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LFA: The Pursuit of Perfection II
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© 2016 Servalpe. Photos are copyrighted. All rights reserved. Pictures can not be used without explicit permission by the creator. Localization: Templo de Debod, Madrid (Spain). Exif Data: Canon EOS 5D Mark III | EF 16-35mm f/4L IS USM USM @ 24 mm | f/22, 1/25s, ISO 100 + LucrOit 100mm filter holder + Formatt-Hitech Firecrest ND 1.8 filter | f/22, 121s, ISO 100. Picture from 2 exposures on a tripod Induro CT114 + BHL1 ball head. Processing: Lightroom for catalog, white balance, basic adjustments and lens corrections > Export 2 exposures as layers to Photoshop > Digital blending exposures manually and with luminance masks > Cloning + Color Efex Pro + Dfine + Orton Lights + High Pass filter sharpening with Photoshop CC. Follow me on: Twitter | Facebook | Google+ via 500px ift.tt/1XwXTA7
The Divinity School is a medieval building and room in the Perpendicular style in Oxford, England, part of the University of Oxford. Built between 1427 and 1483, it is the oldest surviving purpose-built building for university use, specifically for lectures, oral exams and discussions on theology. It is no longer used for this purpose, although Oxford does offer degrees in Theology and Religion taught by its Faculty of Theology and Religion.
The ceiling consists of very elaborate lierne vaulting with bosses (455 of them), designed by William Orchard in the 1480s.
The building is physically attached to the Bodleian Library (with Duke Humfrey's Library on the first floor above it), and is opposite the Sheldonian Theatre where students matriculate and graduate. At the far end from the Bodleian Library entrance, a door leads to Convocation House (built 1634–7).[1]
On the fourth Monday of every month, Brenda Ellis becomes a truck-driving woman. Behind the wheel of a canteen truck stocked with food, she and a group from St. Augustine’s Episcopal Chapel’s Center for Contemplative Justice set out to feed Nashville’s homeless.
Read more: sitemason.vanderbilt.edu/vanderbiltview/articles/2010/12/...
From a new series of 40 hand-painted paper shooting targets.
See them all on my blog > JenniferDavisArt.blogspot.com
LowGallerySD@gmail for info.
Bulletproof
at Low Gallery in San Diego, CA opens Sat 9/20/14.
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Set of photos taken on Oxford Light Night-Divinity School one of many locations lit spectacularly-but very busy with people everywhere !! Browse back to see some more of this historic location
Fan vaults differ from earlier vaulting in not comprising ribs and infilling, but rather halved concave cones with blind tracery carved on their surfaces. The Divinity School in Oxford has one of the finest fan vaults in the world, created by William Orchard, c.1480.
Kalyanasundara (कल्याणसुन्दर, literally "beautiful marriage"), also spelt as Kalyansundar and Kalyana Sundara, and known as Kalyanasundara-murti ("icon of the beautiful marriage"), Vaivahika-murti (वैवाहिक-मूर्ति, "nuptial icon") and Panigrahana-murti ( पाणिंग्रहण-मूर्ति) ("icon related to panigrahana ritual"),[1] is the iconographical depiction of the wedding of the Hindu deities Shiva and Parvati. The couple are often depicted performing the panigrahana ("accepting the hand") ritual of a Hindu wedding, where the groom accepts the bride by taking her right hand in his.
The couple, depicted in the centre, are accompanied by a host of divinities and other celestial beings. The god Vishnu and his wife Lakshmi are often pictured as giving away the bride to Shiva. The god Brahma is shown as the officiating priest.
The Kalyanasundara icon is not the object of popular worship and is usually used only in the celebrations of the divine marriage in annual temple festivals. However, Kalyanasundara scenes are found across India in caves, sculptures and on temple walls.
