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When tiktok keeps removing your #guardiansofdivinity Guardians Of Divinity G.O.D Drag queen story hour protest videos @
New York Public Library - New York City.
Full video @ East Ghost Reports @
@NJEGmedia
i made divinity candy last night for the first time, and i'm sad to say it's too sweet for me! i've never met anything so sweet in my life, even cut with coffee. i never thought i'd see the day...
The Divinity School is a medieval building and room in the Perpendicular style in Oxford, England, part of the University of Oxford.[2] 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 divinity taught by its Faculty of Theology, which is housed at the Theology Faculty Centre, 41 St Giles', Oxford.[3]
The ceiling consists of very elaborate lierne vaulting with bosses, designed by William Orchard in the 1480s.[4]
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]
en.wikipedia.org/wiki/Divinity_School,_Oxford
A Lierne (from the French lier - to bind) in Gothic rib vaulting is an architectural term for a tertiary rib spanning between two other ribs, instead of from a springer, or to the central boss. The type of vault that utilizes liernes is called a lierne vault or stellar vault (named after the star shape generated by connecting liernes).
In England, the lierne came into use during the 14th century Decorated period. A good example of lierne vaulting is at Gloucester Cathedral. In France, examples can be seen in Flamboyant architecture, such as at Saint-Pierre, Caen.
A goddess, with outstretched hands and an ostrich feather on her head, stands in front of nine gods, the first of which bears the Upper Egyptian crown and the last the Lower Egyptian crown.
The fourth corridor is decorated with text from the Amduat.
The story tells about the sun god who travels through the underworld, from the time when the sun sets in the west and rises again in the east. The underworld is divided into twelve hours of the night, each representing different allies and enemies for the Pharaoh/sun god to encounter. The Amduat names all of these gods and monsters. In hour 4 he reaches the difficult sandy realm of Sokar, the underworld hawk deity, where he encounters dark zig zag pathways which he has to negotiate, being dragged on a snake-boat. In hour 5 he discovers the tomb of Osiris which is an enclosure beneath which is hidden a lake of fire, the tomb is covered by a pyramid like mound, and on top of which Isis and Nephthys have alighted in the form of two kites.
This is the right side wall, that has the 5th hour. The 4th hour is on the left side wall.
20th dynasty, tomb of Ramses III - KV11, Valley of the Kings
I last visited Oxford about 15 years ago so it was definitely time to go back. I lucked out with the weather - it was a gorgeous day in mid-May 2022, actually too bright at first. I tried to check out as many attractions as possible but trying to navigate admission policies was a nightmare - some places required buying tickets a day in advance and others were closed even though they said they were open. One security guard told me "It's Oxford, things are different here". That is true. Next time I'll stay a few days.
I misplaced my notes, so if you know the names of any of the building, feel free to help me. Thanks.
Miniature in polymer clay, handmade by me
It's devils food cake, chocolate mousse, quenelles and white and dark chocolate thins
On the fifth night of Navaratri, we venerate the Goddess Skanda Mata. She is the mother of Shivaanda MatSkanda, and holds Him in Her lap. It is not only Him She holds, She takes us all onto her lap and cares for us.
Four-armed and mounted on a lion, She is the Mother of all power, the Mother of all forces, and the Mother who gives the power to vanquish all negativity. She is an ocean of knowledge and helps us to nurture the divinity within.
paramahamsavishwananda.com
bhaktimarga.org
Witte de With, Rotterdam 2016
Witte de With Center for Contemporary Art presenteert GesammttkkunnsttMeshuggahhLaandtttt, een solotentoonstelling met performer, geluids- en beeldend kunstenaar Charlemagne Palestine, die ook enkele jaren in Rotterdam werkte en woonde. De tentoonstelling presenteert diverse werken uit het oeuvre van de kunstenaar, waaronder vroege videowerken, sculpturen, schilderijen, installaties en geluidsopnames. Charlemagne Palestine werkt vanuit een zeer persoonlijk universum van rituelen, bedwelming en sjamanisme. In de afgelopen vier decennia werkte de kunstenaar met een scala aan media om experimentele muzikale composities, fysieke performances en, in latere jaren, beeldend werk te creëren dat gekenmerkt wordt door speelgoedbeesten. Voor Palestine gelden vooral teddyberen als krachtige sjamanistische totems, die hij liefkozend Divinities, oftewel goddelijke wezens, noemt.
Charlemagne Palestine werd in 1947 in Brooklyn geboren in een Joodse familie, en verwierf erkenning in de jaren zestig met zijn experimentele composities en performances. Hij werd al snel een flamboyante verschijning in de creatieve kringen van New York en werkte samen met choreograaf Simone Forti, kunstenaars Tony Conrad en Richard Serra, en voerde performances uit met avant-garde kunstenaar La Monte Young en componisten Terry Riley, Philip Glass, en Steve Reich. Ondanks de kunsthistorische consensus over dat tijdperk en zijn tijdgenoten heeft Palestine zich altijd verzet tegen de term minimalisme en omschrijft zichzelf liever als “maximalist”. In latere jaren toerde de kunstenaar door Europa en vestigde zich kort tijd in Nederland, waar hij woonde en werkte in Rotterdam.
