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Danjogaran (壇上伽藍), at the heartland of the Mt. Kōya settlement. Garan is a name for an area that has buildings, a main hall, several pagodas, a scripture storage, a bell tower, a lecture hall, and other halls dedicated to important deities. Here we also find a shrine dedicated to the Shintō-gods of that mountain area and in front of it an assembly hall (Sannō-dō). Danjō Garan is one of the two sacred spots around the Mount Kōya.
The "Temple of Janus" is a cultic structure of Romano-Celtic design located in Autun, Saône-et-Loire, France, to the North-West of the ancient city of Augustodunum.
The temple lies in the centre of a vast sanctuary, whose extent and complexity was revealed by excavations conducted from 2013 to 2016, on a site whose history goes back to Neolithic times, and which experienced an important phase of monumental constructions in the 1st Century AD. The temple was abandoned at the onset of the Early Middle Ages, and its structures were later reused in the fashioning of a Medieval defensive work. The temple has retained two sides of its square cella, at a height of over 20 metres, as well as vestiges of its ambulatory and side structure foundations. The temple's supposed dedication to the Roman god Janus is not based on any archaeological or historic fact, and the deity that was venerated in the temple is unknown.
The Temple of Janus was included on the first list of protected historical French monuments, established in 1840. (Wikipedia)
photo rights reserved by B℮n
The Sanctuary of Truth is a magnificent temple in Pattaya, Thailand, that stands as a tribute to traditional Thai architecture and craftsmanship. The temple is entirely made of wood, with intricate carvings depicting various Hindu and Buddhist deities, as well as ancient Thai mythological figures. The construction of the Sanctuary of Truth began in 1981 and is still ongoing. The temple covers an area of over two hectares and is over 100 meters tall. It was designed by a local businessman named Lek Viriyaphant. The Sanctuary of Truth is not affiliated with any specific religion, but rather serves as a symbol of the unity of all religions and beliefs. It is a peaceful and tranquil place where visitors can reflect and appreciate the beauty of Thai culture and tradition. The Sanctuary of Truth also serves as a cultural and educational center. It hosts various workshops and events throughout the year, aimed at promoting traditional Thai arts and crafts.
The entrance hall of the Sanctuary of Truth is an impressive and majestic building that serves as the gateway to the sanctuary. It is a beautiful example of traditional Thai architecture and craftsmanship. The building is decorated with beautiful carving details that reflect the work of local artisans. The carvings are very detailed and elaborate, and include depictions of gods, animals and mythological creatures. The design of the entrance hall is inspired by the Buddhist and Hindu temples in Thailand, and it has a distinctly oriental feel. Seven dragons are depicted along the entrance stairs. These dragons are decorated with beautiful carving details along with mermaids and also play an important role in Thailand's mythology and culture. The dragons are considered protectors of the temple and are important symbols of power and authority. In addition to the images of dragons, there are also images of Goddesses. The female images are often refined and detailed, with soft lines and rich textures that reflect Thai craft traditions. They are often depicted in poses that exude elegance and grace.
