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Excerpt from www.amo.gov.hk/en/historic-buildings/monuments/hong-kong-...:
Tung Wah Coffin Home
Situated on Sandy Bay Road, Tung Wah Coffin Home was established in 1899. It is believed that the predecessor of Tung Wah Coffin Home was a coffin home near the slaughter house in Kennedy Town, which was established in 1875 with funds from the Man Mo Temple in Sheung Wan. Its management was later handed over to Tung Wah Hospital. In 1899, Tung Wah Coffin Home was officially named when a plot of land in Sandy Bay was granted by the Government for rebuilding the coffin home.
Taking advantage of Hong Kong’s entrepot status, its geographic location at the doorway to mainland China, and the close connections of Tung Wah Hospital’s board members with overseas organisations and global business network, the coffin home was able to provide a repatriation service for those deceased abroad by providing a temporary depository at the coffin home, from where the deceased could then be returned to their birth place for burial. This service eventually allowed the coffin home became the centre of a global charity hub during the last century.
Tung Wah Coffin Home now consists two halls, 72 rooms, gateways, pavilion and gardens built in different periods. Its buildings reflect a variety of architectural styles, ranging from traditional Chinese vernacular architecture to modern Western-style elements, and others that are a hybrid of both. Tung Wah Coffin Home underwent a large scale restoration project between 2003 and 2004, with a view to restore the coffin home’s elements to their original architectural styles. The restoration project won the Award of Merit in the 2005 UNESCO Asia-Pacific Heritage Awards and the Award of Honor in the Heritage Preservation and Conservation Awards offered by the Antiquities and Monuments Office in the same year.
Tung Wah Coffin Home was declared a monument in 2020.
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Excerpt from www.amo.gov.hk/en/historic-buildings/monuments/kowloon/mo...:
Kowloon Union Church, one of the earliest inter-denominational churches in Hong Kong, was built by the London Missionary Society with financial support from Sir Paul Chater. The foundation stone was laid on 27 May 1930 by the then Colonial Secretary, W.T. Southorn, and the church was officially opened on 10 April 1931 by the then Governor Sir William Peel. During the Japanese Occupation, the church ceased to function and the building was converted into a horse stable by the Japanese army and suffered severe looting and damage. The church was opened again for public worship with a rededication service held on 19 October 1947 and continues to serve the community until now.
The church possesses “Perpendicular Gothic” architectural features, with pitched Chinese-tiled roof, red load-bearing brick walls and contrasting grey granite steps and window surrounds. A semi-circular apse and an attached three-storey battlemented tower are built at the two ends of the church respectively.
The square battlemented tower with pointed arch doorway surround and foundation stone at the base is designed to serve as the main entrance to the church. It is of fair-face red brickwork with carved granite ornaments and trimmings. There is also a concrete flat roof topped with a crenelated low parapet wall.
The windows of the church are set in decorative granite framing in the form of trefoil-headed tracery. The window frames are of wrought-iron and there are angular carved hoods above the windows. The windows of top floor of the battlemented tower are with stone louvers. The elegant double hammer-beam timber roof trusses with carved granite corbel supports are a rare and dominant feature of the spacious interior of the main hall of the church.
Kowloon Union Church was declared a monument in 2017.
Excerpt from www.amo.gov.hk/en/historic-buildings/monuments/hong-kong-...:
Tung Wah Coffin Home
Situated on Sandy Bay Road, Tung Wah Coffin Home was established in 1899. It is believed that the predecessor of Tung Wah Coffin Home was a coffin home near the slaughter house in Kennedy Town, which was established in 1875 with funds from the Man Mo Temple in Sheung Wan. Its management was later handed over to Tung Wah Hospital. In 1899, Tung Wah Coffin Home was officially named when a plot of land in Sandy Bay was granted by the Government for rebuilding the coffin home.
Taking advantage of Hong Kong’s entrepot status, its geographic location at the doorway to mainland China, and the close connections of Tung Wah Hospital’s board members with overseas organisations and global business network, the coffin home was able to provide a repatriation service for those deceased abroad by providing a temporary depository at the coffin home, from where the deceased could then be returned to their birth place for burial. This service eventually allowed the coffin home became the centre of a global charity hub during the last century.
