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Winterlicher Wald 🌲⛄🌲❄🌲⛄🌲
mund / fußgemalt von Stanislaw Kmiecik
"Singe mir ein neues Lied : die Welt ist verklärt und alle Himmel freuen sich." Friedrich Nietzsche
------------------------------------------------------------------------------------------Winter forest
mouth / foot painted by Stanislaw Kmiecik
"Sing me a new song: the world is transfigured and all heavens rejoice." Friedrich Nietzsche
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" Sing me a new song; the world is transfigured; all the Heavens are rejoicing. "
- Friedrich Nietzsche -
Carlos Santana - Golden Dawn
Happy September to everyone! I had originally turned off the comments for this post. Inexplicably, one comment slipped through, so I turned them back on "officially"!
IMG_1282 (5)
There is a lantern in the soul, which makes your solitude luminous. Solitude need not remain lonely. It can awaken to its luminous warmth. The soul redeems and transfigures everything because the soul is the divine space. When you inhabit your solitude fully and experience its outer extremes of isolation and abandonment, you will find that at its heart there is neither loneliness nor emptiness but intimacy and shelter.
― John O'Donohue
One from the archives - I took this in Alberta.
Songe de nuit cherche la flamme nouvelle..
Dream Night looks for the new flame ..
Thanks to all my friends ♥
♪♫♫♪
"Marcher dans une forêt entre deux haies de fougères transfigurées par l'automne, c'est cela un triomphe. Que sont à côté suffrages et ovations?"
Emil Cioran
Thank you very much for your comments and for your faves.
(Please do not use without my written permission.)
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www.youtube.com/watch?v=yzSaOWPBFqA
Pierre Boulez : Schoenberg Arnold's 'Verklaerte Nacht". (Transfigured Night)
The Chapel of the Transfiguration, Grand Teton National Park, Moose, Wyoming. Owned and operated by St. John's Episcopal Church in Jackson, Wyoming, the chapel was constructed in 1925 from lodgepole pine. The chapel and accessory buildings were designed by C.B. Loomis in a rustic style, also called Western Craftsman. It was placed on the National Register of Historic Places in 1980. The chapel was featured in the movie Spencer's Mountain starring Henry Fonda and Maureen O'Hara. The transfiguration of Jesus is a story told in the New Testament when Jesus is transfigured and becomes radiant in glory upon a mountain. Title quote by James Hillman.
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A poem should be palpable and mute
As a globed fruit
Dumb
As old medallions to the thumb
A poem should be wordless
As the flight of birds
A poem should be motionless in time
As the moon climbs
Leaving, as the moon releases
Twig by twig the night-entangled trees
Leaving as the moon behind the winter leaves,
Memory by memory the mind
A poem should be motionless in time
As the moon climbs
A poem should be equal to
Not true
For all the history of grief
An empty doorway and a maple leaf
For love
The leaning grasses and two lights above to sea
A poem should not mean
But be
A poem should be a sigh
Trapped in chests
Released
A poem should be a butterfly transformed
Transfigured
A poem should be a scream
Note by note
Breaking the air cutting through
A poem should be no more
But just
Archibald MacLeish and I
Explore #332 - 13.12.2008
The dancing gull returns to the beach transfigured by his Mountain experience!
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Dancing Gull Productions 12.12.2008 - Golden Light Series
If your goal is to storm the barricades of heaven, than there's no better place to start your storming than The Episcopal Chapel of the Transfiguration in Moose Wyoming. It's hard not to feel transfigured with the Grand Tetons towering in the background. Truth be known, as I age, I'm becoming more transmogrified than transfigured.
Happy Fence Friday everyone.
Moose, Wyoming
"jolt" reminded me of that drink a few decades ago though this photo has nothing to do with the drink : www.beveragesdirect.com/products/jolt-cola-caffeinated-bo...
the music: Transfigured night
"Tramonto astratto" è uno scatto che fa parte del progetto fotografico "Astrattismo Urbano", che è un’indagine visiva in divenire che nasce a Napoli e si sviluppa nei luoghi più ordinari e frequentati della città: strade, metropolitane, stazioni, parchi, musei. L'obiettivo si sposta dai soggetti riconoscibili ai dettagli più effimeri e trascurati, spingendo lo sguardo oltre il reale, senza l'ausilio di elaborazioni grafiche e/o I.A..