De kern van de tentoonstelling bestaat uit een concertvleugel, die beschouwd kan worden als het hoorbare hart van de tentoonstelling, en een nieuwe grootschalige versie van de zogenaamde God-Bear Museum Model, dat dient als een ontwerp voor een nieuw soort museum waar muziek en performance evenzeer welkom zijn als schilderkunst. Ook zijn in de tentoonstelling Palestine’s unieke muziek- en geluidsannotaties te zien, een ruime verzameling werk op papier, waarin de kunstenaar geluid naar beeld vertaalt.
Witte de With Center for Contemporary Art is pleased to present GesammttkkunnsttMeshuggahhLaandtttt, a solo exhibition with artist Charlemagne Palestine, who also spent several years living and working in Rotterdam. Presenting a selection of works from the artist’s oeuvre, the exhibition includes early video works, sculptures, paintings, installations, and sound scores. Charlemagne Palestine works form a highly personal universe of rituals, intoxication, and shamanism. In the last four decades, the artist has created an extensive body of experimental musical compositions, bodily performances, and, in later years, visual art works that are inhabited by stuffed animals. To Palestine, teddy bears figure as powerful shamanic totems, which he fondly calls Divinities.
Born in 1947, Brooklyn, in a Jewish family, Charlemagne Palestine gained recognition in the sixties with his experimental compositions and performances. A flamboyant part of the creative scene of New York, he collaborated with choreographer Simone Forti, artists Tony Conrad and Richard Serra, and performed alongside avant-garde artist La Monte Young and composers Terry Riley, Philip Glass, and Steve Reich. In spite of the art historical consensus about that era and his contemporaries, Palestine has always resisted being labeled a minimalist, opting instead for the term “maximalist”. In his later years he toured through Europe, settling briefly in the Netherlands, where he lived and worked in Rotterdam.
Central to his exhibition are a grand piano, as the sounding heart of the show, and a new large-scale version of the so-called God-Bear Museum Model, a proposal for a new kind of museum where music and performance find a home just as easily as a painting would. Also part of the exhibition are Palestine’s extraordinary music or sound annotations, a vast collection of works on paper, which aim to translate sound into image.
The obligatory tourist photo of Divinity Schools, taken at the start of a tour of the Bodleian (sadly, no photos allowed inside Duke Humfrey's library inside, which is definitely the coolest bit).
this couple was doing a photo shoot. this is a completely unretouched photo, just as the camera saw it. they had the leica version :)
more: www.gregroberts.com
The Rev. Samuel Nixon, Jr., MDiv '91, chairperson of the HDS Alumni/Alumnae Council, and The Venerable Tenzin Priyadarshi, MTS '03
detail of the head of the female enthroned divinity (Napirisha?) wearing a horned hat on the central panel of the Elamite Rock relief of Kurangun. Above her, a "ribboned" cloud of either smoke or vapor.
Taken in Seh Talan village, Fahlian district, Vicinity of Noorabad, Fars province, Iran, May 2009.
For a complete description and a better understanding, see also Kurangun’s contextual view, Panels closer view, and the sheme of the relief by Herzfeld
Other detailed images of the various panels are there:
www.flickr.com/photos/dynamosquito/3683007139/
www.flickr.com/photos/dynamosquito/3683822682/
I last visited Oxford about 15 years ago so it was definitely time to go back. I lucked out with the weather - it was a gorgeous day in mid-May 2022, actually too bright at first. I tried to check out as many attractions as possible but trying to navigate admission policies was a nightmare - some places required buying tickets a day in advance and others were closed even though they said they were open. One security guard told me "It's Oxford, things are different here". That is true. Next time I'll stay a few days.
I misplaced my notes, so if you know the names of any of the building, feel free to help me. Thanks.
An item from last March's Arcade - a skin from this March's Arcade.
And my, what better photos I take now.
Antlers: Half-Deer 'Divinity Antlers'
Skin: Clef de Peau 'Abel 9'
AAC Chairperson Sarah Taylor Peck, MDiv ’07, her husband Andrew Taylor Peck, MDiv ’09, and HDS staff member Mike Naughton.
DIVINITY
Pullip Custom Head by Sheryl Designs to Sinstresse
Sinstresse order me the same design on this face doll:
Narcissus Quagliata' s 'Divinity in Light', the crystal dome roof light, Santa Maria degli Angeli e dei Martiri, Rome. See www.nquagliata.com/sma_index.html
Bacup Camera Club 2007 colour general entry
Judge's comments: 9.5/10; Highly commended
Human-headed winged bull (lamassu)
Period:Neo-Assyrian
Date:ca. 883–859 B.C.
Geography:Mesopotamia, Nimrud (ancient Kalhu)
"From the ninth to the seventh century B.C., the kings of Assyria ruled over a vast empire centered in northern Iraq. The great Assyrian king Ashurnasirpal II (r. 883–859 B.C.), undertook a vast building program at Nimrud, ancient Kalhu. Until it became the capital city under Ashurnasirpal, Nimrud had been no more than a provincial town....
The so-called Standard Inscription that ran across the surface of most of the reliefs described Ashurnasirpal's palace: 'Beasts of the mountains and the seas, which I had fashioned out of white limestone and alabaster, I had set up in its gates. I made it [the palace] fittingly imposing.' Among such stone beasts is the human-headed, winged bull pictured here. The horned cap attests to its divinity, and the belt signifies its power. The sculptor gave these guardian figures five legs so that they appear to be standing firmly when viewed from the front but striding forward when seen from the side. Lamassu protected and supported important doorways in Assyrian palaces."
*Courtesy of www.metmuseum.org