View allAll Photos Tagged devotion
Our Lady of the Conception of the ladder, is a former Portuguese popular Marian devotion linked to the sea and taken root in Brazil.
His devotion is prior to the XII century and its name comes from the 31 esacalones you should climb to the chapel containing the image.
No wonder that the marked Portugal's maritime tradition, was the devotion of the sailors of Lisbon, one of the most popular in the country, and for that reason, one of the first to be implemented in Brazil.
The tradition of this title is prior to the conquest of Lisbon. The first called Corredoura, name of the ancient Gothic chapel north of the Dew, and then the reign of D. Afonso II, Our Lady of the Conception of the ladder, in abbreviated form, Our Lady of Escalera.
Built the Convent of Santo Domingo, in the reign of D. Sancho II, the chapel was next to the new church.
THE ORIGIN OF THE NAME
Anyone with basic culture knows the great importance they had navigation and the Portuguese discoveries in the fifteenth and sixteenth centuries, and the fact that they were sailors sea lusos that incorporated several continents. And this was through epic voyages on ships, compared to today, nutshells fragile.
The courage did not fail to mariners of the time. Neither fast to its faith and strength to run all risks. And this faith lusos sailors found a delightful expression of devotion to Our Lady of the Conception of the ladder in the city of Lisbon.
The original image of the Virgin, which later became known as the invocation-is very old, before the recapture of the city from the Moors in 1147. She was in a chapel located on the banks of the River Tagus. Upon leaving, the sailors
work entrusted to him, and thanked his return protection.
As the margin of the river is high, they had to go up or down the 31 steps that separate the chapel from the river. Thus, as time passes, the image of Our Lady of Conception began to be called the Conception of the ladder, to differentiate it from other images of Our Lady of Conception (devotion widespread in Portugal). From this fact, the image came to be known as Our Lady of the Conception of the ladder.
Given the importance of the sea life was linked to the Portuguese people at that time, it is understandable that this was one of the most revered. Where is it that every time they decided to take out processions to celebrate this or that victory, or seek protection against this or that scourge, were the processions of the Chapel of Our Lady of the most popular ladder.
Over time, they began to get to the chapel people from distant places to fulfill promises and vows, and thanks for favors received. At a certain time there was a procession with torches, possibly at night, down the river to get to the chapel dedicated to Our Lady of Escalera.
ALJUBARROTA VICTORY REINFORCE THE DEVOTION
The most important procession was commemorating the victory of the Portuguese in aljubarrota in 1385.
The Portuguese troops, led by the Venerable Nun'Alvares Pereira, fought not only to defend the country's independence, but especially not to fall into the schism that threatened to split the Christianity as the king of Castile at that time supported a antipope.
After waging the struggle in conditions outnumbered, the Portuguese won a memorable victory.
Upon hearing of the victory, the people flocked to various temples in the country and one of the most popular was that of Our Lady of the Stairs, where people from all walks of life came to thank Our Lady for the excellent protection. They must have been from all social classes is not surprising, because the Navy is engaged representatives of all segments of society at the time. From the highest nobility who commanded the army destined to Africa or Asia, even the most humble servants.
DEVOTION EXPANDS TO BAY AND SAO PAULO
With the maritime discoveries being made, the Catholic faith was expanding. Therefore, to master new territories, one of the first concerns of the Portuguese, was to teach the truths of the faith to the inhabitants. And nothing better for the consolidation of a soul on the path of true religion to be taught to love and trust one who is the Mother of God, and therefore, our advocate.
As two of the first sites to be colonized in our country were the Bay of All Saints, and areas close to the coast of Sao Paulo, it is understandable that there are the first two chapels dedicated to Our Lady of Escalera.
The existing Bay has a very ancient feature related to the time of slavery: slaves, when they were not yet baptized, could not be inside the church and stood on the porch near the entrance. That's why the small temple has a large porch.