Attraverso inquadrature non convenzionali, giochi di riflessi, geometrie e contrasti cromatici, ogni fotografia mira a dissolvere la concretezza dello spazio urbano, trasformandolo in una pura espressione di luce, forma e colore. I luoghi, pur familiari, si smaterializzano e perdono i loro connotati originari, diventando composizioni astratte, libere da riferimenti spaziali o narrativi.
Il progetto invita a riscoprire l’ambiente urbano con occhi nuovi, a cogliere l’invisibile nel quotidiano, e a riflettere su quanto ciò che ci circonda possa mutare significato a seconda dello sguardo. In questo processo di astrazione, lo spazio pubblico si trasfigura, rivelando un linguaggio visivo autonomo e quasi pittorico, in cui la città si fa superficie, ritmo, visione.
"Abstract Sunset" is part of the "Urban Abstraction" photography project, an ongoing visual investigation born in Naples and taking place in the city's most ordinary and bustling places: streets, subways, stations, parks, and museums. The lens shifts from recognizable subjects to the most ephemeral and overlooked details, pushing the gaze beyond reality, without the aid of graphic processing and/or AI.
Through unconventional framing, plays on reflections, geometries, and color contrasts, each photograph aims to dissolve the concreteness of urban space, transforming it into a pure expression of light, form, and color. The places, though familiar, dematerialize and lose their original connotations, becoming abstract compositions, free from spatial or narrative references.
The project invites us to rediscover the urban environment with new eyes, to capture the invisible in everyday life, and to reflect on how the meaning of our surroundings can change depending on our perspective. In this process of abstraction, public space is transfigured, revealing an autonomous and almost pictorial visual language, in which the city becomes surface, rhythm, vision.
It is ceremony that makes bearable for us the terrors and ecstasies that lie deep in the earth and in our earth-nourished human nature. Only the saints can encounter those ‘realities’. What saves us is ceremony … Ceremony makes everything bearable and beautiful for us. Thus transfigured by ceremony, the truths we could not otherwise endure come to us. We invite them to enter. We set them down at our tables. These angels bring gifts for the house of the soul … It is this saving ceremony that you call ‘idolatry’ and ‘mumbo-jumbo’.
-George Mackay Brown, ‘The Tarn and the Rosary’, in Hawkfall (Polygon, Edinburgh, 2004).
So what many people encounter in mutual human loving is our best path towards understanding faith as our conversion to God’s love. This blessing of being liberated into a fuller aliveness is what we call grace and it can be experienced in numerous ways in each person’s story...
... Dante loved Beatrice and then was ready to celebrate a divine comedy. When the door of love opens, the gaze of the heart learns to interpret everything differently. Love in this sense is a transfigured disposition rather than a transitory feeling.
-FAITH MAPS, Michael Paul Gallagher SJ
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‘it is the extreme situation that best reveals what we are essentially’ (MM, 113).
-Flannery O’Conner, A Good Man is Hard to Find
The old fountain was built in the Gothic period and transfigured in 1831, during the Neoclassical.
This work is protected as a cultural asset of local interest.
If you want to know, life is the principle of self-renewal, it is constantly renewing and remaking and changing and transfiguring itself, it is infinitely beyond your or my obtuse theories about it."
— Boris Pasternak (Doctor Zhivago)
"Outstanding Universal Value
"Brief synthesis
"Located in the Occitanie region, the Pont du Gard is the major element of a 50.02 km aqueduct built in the middle of the 1st century to supply the city of Nîmes, the ancient Roman colony of Nemausus, from the Eure source located near Uzès. A three-storey aqueduct bridge rising to nearly 48.77 m, it enabled the water conduit to cross the Gardon River.
"This triple bridge, whose longest floor, at the very top of the edifice, measured 360 m, is a feat and a masterpiece of Roman architectural technique, but also a work of art whose presence transfigures the landscape. Set in a natural site that enhances its imposing appearance and its lines of force, the Pont du Gard rests on a rocky base, notched by the river spanned by its major arch. The gentle and symmetrical tapering of the arches, the span of the lower arches and the regularity of the upper gallery give it an extraordinarily airy appearance for a work of such magnitude.
