanthosis
- rubedo, a reddening, purpling, or iosis
This would explain the colors I chose to work with.
Below, I’m going to give a brief description of the things you’re going to experience:
1. Where art though? ~ op art for dimension jumping into a metaphysical plane.
2. Transparent Report ~ Garden of Eden of sorts. Here you can rest and question everything you read above, let yourself be tempted by the cryptic symbolism. When you’re chrysanthemum full you can take a trip to the other side.
3. How much river do you need?? ~ the actual crossing. I guess it takes some resources to break on through on the other side. (In fact you should jump and then turn around)
4. The Fall ~ drowning into an ascent. Ultimately we’re all here on Earth – SL – B.O. - October 2017 with the eyes turned skywards.
5. Random International ~ a series of craftless but pretentious images with the only purpose of taking you to the big forward. The resurrection.
(I hope you enjoyed the journey. Otherwise go to IKEA and buy a table. Then make a damn good cup of coffee. If this doesn’t work, please take drugs and come back. Blue Orange is a deeply marvelous place full of the talent of more remarkable artists:
- Theda Tammas
- Aicha-Tubal Amiot
- Gitu Aura
- Chibbchichi
- Byrn Oh
- Nicole X
- Rebecca Bashly
- Xirana Oximoxi
- Jadeyu Fhang)
Thank you for taking the time to visit and read this.
A special Thank You goes to ini for otherwise Inventory experiments I made months ago would have never come to light and is such a great honor to celebrate B.O. 1y birthday.
Have a luminous existence.
Hugs,
Nevereux
maps.secondlife.com/secondlife/Empire%20State%20Island/24...
Vargo - Silence
The traditional arrangements of offerings on the altar featuring the five main elements 傳統潮籍拜拜用的供品：
茶，清酒，湯圓，飯, 谷果類供品
Tea, Rice Wine, Glutinous balls in candy soup, Rice, Grain / Nuts Offerings.
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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:
=====
經師棚相對大士台，掛滿佛、菩薩和護法的潮州刺繡，中央是釋迦牟尼佛、東方藥師佛及阿彌陀佛。經師誦經念佛，消除眾生孽障。勝會最後一日，經師舉行「放焰口」法事，讓孤魂「聞經享食」。
盂蘭勝會的經棚是其中重要的部份。經棚是面對著附薦棚，大師們在經棚裡日夜誦經，超度幽靈，以脫離苦困。
One of the five pavilions at the Hungry Ghosts Festival event, the Praying Pavilion is where priests will chant prayers day and night, to relieve the spirits from sufferings.
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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:
=====