The Sanctuary of Truth is een prachtige tempel in Pattaya, Thailand, die een eerbetoon is aan de traditionele Thaise architectuur en vakmanschap. De tempel is volledig gemaakt van hout, met ingewikkeld houtsnijwerk dat verschillende hindoeïstische en boeddhistische godheden uitbeeldt, evenals oude Thaise mythologische figuren. De bouw van het Sanctuary of Truth begon in 1981 en is nog steeds aan de gang. De tempel heeft een oppervlakte van ruim twee hectare en is meer dan 100 meter hoog. Het is ontworpen door een lokale zakenman genaamd Lek Viriyaphant. The Sanctuary of Truth is niet gelieerd aan een specifieke religie, maar dient eerder als een symbool van de eenheid van alle religies en overtuigingen. Het is een vredige en rustige plek waar bezoekers de schoonheid van de Thaise cultuur en traditie kunnen overdenken en waarderen. The Sanctuary of Truth doet ook dienst als cultureel en educatief centrum. Het organiseert het hele jaar door verschillende workshops en evenementen, gericht op het promoten van traditionele Thaise kunsten en ambachten. Er is geen vastgestelde datum voor wanneer de bouw van de Sanctuary of Truth in Pattaya zal worden voltooid, omdat het project voortdurend in ontwikkeling is en wordt uitgebreid met als doel om de tempel zo authentiek en gedetailleerd mogelijk te maken. Het doel van de bouwers is om de tempel over te dragen aan de volgende generatie, zodat deze kan worden voortgezet en onderhouden als een cultureel erfgoed en als een symbool van de Thaise traditionele waarden en geschiedenis. De ingangshal van de Sanctuary of Truth is een indrukwekkend en majestueus gebouw dat dienst doet als de toegangspoort tot het heiligdom. Het is een prachtig voorbeeld van traditionele Thaise architectuur en ambachtelijk vakmanschap. Het gebouw is versierd met prachtige houtsnijwerkdetails die het werk van lokale ambachtslieden weerspiegelen. Het houtsnijwerk is zeer gedetailleerd en uitgebreid, en bevat afbeeldingen van goden, dieren en mythologische wezens. Het ontwerp van de ingangshal is geïnspireerd op de boeddhistische en hindoeïstische tempels in Thailand, en het heeft een uitgesproken oriëntaalse uitstraling. Langs de ingangstrap staan zeven draken afgebeeld. Deze draken zijn samen met zeemeerminnen versierd met prachtige houtsnijwerkdetails en ook een belangrijke rol spelen in de mythologie en cultuur van Thailand. De draken worden beschouwd als beschermers van de tempel en zijn belangrijke symbolen van kracht en autoriteit. Naast de afbeeldingen van draken zijn er ook Godinnen. De vrouwenbeelden zijn vaak verfijnd en gedetailleerd, met zachte lijnen en rijke texturen die de Thaise ambachtelijke tradities weerspiegelen. Ze worden vaak afgebeeld in poses die elegantie en gratie uitstralen.
In Kumartuli, the traditional potter's quarter, where colourful idols of deities are made from clay and plaster. Here on the last days before Durga Puja, the biggest festival in Kolkata. A Ganesha idol is transported out of the narrow alleys of Kumartuli for distribution to temples or stages throughout Kolkata and nearby provinces.
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HORNS- False Deity - Berith Horn FATPACK
OUTFIT- [KRR] - Aerin Set FATPACK
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Eyes: =Nero Lab= Dracula Eyes Lel EvoX Box // @ MENSELECTED EVENT
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Top: GARBO - Ander Suit - FATPACK // @ MENSELECTED EVENT
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RPG version of Dark Minako, the Deity of Chaos...I had a fun time drawing her dress, but the expression on her face was pretty difficult to draw...
These heads, nestling on a soft bed of moss under the trees in the Hannah Peschar Sculpture Garden, were created by Patricia Volk. The materials are ceramic and acrylics.
of a Deity we all worship, knowingly or otherwise... And it's not travel or Transport, although this is (you guessed) a train station. The Altar in the far end may be a hint of what I'm talking about...
Meant to be viewed large - press 'L' or click on the image
photo rights reserved by B℮n
The Sanctuary of Truth is a magnificent temple in Pattaya, Thailand, that stands as a tribute to traditional Thai architecture and craftsmanship. The temple is entirely made of wood, with intricate carvings depicting various Hindu and Buddhist deities, as well as ancient Thai mythological figures. The construction of the Sanctuary of Truth began in 1981 and is still ongoing. The temple covers an area of over two hectares and is over 100 meters tall. It was designed by a local businessman named Lek Viriyaphant. The Sanctuary of Truth is not affiliated with any specific religion, but rather serves as a symbol of the unity of all religions and beliefs. It is a peaceful and tranquil place where visitors can reflect and appreciate the beauty of Thai culture and tradition. The Sanctuary of Truth also serves as a cultural and educational center. It hosts various workshops and events throughout the year, aimed at promoting traditional Thai arts and crafts.
In the Sanctuary of Truth in Pattaya, Thailand, there is an image of Garuda with two snakes. Garuda is a mythical creature of Hindu and Buddhist traditions, often depicted as a human with the wings, beak and talons of an eagle. Garuda is considered the king of birds and is often associated with strength, speed and wisdom. Garuda is also the mount of the Hindu god Vishnu and is often depicted with Vishnu during his battles against demons and evil. In the image in the Sanctuary of Truth, Garuda holds two snakes in his claws. The serpents symbolize evil and demons that Garuda vanquishes as the protector of the universe. The image of Garuda with the serpents is a powerful symbol of the triumph of good over evil. Garuda is an important symbol in Southeast Asian culture and is often revered as a protective deity and symbol of strength and victory. The image of Garuda with the snakes in the Sanctuary of Truth is therefore an impressive and significant part of the temple.