"The Pont du Gard is an outstanding example of bridges built in ancient times. It achieves a triple performance with its three levels of arches of unequal dimensions and is characterized by the use, for the construction of the arches of the lower levels, of juxtaposed rollers composed of voussoirs bearing engraved positioning marks. In the series of Roman aqueducts, this exceptional edifice is the result of an extensive adaptation to the river regime of the Gardon whose floods are sudden and devastating. The lips installed in front of the piers are designed to resist high water, and the opening of the principal lower arch (24.52 m instead of 21.87 m for the arches of the extremes) facilitates the flow of water.
"Built, on the first two levels, of large stone blocks and, at the upper level, of small stone rubble which hold the abutting flagstones of the canal, the Pont du Gard is one of the most revealing monuments as to the construction processes of the early Imperial era. Source: UNESCO web site 6 Dec 2023
“For the “new man” everything is new. Even the old is transfigured in the Holy Spirit and is always new. There is nothing to cling to, there is nothing to be hoped for in what is already past—it is nothing. The new man is he/she who can find reality where it cannot be seen by the eyes of the flesh—where it is not yet—where it comes into being the moment he/she sees it. And would not be (at least for him/her) if he/she did not see it. The new man lives in a world that is always being created, and renewed. He lives in this realm of renewal and creation. He lives in life.…
Thought of this after Communion today, when I suddenly realized that I had, and for how long, deeply lost hope of “anything new.” How foolish, when in fact the newness is there all the time.”
- Thomas Merton from A Year with Thomas Merton p. 84 written March 18, 1959
Should liturgy matter outside the Church? Yes. The world is the matter of liturgy: raw material for sacrament, the substance of our sacrificial oblation, the nature that grace is perfecting, the history that the eschaton is ripening, the arena for the liturgy after the liturgy, the province of the Church’s leitourgia, the object of exorcism and blessing, place of soul and body that are being transfigured.
-DAVID W. FAGERBERG, LITURGY OUTSIDE LITURGY The Liturgical Theology of Fr. Alexander Schmemann
2016.02.26 Mount Tabor, Israel
The Church of the Transfiguration
The Transfiguration of Jesus is an event reported by the Synoptic Gospels in which Jesus is transfigured upon a mountain Jesus becomes radiant, speaks with Moses and Elijah, and is called "Son" by God. The transfiguration put Jesus above Moses and Elijah, the two preeminent figures of Judaism.
I came to an island adrift in the vastness, a sanctuary where silence is not absence but a living presence. It is the silence of my world, born of a quiet ache—the loss of her, once near, now vanished into the unseen. This hush gathers around me like twilight, mending what was broken, steadying what was restless, yet never erasing the shadow of longing.
Upon its shores, I kneel in the sand. My words are not merely spoken but breathed as prayers through trembling hands. The tide erases them, yet their essence lingers, carried into the sea’s eternal rhythm. And in that rhythm, I hear her voice, tender and unwavering:
She speaks through the Sea: “I have never left you. My breath moves in the waves, my love rests in the tide. Each crest carries my memory, each retreat my return. I hold your ache, and I give it back as calm. I am yours still.”
Mist rises from the island’s heart, drifting like a spirit across stone and grove. It enfolds me, and within its veil I feel her shadow walking beside me—her nearness pressing against my soul, her devotion woven into the air.
She whispers through the Mist: “I walk with you, unseen but near. I am the touch you cannot hold, the silence that still embraces. Loss is not emptiness— it is another way of being close. In my veil, I enfold you. You are mine, always.”
And then the sunset arrives—pale as the moon. It does not blaze with fire, but glows with quiet mercy, a silvered light softening the horizon. Gold fades into pearl, crimson into rose, violet into ash. In its pallor, I see her face in the sky, luminous and tender, her gaze woven into the evening hush.
She proclaims through the Pale Sunset: “I am remembrance, and I am yours. What was presence is now light, what was loss is now flame. Your words rise into me, and I crown them with stillness. Your ache is not a wound, but a passage. Through me, longing becomes peace, and silence becomes song. I love you still.”
And then, as twilight deepens, her voices gather together—sea, mist, and pale sunset speaking as one, yet carrying her devotion:
Her Chorus sings: “I cradle your loss, I hold your longing. I veil what is absent as nearness, I transfigure ache into light. In my hush, you are not alone. In my cycle, you are remade. I am with you, always.”.