The other chapel was located in a village called Escalera, a name from Marian devotion itself. This chapel is located near Guararema town 80 kilometers from the state capital. Due to its proximity to the river Paraíba, this town was frequented by fishermen and travelers navegban to Rio de Janeiro.
When went there in 1717, the Earl of assumar, governor of Sao Paulo, Escalera was a town that already had its own City Council. But the small center was not successful, and its decline was also decreasing the Marian devotion that gave it birth.
TWO EARTHQUAKES AND DETERIORATION OF DEVOTION
The Marian devotions are not, as a rule, a fact artificial, caused by some human interest. They bloom naturally when the Virgin distributes his graces, availing for example, an image of any invocation particular. And if the people are truly pious, used to correspond to these thanks and devotion naturally extends that which holds it in the hard struggles of life.
But when the population declines in fervor and no longer relies more to the Blessed Virgin, devotions attached to any chapel or an image also fell. People no longer frequent the place, and go forgetting the graces received. Under these conditions, it is not uncommon for Our Lady operate a prodigy, in order to reconstruct the ancient devotion. But unfortunately, men do not always correspond to the new manifestation of maternal kindness.
That's what happened with the image of Our Lady of Escalera in Portugal. In 1531 an earthquake destroyed the chapel, which was rebuilt. But as devotion continued to decline gradually allowed Our Lady a new earthquake in Lisbon, more terrible than the last, and destroyed the small temple in 1755. In both cases, the buildings that housed the image were destroyed, miraculously saved, among the ruins, both the image of Mary as the altar where he was.
The decline of the cult of the Virgin under this title had reached such a point that the chapel was no more rebuilt staircase. Therefore, the original image was brought to the church of Our Lady of Mercy of Lisbon, where it is today. It seemed a sad end of a once so widespread Marian devotion.
RENAISSANCE PROMISING
However, the devotion did not die. It took root in Brazil emerged several chapels dedicated to her, as it was built in the village of the ladder, or the already mentioned the state of São Paulo, Curitiba and years ago, in the neighborhood of New World.
For the invocation of Gararema can easily see how the brothers of Mount Carmel, in the task of pacifying and converting the Indians of the region, used intelligently indigenous custom associating it with a advocation known in Portugal as Our Lady of the ladder.
The Indians who inhabited the region east of Mogi das Cruzes, where he later established the town of Guararema, solemn ritual practiced for the burial of their dead. And following the old legend learned from their ancestors raised a grand staircase at the foot of the graves so that the dead could reach heaven without difficulty.
Featuring an image of Our Lady with a ladder in his hands, the Indians fully accepted the friars and the image. Peace does not give any problem, and the religious built a large local church.
Aruna Mohanty
Devotion, perseverance and commitment have placed Aruna Mohanty as the finest among Odissi dancers of her generation. Nurtured under the able guidance of Guru Gangadhar Pradhan, Aruna especially excels in the abhinaya aspect of Odissi. She has been a student and Secretary of Orissa Dance Academy. Her unique skill and versatility make her the recipient of many awards and accolades, including the Mahari Award 1997, Sanjukta Panigrahi Memorial National Award 2001, Fellowship by Ministry of HRD, Govt. of India, and an award for her contribution to the field of Odissi Dance, from the Utkal University, orissa. Apart from dance, Aruna has also established herself as an excellent choreographer. Some of the items in her repertoire include the dance ballet “Shrusti O Pralay”, “Varsha Abhisara”, “Shravan Kumar”, “Samrat Kharavela” , “Kanchi Abhijan”, “Krupanidhana” & “Krushna Saranam”, etc. Widely traveled to countries like Canada, USA, South America and some of the European countries, she is the advisor-member of Central Sangeet Natak Akademi, New Delhi. Currently she is conferred for the Central Sangeet Natak Akademi Award for the year -2010 by the Govt. of India. And Govt. of Orissa has appointed her to be the Vice-President of State Sangeet Natak Akademi.