The Sanctuary of Truth is een prachtige tempel in Pattaya, Thailand, die een eerbetoon is aan de traditionele Thaise architectuur en vakmanschap. De tempel is volledig gemaakt van hout, met ingewikkeld houtsnijwerk dat verschillende hindoeïstische en boeddhistische godheden uitbeeldt, evenals oude Thaise mythologische figuren. De bouw van het Sanctuary of Truth begon in 1981 en is nog steeds aan de gang. De tempel heeft een oppervlakte van ruim twee hectare en is meer dan 100 meter hoog. Het is ontworpen door een lokale zakenman genaamd Lek Viriyaphant. The Sanctuary of Truth is niet gelieerd aan een specifieke religie, maar dient eerder als een symbool van de eenheid van alle religies en overtuigingen. Het is een vredige en rustige plek waar bezoekers de schoonheid van de Thaise cultuur en traditie kunnen overdenken en waarderen. Wat op valt in de tempel is een afbeelding van Garuda met twee slangen. Garuda is een mythisch wezen uit de hindoeïstische en boeddhistische tradities, en wordt vaak afgebeeld als een mens met de vleugels, snavel en klauwen van een adelaar. Garuda wordt beschouwd als de koning van de vogels en wordt vaak geassocieerd met kracht, snelheid en wijsheid. Garuda is ook de rijdier van de hindoeïstische god Vishnu en wordt vaak afgebeeld met Vishnu tijdens diens gevechten tegen demonen en het kwaad. In de afbeelding in de Sanctuary of Truth houdt Garuda twee slangen vast in zijn klauwen. De slangen symboliseren het kwaad en de demonen die Garuda overwint als de beschermer van het universum. De afbeelding van Garuda met de slangen is een krachtig symbool van de overwinning van het goede over het kwaad. Garuda is een belangrijk symbool in de Zuidoost-Aziatische cultuur en wordt vaak vereerd als een beschermende godheid en symbool van kracht en overwinning. De afbeelding van Garuda met de slangen in de Sanctuary of Truth is dan ook een indrukwekkend en betekenisvol onderdeel van de tempel.
Photographed on an epic day of Osaka sanpo with Charlie-san, Fukuda-san, Fumi-san, Hazm, Hitomi-san, Kenji-san, Kiyoko-san, Larry, Maeda-san, Minoru-san, Mitsuru-san, Nakamura-san, sakemoge, Scott, sonnar-san, soyokaze ojisan, Take-san, Takea-san, Tomo-san, Yamada-san, Yoshi-san, and Yume-san. Tennoji-ku, Osaka. November 19, 2017.
Indigenous Rock Art #1:
"Wandjina are mythical beings possessing both human and god-like qualities, and are regarded as the ancestors of people today*."
This rock art may be up to 4,000 years old.
After wandering through dry grass and scrubland in remote outback Australia, it is a rather intense, perhaps spiritual, experience to stumble across this artwork on a rocky outcrop in the middle of nowhere.
This image is an interpretation, rather than a "museum reproduction". In particular, I have intensified the colours of the Australian Aboriginal Flag: red, yellow and black. It is nevertheless an actual photograph of the images painted on the rock within touching distance before me.
[* - p. 12, David M. Welch, "Aboriginal Paintings at Munurru, Kimberley, Western Australia." Published by David M. Welch. 2014.]
Vajrapani is pictured dancing wildly within a halo of flames, which represent transformation. He holds a vajra (thunderbolt) in his right hand, which emphasizes the power to cut through the darkness of delusion. Vajrapani looks wrathful, but as a representation of the enlightened mind, he’s completely free from hatred.
Monkeys sharing prasadam ( Sacred Offering) with deity Shesha Naag in the Maramma Temple, Malleswaram, Bengaluru.