Here, in the silence of my world, I am renewed. Twilight is not a fading, but a threshold. Sand, sea, mist, and pale sunset form a cycle, a myth of belonging where longing becomes peace. Concealed yet revealed, I stand at the island’s heart, listening as she walks beside me, her love woven into the island—and in that hush, I am remade.
Lost
In fact the whole village is named after the Saviour. Sotira in Greek means Saviour. Sotira is a well-known village in the Ammochostos (Famagusta) area of Cyprus and plenty of old churches have survived in the village centre. The "Church of the Metamorphosis/Transfiguration of Christ" is currently closed. There is archaeological work going on, but the building was too small anyway and, in the 20th century, had been replaced by the "Church of the Metamorphosis/Transfiguration of Jesus". I'll come back to this interesting change of title. This old church here goes back to the 13th century, back to the time of the crusades and the French occupation of Cyprus. The building began as a simple barrel roof construction. In Venetian times, the dome was added, and the spire, also in Venetian style, is a 19th century product (still built during the Ottoman occupation). The archaeological dig showed that this church is resting on foundations of a fifth century Christian basilica. So, the question of who the Saviour is, has always been central to this village. Metamorphosis or Transfiguration denotes the visible appearance of Jesus, not as man, but as God. But "Christ"? Christ is already a title presupposing divinity, no need to transfigure here. That is why, I would guess, that in the 20th century the title was changed to transfiguration of Jesus. It makes more sense. Sense is, of course, in the eye of the beholder. If, as Christian doctrine has it, Jesus Christ was one person, but had two natures (God and Man), and if the Trinity consist of three persons, but having only on nature, there is trouble if you apply Aristotelian logic. Things are made not easier by the gospel of John which stipulates that Christ was always there with God and, therefore, had pre-existence. If you find this difficult, it only means that your mind is working. The question of who the Saviour is is not a puzzle the mind can resolve. But if you sing the question, turn it into sound, or into vision, you may be on a different path. Fuji X-Pro3.
"In every landscape the point of astonishment is the meeting of the sky and the earth, and that is seen from the first hillock as well as from the top of the Alleghenies. ... The uprolled clouds and the colors of morning and evening will transfigure maples and alders. The difference between landscape and landscape is small, but there is great difference in the beholders."
Ralph Waldo Emerson, On Nature, 1849, p.369
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"I am the spring, the holy ground
The endless seed of mystery
The thorn, the veil, the face of grace
Brazen image, the thief of sleep
The ambassador of dreams, Prince of peace
I am the sword, the wound, the stain
Scorned, transfigured child of Cain
I rend, I end, I return
Again, I am the salt, the bitter laugh
I am the gas in a womb of light, the evening star
The ball of sight that bleeds that sheds the tears of Christ
Dying and drying as I rise tonight"...
Patti Smith Group / Easter...
Here is the St. Raphael Prayer in its entirety: O Raphael, lead us toward those we are waiting for, those who are waiting for us: Raphael, Angel of happy meeting, lead us by the hand toward those we are looking for. May all our movements be guided by your Light and transfigured with your joy. Angel, guide of Tobias, lay the request we now address to you at the feet of Him on whose unveiled Face you are privileged to gaze. Lonely and tired, crushed by the separations and sorrows of life, we feel the need of calling you and of pleading for the protection of your wings, so that we may not be as strangers in the province of joy, all ignorant of the concerns of our country. Remember the weak, you who are strong, you whose home lies beyond the region of thunder, in a land that is always peaceful, always serene and bright with the resplendent glory of God. -
(O’Donnell, Fiction Fired by Faith, 91)
The purpose of the icon is the transfiguration of those who behold them: we are to be caught up into the beauty of the transfigured cosmos; the end of the Christian life is transfiguration in the glory of God. Second, the encounter with the icon is an ecclesial experience: the icon belongs to the liturgy of the Church; even the icon in a private home creates a sacred space, analogous to that of the church. The experience of beholding, encountering, the icon is ecclesial. Evdokimov quotes the first line of the Cherubic hymn, ‘We who in a mystery represent the Cherubim’ [or better: are images/icons of the Cherubim: eikonizontes].65 Third, there is what Evdokimov calls the apophasis of the icon. He draws attention to the idea that in prayer we pass beyond images, an idea emphasized by the hesychasts. This is in antinomy to the icon; and it is a true antinomy – we must embrace both poles of this antinomy: the inexpressibility of God, and his manifestation in the face. Without the witness of the icon, the apophatic runs the risk of becoming an intellectual abstraction, a privileging of the spiritual over the material.