Concept Note
----------------
Gatha Odissi - from the temple to the stage
History is not scripted; it gets created over the ages. It transforms itself according to the tides of life and times. Therefore, from the point of view of the present, how does one view the entire panorama of Odissi Dance, which has traveled through an arduous journey of nearly two thousand years?
After the sunrise, comes the dark hour of the sunset. But the rhythmic foot falls of Odissi dance, however, continue to reverberate from within the dark corridors of history.
Around the middle of Ninteenth century a new resolve paves the way for the resurrection of the flagging traditions of Odissi Dance. The danseuse damsels break out of their stony incarnation from temple-walls and metamorphose into life. In this hour of revival, the great Gurus of our times create a whole new grammar of Odissi. The genesis of Mangalacharan, Pallavi, Sthayi, Abhinaya and Moksha, which form the superstructures of Odissi, spring up from the sub-structures of the allied art forms and folk forms of Odisha such as Mahari, Gotipua, Sakhi Nata, Raasa and Leela.
Through brief narrations and symbolic images Odisha Dance Academy spins the story of transformation and resurgence of Odissi Dance spanning from the Jagannath Temple of Puri right up to the contemporary stage.
Conceptualized by - Guru Aruna Mohanty
Kedar Mishra
Music composition - Guru Bijay Kumar Jena
Rhythm composition - Guru Dhaneswar Swain
Guru Bijay Kumar Barik
Musicians :
Mardala - Guru Ddhaneswar Swain
Guru Bijaya Kumar Bari
Vocal - Harapriya Swain
Nazia Alam
Rupak Kumar Parida
Violin - Ramesh Chandra Das
Flute - Srinibash Satpathy
Sitar - Swapneswar Chakravorty
Dance Choreography- Guru Aruna Mohanty
Dancers :
Odissi Dance : Ramesh Ch. Jena, Madhusmita Mohanty, Yudhisthir Nayak, Pabitra Ku. Pradhan, Sridutta Bhol, Janhabi Behera, Pankaj Ku. Pradhan, Pravat Ku. Swain, Arupa Gayatri Panda , Prashant Ku. Behera, Bijan Ku. Palei , Pragati Das & Rudra Prashad Swain.
Gotipua Dance : Sriram Chahatray, Suryakanta Samantaray,Arupananda Pradhan, Santosh Biswal & Rama Pradhan
The stupa in Bodnath is very important for many bouddhist, Tamang, Tibetan, or from a different tribe. They come here and turn around the stupa, again and again, always clockwise. It's called Kora. Kora may be performed while spinning prayer wheels, chanting mantra, counting mala, or repeatedly prostrating oneself, like this lady on the photo.
The beauty of the images moves me to contemplation, as a meadow delights the eyes and subtly infuses the soul with the glory of God.
Statue inside the Cathedral of St. Michael and St. Gudula in Brussels.
This late manuscript in many ways resembles a printed book, with page numbers, chapter headings, and an extensive table of contents. The book was intended for young women and contains a wide variety of prayers, teachings, and reflections. It is illustrated throughout with inserted engravings by a number of artists, evidently cut from other books; most bear the names of the artists, and many have numberings from their original editions. An ownership inscription at the back of the manuscript bears the date 1772, and one of the engravings (on fol. 84r) contains the date 1754, suggesting that the manuscript was created in the third quarter of the eighteenth century.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
"Usual Blurb" © 2013 by Wil Wardle. Please do not use this or any of my images without my permission.
Please "Like" Me on facebook:
www.facebook.com/pages/Wil-Wardle-Photography/13877641613...
This was my second choice for the theme "Looking Down"
I am in our truck, (passenger side, of course) which lets me look down on the cars next to us.
At a stop light, I notice this guys arm and tattoo, very cool, I think!