LEGEND
Various Hindu scriptures narrate the story of the union of Shiva and Parvati, with some variation. After the death of his first wife Sati, Shiva withdrew from society and engrossed himself in deep mediation. Taking advantage of the situation, the asura (demon) king Tarakasura secured from the god Brahma the boon that he could be killed only by the son of Shiva. Believing himself effectively immortal, Tarakasura terrorized the beings of the universe and defeated the gods. Meanwhile, Parvati, the reincarnation of Sati, was born to Himavan, the god of the Himalayas and his wife the apsara Mena. She underwent severe austerities to compel Shiva to marry her. The gods, desperate to hasten the birth of Shiva's son, sent Kamadeva, the god of love, to disturb Shiva's meditation. Though Shiva was awakened, Kamadeva was burnt up by Shiva's fury. Implored by the other gods to marry, Shiva agreed, but decided to test Parvati's devotion first. The Saptarishi (the seven sages) approached Parvati and mocked Shiva to dissuade her; however Parvati remained resolute. Then Shiva himself, disguised as an old ascetic, visited Parvati and vilified himself in her presence. As an angry Parvati was about to leave, Shiva revealed his true form to her and promised to marry her, pleased with her love and devotion. The couple married and produced a son, Kartikeya, who subsequently slew Tarakasura.
ICONOGRAPHY
TEXTUAL DESCRIPTIONS
The Agamic texts like the Amsumadbhedagama, the Uttara-kamaikagama and the Purva-Karanagama prescribe the iconography of the Kalyanasunadara icon.
A young four-armed Shiva and a beautiful two-armed Parvati should be the central figures, performing the panigrahana ("accepting the hand") ritual of a Hindu wedding, where the groom accepts the bride by taking her right hand in his. Shiva stands in tribhanga posture, with one of his legs straight and firmly on the ground and the other one slightly bent. Shiva wears a jata-mukuta (a headdress formed of piled, matted hair) on his head, adorned with a crescent moon. He wears serpents as earrings, as a waist band and as a necklace. Various gold ornaments adorn his body. His back hands carry a parashu (axe) and a mriga (deer). His front left hand makes the varada mudra ("blessing-giving gesture") and his front right hand is stretched ahead to receive the hand of the bride. A dark-complexioned Parvati, adorned in silk and gold finery, stands to the left of Shiva, blushing with her head bent slightly as she extends her right arm to hold Shiva's right hand. She holds a nilotpala (blue lotus) in her left arm.
The god Vishnu and his consorts Lakshmi and Bhudevi should be represented as taking the place of Parvati's parents in the ceremony. The four-armed Vishnu should be shown in the background in between Shiva and Parvati; in one of his front hands is a golden pot from which he pours water over the hands of the couple, symbolizing giving away the bride to the groom. He holds his usual attributes, the sudarshana chakra (discus) and a shankha (conch), in his back arms. Vishnu's wives, dressed in royal finery, stand behind Parvati and hold her waist, symbolizing the handing over.
The four-headed god Brahma should be shown seated on the ground in the foreground officiating as the wedding priest and making offerings to the homa (sacred fire) in the kunda (fire-altar). The four-armed god holds a sruka and sruva (sacrificial ladle and spoon) in his front arms and a kamandalu (water-pot) and akshamala (rosary) in his back arms. The presence of the fire also indicates another important ritual of the Hindu wedding, saptapadi ("seven steps") where the bride and groom go around the fire seven times.
The figure of Shiva should be tallest, followed by that of Vishnu, Parvati and Vishnu's wives. Various deities like the eight guardians of the directions, the eight Vasus, the seven Matrika goddesses, celestial beings such as Yakshas and Gandharvas, sages and siddhas may be depicted standing with folded arms in the background.
DEPICTIONS
The complete scene of the wedding is not always depicted. Sometimes, only the principal participants are shown. Chola bronzes featuring only Shiva and Parvati as described in the wedding scene are found. South Indian sculptures, like those from Madurai, feature only the couple and Vishnu. In this configuration, Parvati is depicted in the centre with Vishnu on the left giving away her hand to Shiva on the right. Sometimes as in the Elephanta Caves, Parvati's biological father Himavan, instead of Vishnu, is depicted giving away his daughter to Shiva.
Other deviations from the texts may appear in the attributes held by the divine couple. Parvati may hold a mirror, instead of the lotus. Shiva may be shown holding the trishula (trident) and damaru (drum) in his back hands. Regional variations in iconography may also occur. In Bengal, Shiva holds a karttari (knife), the ceremonial weapon that a Hindu groom from Bengal is expected to carry in a wedding.