-MODERN ORTHODOX THINKERS From the Philokalia to the Present, ANDREW LOUTH
Set out to brew a Calming Draught… accidentally transfigured my cauldron into a plushie. Honestly? Still pretty soothing.
((Kimiko Greymire is a Sixth Year Slytherin at Mischief Managed SL Roleplay played by yours truly.))
─── ✯⋅ C R E D I T S ⋅✯ ───
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[Plushie] Brew by Snuggle&Co. (Satan Inc.)
[Outfit] Jin Outfit by @cheezu (Anthem Oct Round)
[Beret] Daily Wool Beret by cheezu
[Wand] Pointe Wand by Contraption
╰┈➤ S O C I A L S
Excerpt from Wikipedia:
The Church of the Transfiguration is a Franciscan church located on Mount Tabor in Israel. It is traditionally believed to be the site where the Transfiguration of Christ took place, an event in the Gospels in which Jesus is transfigured upon an unnamed mountain and speaks with Moses and Elijah.
Liturgical piety is the mysterion showing up in our lives. Liturgical piety consists of the eschatological effects of the Kingdom, just celebrated in the liturgy, transfiguring the world to which we return after the celebration. We will discover piety’s province when we remember that God so loved the world that he gave his Son for its life. Liturgical piety is this new life, which comes from Christ, which is facilitated by the Church, which arises in our conversion, which begins with our baptism into Christ, who empowers us with the Holy Spirit, who is the source of our spirituality. The Church’s assigned mission, her leitourgia, is to witness to the transforming effects of the Kingdom of God by being transformed herself.
-Alexander Schmemann's Rejection of Orthodoxism
by David Fagerberg
Справа от центральной композиции трёхфигурного Деисуса изображена сцена Преображение - одна из двенадцати сцен богородичного и христологического циклов, вписанных в золотую аркаду и расположенных по обе стороны от центральной композиции.
В нижней части сцены фигуры трёх поражённых чудом апостолов - Петр, Иаков и Иоанн, которые пришли на гору Фавор (позже называемую Горой Преображения ), чтобы помолиться.
Петр показан справа коленопреклоненным. В центре традиционно представлен Иоанн Богослов. Апостол Иаков изображен слева, отвернувшимся и как бы упавшим. Одной рукой он держится за камень.
На вершине горы Иисус начинает светиться яркими лучами света. Согласно Ветхому Завету рядом с ним появляются фигуры ветхозаветных пророков Ильи и Моисея.
В иконографических изображениях в руках Моисей обычно держит книгу или, в более поздних вариантах, скрижали Завета. В данном изображении Моисей стоит справа и держит в руке «скрижаль откровения». Он представляет умерших, тогда как Илья Пророк, вознесшийся на огненной колеснице, выступает от имени живых.
In the New Testament, the Transfiguration of Jesus is an event where Jesus is transfigured and becomes radiant in glory upon a mountain. The Synoptic Gospels (Matthew 17:1–8, Mark 9:2–8, Luke 9:28–36) describe it, and the Second Epistle of Peter also refers to it (2 Peter 1:16–18). It has also been hypothesized that the first chapter of the Gospel of John alludes to it (John 1:14).
In these accounts, Jesus and three of his apostles, Peter, James, and John, go to a mountain (later referred to as the Mount of Transfiguration) to pray. On the mountaintop, Jesus begins to shine with bright rays of light. Then the Old Testament figures Moses and Elijah appear next to him and he speaks with them. Both figures had eschatological roles: they summarize the Law and the prophets, respectively. Jesus is then called "Son" by a voice assumed to be God the Father, as in the Baptism of Jesus.
Many Christian traditions, including the Eastern Orthodox, Catholic Church, Lutheran and Anglican churches, commemorate the event in the Feast of the Transfiguration, a major festival. In Greek Orthodoxy, the event is called the metamorphosis.