For 52 of 2016
Theme: Looking Down
Week 10
This small Book of Hours is especially interesting for its profusion of humorous drolleries. Humans, animals, and hybrids are featured in the margins of each page of the book. The artists rendered in small scenes a variety of actions, like cooking, playing game, climbing, fishing, making music or moving the bodies in a dance. These drolleries amuse the faithful during his prayers, while showing scenes that work as metaphors of the soul fighting the vices. The original female owner seems to have been established in the diocese of Cambrai, judging from the use of the Office of the Dead. Several provenance episodes are evidenced by the book in the signatures on the leaves at the beginning and end of the manuscript. A priest in the sixteenth century wrote a message in code on fol. 1v asking to return to him the book if lost. Members of the ducal house of Savoy owned this book of prayer in the seventeenth century, as evidenced by the gilt armorial shield of Charles Emmanuel II (1634-75), duke of Savoy, stamped on the covers.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
This Book of Hours of ca. 1430-45 was illuminated by the followers of the Masters of the Gold Scrolls under North Netherlandish influence, suggesting an origin in Bruges. The manuscript, which is partially misbound, is decorated with thirteen extant miniatures (ten full-page, inserted), three historiated initials, and drolleries. In addition to a diverse collection of South Netherlandish, North French, and occasional English saints, this manuscript also features suffrages (namely SS. Margaret, Sebastian, and Anthony) that were added early. The manuscript has traces of different hands and artists throughout: in addition to mismatched borders, where the same design has been painted by different hands, there is also the unusual presence of an artist’s stamp visible in the form of a circle of thistles, which is found on the inside edge of the miniatures. An added frontispiece miniature featuring an armorial shield with an ostrich-plumed helmet crest seemingly attributes the manuscript to a younger son of the de Mailly branch of the Mametz family in Picardy (identified by Michel Pastoureau).
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
This small Book of Hours is especially interesting for its profusion of humorous drolleries. Humans, animals, and hybrids are featured in the margins of each page of the book. The artists rendered in small scenes a variety of actions, like cooking, playing game, climbing, fishing, making music or moving the bodies in a dance. These drolleries amuse the faithful during his prayers, while showing scenes that work as metaphors of the soul fighting the vices. The original female owner seems to have been established in the diocese of Cambrai, judging from the use of the Office of the Dead. Several provenance episodes are evidenced by the book in the signatures on the leaves at the beginning and end of the manuscript. A priest in the sixteenth century wrote a message in code on fol. 1v asking to return to him the book if lost. Members of the ducal house of Savoy owned this book of prayer in the seventeenth century, as evidenced by the gilt armorial shield of Charles Emmanuel II (1634-75), duke of Savoy, stamped on the covers.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
Tiruvallikeni is noted for its colourful festivals throughout the year. The recitation of the 4,000 hymns of the Azhwars is a great tradition preserved in this temple for generations. During festival days, the place is given a new look and accompanied by various traditional rites. Triplicane is known for celebrations held throughout the year.
This small breviary, having more that five hundred folio, is extraordinary for its length, considering it is the summer portion of a two-volume breviary for the use of Liège. The manuscript was completed for ecclesiastical use at Cathedral of Notre-Dame and St. Lambert in Liège in 1420 circa. The attribution is evidenced for instance by the Petitions to the congregation of this Cathedral (fols. 114v-117v), as well as the armorial shield of the family of Surlet de Chokier of Liège represented at the opening of the Psalms. The manuscript has a modest, but interesting, decoration with historiated and non figural initials that mark the liturgical texts. The folios opening the major divisions of the texts, display a border decoration with natural motifs and angels playing instruments. The most notable pictorial effect is probably found in the initials inhabited by transparent figures on rich blue ground. The technique is visible, for instance, on fol. 156r with the gold monstrance hold by the translucent angels for the feast of the Corpus Christi.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
"A man can’t plow a field by turning it over in his mind."
- old Welsh saying
~~~
"A man can’t plow a field just by thinking about it, he must go out to the field and get to work. Yet if he is fully present to the work and acts with mindfulness and loving attention — that is, if he brings his whole self along — then even as he turns over the rich soil beneath his plow, he turns it over in his mind and heart as well. The act of tilling the soil becomes an act of tilling the soul."