Coffin of Taywheret (The Royal Cache TT320, Deir el-Bahari), Egyptian Museum Cairo, CG 61032
Falcon deity on white background
This was made solely from a photograph of tree roots and a small active creek bed in the State Park in Arrow Rock Missouri...and Photshop
Fudo is a personification of Dainichi Nyorai, and the best known of the Myo-o, who are venerated especially by the Shingon sect of Japanese Esoteric Buddhism. Fudo converts anger into salvation; has furious, glaring face, as Fudo seeks to frighten people into accepting the teachings of Dainichi; carries "kurikara" or devil-subduing sword in right hand (representing wisdom cutting through ignorance); holds rope in left hand (to catch and bind up demons); often has third eye in forehead (all-seeing); often seated or standing on rock (because Fudo is "immovable" in his faith). Fudo is also worshipped as a deity who can bring monetary fortune.
ʟɪɴᴋꜱ: www.dudadreams.com/post/guess-that-s-all-for-today
ᴏᴠᴇʀꜱɪᴢᴇᴅ ꜱᴡᴀᴛᴇʀ: {ꜱᴇᴀᴍꜱ ʟᴇɢɪᴛ} ʜᴀᴍ ꜰᴏʀ ꜱᴘᴏᴏᴋʏ ꜱᴇᴀꜱᴏɴ
ᴇʏᴇɢʟᴀꜱꜱᴇꜱ: ꜱ. ʟɪᴍᴀ - ᴅᴇᴀʀ ᴅᴇᴍᴏɴ ᴇʏᴇɢʟᴀꜱꜱᴇꜱ
ꜱɪᴘᴘʏ ᴄᴜᴘ: ᴅᴇɪᴛʏ. ꜱᴛᴀʀᴅᴜᴄᴋɪᴇꜱ ᴄᴜᴘ
ʙᴀʙʏ ꜱᴇᴀᴛ: ᴢᴏᴏʙᴀᴛᴏꜱ - ᴢᴜᴍʙᴏ ᴄʜᴀɪʀ
ʟᴀᴘᴛᴏᴘ: ᴀᴘᴘʟᴇ ꜰᴀʟʟ 'ɪꜰᴀʟʟ' ɴᴏᴛᴇʙᴏᴏᴋ 2015
ꜰᴜʀɴɪᴛᴜʀᴇ: ʙɪᴊᴏᴜ :: ᴇᴛᴜᴅᴇ
ʙɪᴊᴏᴜ :: ᴇᴛᴜᴅᴇ ʀᴇᴡᴀʀᴅ ᴄʜᴀʀᴛ [ɪɴᴛᴇʀᴀᴄᴛɪᴠᴇ]
ʙɪᴊᴏᴜ :: ᴇᴛᴜᴅᴇ ʙᴏᴏᴋꜱʜᴇʟꜰ
ʙɪᴊᴏᴜ :: ᴇᴛᴜᴅᴇ ᴅᴇꜱᴋ - ᴡʜɪᴛᴇ (ᴀᴠᴀɪʟᴀʙʟᴇ ɪɴ ᴅɪꜰꜰᴇʀᴇɴᴛ ᴄᴏʟᴏʀꜱ)
(ᴅʀᴀᴡᴇʀꜱ ᴄʜᴀɴɢᴇ ᴄᴏʟᴏʀꜱ!)
ʙɪᴊᴏᴜ :: ᴇᴛᴜᴅᴇ ᴅʀᴀᴡɪɴɢ
Le temple de la Concorde est, avec l'Héphaïstéion (Théséion) d'Athènes et le temple de Poséidon à Paestum, l'un des temples les mieux conservés de l'antiquité grecque. Son appellation arbitraire n'est due qu'à une inscription romaine trouvée à proximité, où figurait le mot latin concordia. Il a été construit dans les années -440 à -430.
Les inégalités du terrain sur lequel il est édifié sont compensées par un soubassement (krépis) important. Son plan correspond à la forme la plus classique des temples d'Agrigente : pronaos, naos, opisthodome et péristyle de 6 × 13 colonnes.
Le temple de la Concorde est de tous ceux d'Agrigente celui qui a été réalisé avec le plus de précision. Le problème des extrémités propre aux temples doriques (conflit entre la régularité des métopes et des triglyphes d'une part, et l'espacement régulier des colonnes d'autre part) a été résolu d'une manière inhabituelle : il a été procédé tout à la fois au rétrécissement de l'espace entre les deux dernières colonnes et à l'allongement de la métope extrême, pour un meilleur effet visuel.
