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Carved fragment thought to come from a Norman church built around 1150 by the monks of St Mary's Abbey, York, and now on display at the west end of the church. Found in 1847 during rebuilding work at the east end of the present church.
Gather my broken fragments to a whole
As these four quarters make a shining day.
Into thy basket, for my golden bowl,
Take up the things that I have cast away
In vice or indolence or unwise play.
Let mine be a merry, all-receiving heart,
But make it a whole, with light in every part.
-----George MacDonald
Folle existence inconsciente et insurrectionnelle de Pedro Páramo. Toute existence est une somme de fragments juxtaposés sans ordre ni raison.
La naissance de Pedro Páramo a eu lieu à Damas un samedi de 1963, Pedro Páramo est lion ascendant scorpion… un visage très désespéré… des traits pointus, sa chevelure foncée est mi-longue; un front plein de superbe; de grands yeux illuminés un peu fendus et toujours étonnés; un nez busqué - de petites dents qui déplaisent à Maurice Morel…… son amitié avec Becky Turner est fragile, elle s'appuie davantage sur le passé que sur la confiance dans le présent; Pedro Páramo vendrait son âme pour les méfaits et tout particulièrement pour les incestes. Pedro Páramo a rencontré la littérature avec “Ferdyduke” - la musique de Jean-Sébastien Bach lui procure d'énormes voluptés - collectionne quelques tableaux il possède notamment “Les baigneurs” de Paul Cézanne, “Chevaux de course devant la tribune” de Degas et “Le portrait de Jonathan Butall” de Thomas Gainsborough - imagine visiter le mont Saint Michel, Pedro Páramo est passionné par les topazes, passe de longues heures avec Jean-Sébastien Bach. Appréhende l'effet préjudiciable pour son avenir des cymophanes; Pedro Páramo n'aime pas le silence, rêve de longues étreintes amoureuses; est en quête d'absolu - est veilleur de nuit depuis déjà dix ans, son expression anglaise préférée est "personal contest".
first in a new series i'm working on, shore fragments. small vignettes of west coast tidal life. all hand stitched.
Details from window reflections. Collage assembled in PicFrame (iPad app). A very simple 3x3 array, yet rather complicated because of the many ambiguous reflection fragments.
Baños originales con colores únicos. Anthracite Matt es toda una apuesta por un baño original y rústico.
Fragments Anthracite Matt 6,5x20 cm, Pencil Bullnose 3x20 cm.
Energetic one, he went all over the place!
Nikon D600 with SU800 controlling 2x SB700 one above camera shooting into umbrella, the other behind subject, gelled blue. 2xSB200 one gelled blue, one red on camera left and right.
Digital image on canvas (2013)
Large: 90 x 90 cm
Small: 60 x 60 cm
In this self-portrait, Wang Lang has expressed an important Buddhist concept: "I" am merely fragments of consciousness. Here the "I" refers to our collective concept of self as separate from others, from the surrounding environment, from the universe. When we think of ourselves as "I" or "me", we lose the sense of overarching connection between all things, the complete interconnectedness of all things. This is what the Buddhists might refer to as a discriminating mind or biased thinking.
According to Buddhist philosophy, in the endless cycle of Samsara (life, death and rebirth), "you" or "I" become the aggregate of consciousness and karma accumulated from past existences, so the "I" or "me" is constructed out of all the consciousness built up from past to present. From this perspective our core essential being is a collection of many past states of consciousness and individual instances of awareness, hence our identity is a fragmented collection of consciousness.
Since our own self-awareness is a reflection of our own limited comprehension, experiences, perceptions and biases, we are but mere fragments in the grand scheme of a higher wisdom that transcends individual consciousness. The "I" is simply a tiny array of pieces in a larger puzzle that can only be arranged fully and completed through enlightenment.
Site Curator,
Chris Harry
⭐FRAGMENTS OF STARS⭐
Tilly wears:
Blue rose Gown -The new rose
We are such stuff as dreams are made on.... (W. Shakespeare)
Where?
"50L HOLIDAY HUNT" starting December 20 at
The Fashion Zone City
Fragment of 14th century glass reset in a window in the cloisters.
Originally founded as an Augustinian abbey in 1140, Bristol Cathedral has had a more chequered history than most, having only been elevated to a diocesan church in 1542 following the dissolution of the monastery. At the time it was granted cathedral status the church was also incomplete, a major rebuilding of the nave was underway but the Dissolution brought work to a halt and the unfinished parts were demolished. The new cathedral was a truncated church consisting of choir, transepts and central tower, (already on a smaller scale than many) and so it remained until the Victorian period when renewed interest in the Middle Ages reignited the desire to rebuild the nave. The work was done between 1868-77 to the designs of architect George Edmund Street (largely imitating the genuine medieval architecture of the choir) whilst the west front with its twin towers wasn't finished until 1888 (to the design of J.L.Pearson). Only then was Bristol cathedral a complete church again, after a gap of more than three centuries.
Architecturally this is also a rather unique building in England, since it follows the German pattern of a 'hall-church' where the main vessel (nave & choir) and the side aisles are all of the same height, thus there is no clerestorey and the aisle windows rise to the full height of the building. Externally this gives the building a rather more solid, muscular look, whilst within there is a greater sense of enclosed space, with the columns merging into the vaulted ceilings like trees sprouting branches. There are many striking architectural innovations here that don't seem to have been repeated elsewhere in 14th/15th century England, such as the distinctive designs of the choir aisle vaults which appear to rest on pierced bracings and the 'stellate' tomb-recesses punctuating the walls below. Further eccentric touches can be found in some of the side chapels of the eastern arm. Another unique feature is the fact the cathedral has two Lady Chapels, the major one being below the east window behind the high altar, whilst a further chapel (one of the earliest parts of the church) is attached to the north transept.
Beyond its impressive architectural features the cathedral contains much of interest, with its late medieval choir stalls surviving along with a few much restored elements of its 14th century glass (along with an interesting mixture of windows from later centuries) and several monumental tombs of note. Parts of the monastic complex remain too, with two sides of the cloister remaining and the superb Norman chapter house (one of the finest examples of Romanesque architecture and carving in the country with some wonderfully rich-non-figurative decoration).