- from "Turning the Soil of Soul: Ritual as Celebration"
~~~
At first, I only wanted to find some small thing that represented the meaning of "devotion" in my life. Devotion gives me a sense of empowerment, a sense of connection and gratitude that keeps me going. But then I asked myself: what is it that empowers my devotion? What helps me to "do devotion better"?
Just yesterday, I finished a piece on ritual as celebration that has gone up over on the Patheos CUUPS blog, Nature's Path. In my life, learning and curiosity empower my acts of devotion. Knowledge shapes my practice as a I search and research for those threads that weave us into the world.
My Word of the Day altar is set up on the windowsill next to my desk, and there on my desk was a perfect example: Catherine Bell's Ritual: Perspectives and Dimensions. When we see the diversity available to us, we're empowered to explore beyond the simple forms that we've inherited by default.
#UULent #empower #devotion #meditation #spirituality #ritual
Little India, Singapore
Thaipusam (Tamil: தைப்பூசம், Taippūcam ?) is a Hindu festival celebrated mostly by the Tamil community on the full moon in the Tamil month of Thai (January/February). It is celebrated not only in countries where the Tamil community constitutes a majority, but also in countries where Tamil communities are smaller, such as Singapore and Malaysia.The festival is also referred to as Thaipooyam or Thaippooyam (Malayalam: തൈപ്പൂയം, Taippūyaṁ ?). The word Thaipusam is derived from the month name Thai and Pusam, which refers to a star that is at its highest point during the festival. The festival commemorates the occasion when Parvati gave Murugan a vel "spear" so he could vanquish the evil demon Soorapadam.
Devotees prepare for the celebration by cleansing themselves through prayer and fasting approx-48 days before Thaipusam. Kavadi-bearers have to perform elaborate ceremonies at the time of assuming the kavadi and at the time of offering it to Murugan. The kavadi-bearer observes celibacy and take only pure, Satvik food, once a day, while continuously thinking of God.
On the day of the festival, devotees will shave their heads and undertake a pilgrimage along a set route while engaging in various acts of devotion, notably carrying various types of kavadi (burdens). At its simplest this may entail carrying a pot of milk, but mortification of the flesh by piercing the skin, tongue or cheeks with vel skewers is also common.
The simplest kavadi is a semicircular decorated canopy supported by a wooden rod that is carried on the shoulders, to the temple. In addition, some have a small spear through their tongue, or a spear through the cheeks. The spear pierced through his tongue or cheeks reminds him constantly of Lord Murugan. It also prevents him from speaking and gives great power of endurance. Other types of kavadi involve hooks stuck into the back and either pulled by another walking behind or being hung from a decorated bullock cart or more recently a tractor, with the point of incisions of the hooks varying the level of pain. The greater the pain the more god-earned merit.
Philippine Good Friday Traditions
A flagellant walks through the hot streets, barefoot and bloodied. When he reaches the neighborhood church, he falls on the street in cruciform and offers his suffering as penance.
After a few minutes, he gets up and continues his self flagellation toward the next church.
The 2020 Holi Adventure with Paramahamsa Vishwananda was infused with devotion as it took place in Vrindavan, India, and the ashram of the Shree Giridhar Dham. Fortunately, it was held just before the onset of big changes in the world due to the Coronavirus, so a large number of devotees from all over the world were able to experience the joyous festival of colours known as ‘Holi’ and visit many of the sacred sites where Lord Krishna’s lilas took place.
During this time, new deities were installed at the ashram, too: Panduranga, Rukmini, and a unique Hanuman/Garuda.