Les recherches ont également montré que les parties inférieures du temple étaient ornées de stucs blancs, tandis que les frises, métopes et parties hautes étaient peintes de couleurs vives. Le toit était couvert de tuiles de marbre.
En 597, l'évêque Grégoire d'Agrigente a fait du temple une basilique chrétienne consacrée aux apôtres Pierre et Paul, après en avoir chassé les démons païens Eber et Raps qui y demeuraient11. Chacun des murs de la cella fut alors percé de douze arcatures, et les entrecolonnements furent murés, tout comme on peut encore le voir de nos jours à la cathédrale de Syracuse. L'entrée fut reportée sur le côté ouest, ce qui entraîna la suppression de la cloison entre le naos et l'opisthodome, tandis que la sacristie trouvait sa place dans l'ancien pronaos.
La découverte dans le temple de deux figures de dieux puniques mises de côté a fait déduire que déjà les Grecs y honoraient deux divinités, peut-être les Dioscures.
Après l'abandon de la cité, l'église fut à nouveau remise en usage, jusqu'au XVIIe siècle. Elle est désaffectée en 1748. En 1788, les dernières structures appartenant à l'église chrétienne sont enlevées par ordre du prince de Torremuzza. Depuis lors, le temple a été restauré dans son état initial.
The Temple of Concord is, along with the Hephaestion (Thesion) of Athens and the Temple of Poseidon at Paestum, one of the best-preserved temples of Greek antiquity. Its arbitrary name is only due to a Roman inscription found nearby, where the Latin word concordia appeared. It was built in the years -440 to -430.
The unevenness of the land on which it is built is compensated by a significant base (krépis). Its plan corresponds to the most classic form of the temples of Agrigento: pronaos, naos, opisthodome and peristyle of 6 × 13 columns.
The temple of Concord is of all those of Agrigento the one that was created with the most precision. The problem of extremities proper to Doric temples (conflict between the regularity of the metopes and triglyphs on the one hand, and the regular spacing of the columns on the other hand) has been solved in an unusual way: both by narrowing the space between the last two columns and by lengthening the extreme metope, for a better visual effect.
Research has also shown that the lower parts of the temple were decorated with white stucco, while the friezes, metopes and upper parts were painted in bright colors. The roof was covered with marble tiles.
In 597, Bishop Gregory of Agrigento made the temple a Christian basilica dedicated to the apostles Peter and Paul, after having driven out the pagan demons Eber and Raps who lived there11. Each of the cella's walls was then pierced with twelve arches, and the intersections were walled, just as we can still see today in the cathedral of Syracuse. The entrance was moved to the west side, which led to the removal of the partition between the naos and the opisthodome, while the sacristy found its place in the old pronaos.
The discovery in the temple of two figures of Punic gods put aside made it deduce that already the Greeks honored two deities there, perhaps the Dioscuri.
After the abandonment of the city, the church was again put back into use, until the 17th century. It was abandoned in 1748. In 1788, the last structures belonging to the Christian church were removed by order of the prince of Torremuzza. Since then, the temple has been restored to its original state.
Absolutely stunning white silk brocade strapless long dress, highly detailed corset, the multi-layered long skirt flows wonderfully when you move.
Since I released the famous "Godess"dress in 2007 I'm having requests of a new one following the same style and color and "Deity" came out just as imagined - fabulous! Hope you enjoy!
Having arrived at Laira in the early hours 50049 was due to hook up to her stock and head straight back to Long Marston. Thankfully her 0300ish departure didn't materialise and all eyes were on RTT and SWRG for any intel on her intended departure time.
Eventually 1400 hrs was entered as her departure time. Perfect.
I checked out a few likely spots for the shot but the winter sun was going to cause me more problems than I had expected. Still time in the bag so I headed for one of my old faithful locations.
The sun was more out than in but as always 5 minutes before arrival the whole river was plunged into shade. Just as i was halfway through my Basil Fawlty impression the one where he says "Thank you God" whilst shaking his fist at the sky, out popped the Sun to illuminate a short stretch of Line. Bingpot !
So....50049 on the late running 0300 Laira to Long Marston 5Z50 stock move in-between Red Rock and Flow Point along the beautiful River Teign and a glint thrown in for good measure.