Various wedding guests are depicted in the scene. Shiva's attendant ganas enjoy the festivities; playing drums or dancing. The vahanas (vehicles) of the couple, Shiva's bull Nandi and Parvati's lion, are sometimes pictured in the scene. In vertical panel depictions, the celestial guests are often shown flying over Shiva and Parvati. While the gods are pictured flying on their respective vahanas (e.g. Indra on his elephant, Agni on a ram) and with their consorts; semi-divine beings like Vidyadharas fly without vehicles.[5][6] An anachronism found in a few Kalyanasundara scenes is the presence of the yet-unborn children of Shiva and Parvati, Ganesha and Kartikkeya. Examples of this anachronism are found at the Rameshvara Cave of Ellora, and in a 9th-century sculpture from Uttar Pradesh now housed in Los Angeles County Museum of Art.
WORSHIP
Though Kalyanasundara icons are found across India in caves, sculptures and temple walls, no sect is centred on their worship. The icon is a popular feature on temple gopurams (temple towers).
In South Indian Shiva temples like those in Tiruvenkadu and Chidambaram, the bronze Kalyanasundara images of Shiva and Parvati are used in annual temple festivals to commemorate the divine union. Special halls are reserved for the annual ceremonial wedding of the deities. The Kalyanasundara bronzes are used only in this festival and kept unused the rest of the year.
At the Meenakshi Amman Temple, women worship the Kalyanasundara sculpture to find husbands.
WIKIPEDIA
In every breath, a universe unfolds,
Each atom a testament, ancient and bold.
In rivers that flow, in mountains that rise,
The divine essence, a silent guise.
From the flutter of wings to the stars' dance above,
All intertwined in a tapestry of love.
— ChatGPT
A few months ago my mom challenged me to make divinity; she remembered how her mom used to make it when she was little. I finally gave it a go today. Apparently it's supposed to be sunny with low humidity to make divinity and today seemed perfect.
But did it work out like I planned? Let's just say that they look pretty and they taste nice (like marshmallows, actually) but they are all sticking to the wax paper and turn into a gooey mess when I try to take them off!
I didn't have enough cherries to put on top of all of them. And do you see the big globby messes in the top left of the photo? That was before I put the whole mass of divinity into a pastry bag and started piping them out - it was much easier than using a spoon.
This is the Kuan Yin Temple (观音亭) located at Banting, Selangor of Malaysia. It was a cloudy evening and right before it rains I captured these shots with an under-exposed and customized picture profile, I am glad they bring out some gloomy and spooky mood.
Set of photos taken on Oxford Light Night-Divinity School one of many locations lit spectacularly-but very busy with people everywhere !! Browse back to see some more of this historic location
Divinity School, Oxford, East bay. 6-light Perpendicular windows with panelling. Lierne vault with bosses and pendants 1483 by William Orchard, "One of the marvels of Oxford" (Pevsner). Sketched on site with fibretip and watercolour.
Printed description on reverse states: "Jessie Matthews, c/o Gaumont-British Studios, Lime Grove, Shepherds Bush, London. Born in London, March 11, 1907. Made her professional stage appearance in The Music Box Review, in London. Many successes followed, and later, films. Among her recent ones is First A Girl, in which she stars with her husband, Sonnie Hale."
Small figures of bishops and kings inhabit little niches in the pendants of the vaulting in Oxford's Divinity School. Perhaps this vault is a reminder of Christ's words: "In my Father's house there are many mansions", whereby the vault represents heaven (i.e., God's 'habitation') and the little niches are the mansions of heaven...
Ilima Considine of The Sexbots and formerly Childhood Friends (among others) on her secret beach under the Marquam Bridge on the Willamette River, Portland, OR.
Reflection of one of the gopurams of a sannidhi ,on a puddle,inside the jalakandeswarar temple in Vellore,Tamilnadu
Renowned as being one of the most beautiful buildings in Oxford, the Divinity School is the oldest surviving medieval building built separately (c.1427-83) in connection with the University. It was constructed for lectures and disputations in theology, the "Queen of the sciences".
“Although they represent a variety of faith traditions, our students have a single goal: to do their part to make the world a better place.” —Vanderbilt Divinity School Dean James Hudnut-Beumler
www.vanderbilt.edu/magazines/vanderbilt-magazine/2010/12/...