A truly memorable trip for everyone in so many ways!
paramahamsavishwananda.com
bhaktimarga.org
This Book of Hours was likely produced for a member of the Augustinian Collegiate Church of Saint-Pierre at Lille along the Flemish-French border. The patron may have had himself depicted in the opening initial for the Penitential Psalms on fol. 125r, shown kneeling before an altar in prayer with hands extended to heaven, from which God emerges in a cloud, blessing the man and carrying a black book. A significant number of feast days in the calendar are devoted to saints venerated at Lille, and the proximity of St. Peter to the Virgin in the Pentecost historiated initial on fol. 13r may further suggest a connection to Saint-Pierre at Lille. Historiated and inhabited initials, drolleries, and vignettes are painted simply with dark outlines to delineate forms. Decorated initials and marginal ornament combine a calligraphic elegance with bold outlines that ultimately circumscribe the ornament. The ivory plaque depicting the Coronation of the Virgin below a trefoil Gothic arch was inserted into the front cover in the nineteenth century, although the ivory itself dates to the fourteenth century and was carved in either Flanders or Germany.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
This pocket-sized Flemish Book of Hours was likely created in Bruges ca. 1500. It contains illuminations produced by the Ghent-Bruges school stylistically associated with the Master of the Prayerbooks, who was active at that time. The manuscript still retains the original binding signed by Ludovicus Bloc, a binder documented in Bruges ca. 1484-1529. The miniatures can be compared with those in W.176 in the Walters' collection, as well as with those in a manuscript also bound by Ludovicus Bloc in the Detroit Institute of Arts (Acc. no. 63.146). The overall image cycle is closely related to that of W.427, another Flemish Book of Hours preserved at the Walters Art Museum.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
Some more pictures from my trip to Salisbury Cathedral today to photograph the Reflection: Glass Exhibition
This is Devotion by Louis Thompson
ca. 1914 - ca. 1918
Soldier smoking a pipe and reading a letter. Inset of woman u.r. Verse printed beneath image: Darling, my heart beats fast for you ...
Visit our catalogue to download a hi-res copy or find out more about this image: handle.slv.vic.gov.au/10381/16600
Want to find more pictures from the State Library of Victoria's collections? guides.slv.vic.gov.au/pictures
DEN HAAG -ISKCON , in de volksmond beter bekend als de Hare Krishna
gemeenschap,organiseerde voor de 15e keer Het India Parade Festival. Om
12.00 uur werd het spectaculaire Indiase festival ingeluid met zang en
dans op het. Een reusachtige en kleurrijke kar versierd met bloemen,
voortgetrokken door alle toeschouwers, vertrok om 13.00 uur voor een
parade door de binnenstad van Den Haag. De parade komt om 15.00 uur aan
op het (Wijkpark Transvaal). Hier zal het ontmoetingsfestival
voortgezet worden tot 18.00 uur. Er is een cultureel podiumprogramma
met zang, muziek, moderne en klassieke dans, en presentaties. Verder
zal er aandacht geschonken worden aan het vegetarisme. Er zulle diverse
kraampjes uitgestald zijn met snacks, kleding, sieraden, henna,
Ayurveda, kunst, muziek, boeken en nog veel meer. Verder kan men volop
genieten van een heerlijke vegetarische maaltijd uit de Vedische
keuken. Toegang en maaltijd was gratis.
Devotion isn’t given… it’s taken.
The Devotion Armchair is designed for control, tension, and indulgence—where power shifts, boundaries blur, and every movement feels intentional.
✦ FEATURES
🔞 Adult-Only Experience
Includes: Solo • Cuddles • Foreplay • XXX
🎥 Premium Animation System
• High-Quality Bento Animations
• Powered by MOSHON™
• Physics Cock Integration
• Aeros Obsidian Integration
• Lovense Compatible for Interactive Play
✦ CUSTOMIZATION
🎨 Crafted for atmosphere:
• 5 Velvet Textures
• PBR & Legacy Materials
• Easy Texture Control via Menu
✦ CONTROL & EXPERIENCE
Choose how the moment unfolds:
• Solo Exploration
• Intimate Cuddles
• Slow Tease & Foreplay
• Full Adult Interactions
Available in:
Femdom Edition • Couples Edition
Because control should always feel… intentional.
MAINSTORE