Tung Wah Coffin Home now consists two halls, 72 rooms, gateways, pavilion and gardens built in different periods. Its buildings reflect a variety of architectural styles, ranging from traditional Chinese vernacular architecture to modern Western-style elements, and others that are a hybrid of both. Tung Wah Coffin Home underwent a large scale restoration project between 2003 and 2004, with a view to restore the coffin home’s elements to their original architectural styles. The restoration project won the Award of Merit in the 2005 UNESCO Asia-Pacific Heritage Awards and the Award of Honor in the Heritage Preservation and Conservation Awards offered by the Antiquities and Monuments Office in the same year.
Tung Wah Coffin Home was declared a monument in 2020.
shakilynsblogs.blogspot.com/2021/02/my-korner-490-youve-g...
BLOG NAME: You've Got Four Seconds!
DESIGNERS: Asteria, FashionNatic, Six Feet Under, Monso, Avada & TaoX TaTToo
Bastet is the Egyptian goddess of cats, the home, fire, sunrise, music, dance, pleasure as well as sexuality, fertility, family, pregnant women and children.
Bastet was also referred to by the following titles: “The Lady of the East” due to her protective nature, “The Female Devourer” based on the meaning of her name and “the Tearer” due to her destructive second nature.
Today I'm wearing:
BRA/PANTY: Asteria "Fantasy" Black
CHOKER/SLEEVES: Asteria "Captive" Black
BOOTS: FashionNatic Angelica Boots Fatpack
HEADPIECE: SFU - Bastet Headpiece @Fetish Fair
HAIR: [monso] Belinda Hair
NAILS: Avada~ Stiletto Nails - The Lovers @Vanity Event
TATTOO: TaoX TaTToo - Neck Neela @Pretty Event
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Angelica boots are rigged for Freya, Legacy, Maitreya and Petite. These boots come with color change HUD with lots of colors and patterns and you can change multiple parts of the boots. Love these!
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What do you dream about?
Blog sponsored by Yellow Jello. Blog features Tram
Full blog: dasminejam.blogspot.com/2021/02/wildest-dreams.html
Excerpt from www.stationfixation.com/2015/02/college.html:
The critics have never been kind to Charles Pachter’s Hockey Knights in Canada, Les Rois de l’Arène. His two large enamel murals, located on opposing sides of the subway platform at College station, depict the long-standing sporting rivalry between the Montreal Canadiens and the home-town Toronto Maple Leafs. The murals represent (in Pachter’s words), “a distillation of Canada’s two founding cultures.” Maple Leaf Gardens, the Leafs’ former arena, stands a short block east of the station.
Writing for the Star, Christopher Hume opined that the piece “lacks the presence needed to fill the cavernous and sterile station [...] More than anything, it looks like a kiddie cartoon strip blown up to massive proportions.” Hume later wrote, “Despite good intentions, it was the ugliest thing to happen to the TTC since the Dundas station was reopened.”
In the Globe, John May lamented, “This may be art for the traveller with 30 seconds to kill while waiting for a train. But Pachter could have made those seconds count for more, had he made his reds, whites and blues punch harder against the boring locker-room esthetic beloved by the TTC’s station designers.”
More recently, artist Eldon Garnet assessed the work: “This shows the TTC’s conservatism when it comes to art. It’s an example of what we don’t want in the new subway and LRT stations. It doesn’t compete with the advertising on the walls.”
The $66,000 murals, unveiled by Pachter on April 14, 1985 in what he mischievously called the TTC’s “Sistine Basement”, were embroiled in several controversies beyond their aesthetic merits.
Harold Ballard, the Leafs’ cantankerous owner, rejected the use of the team insignia, as he objected to showing any Montreal players in the piece—notice the actual Maple Leafs name is missing from the jerseys. The standoff between Ballard and the TTC nearly led to a farcical courtroom lawsuit over copyrights.
The second issue arose from June Rowlands (then a TTC commissioner) and several Toronto aldermen, who insisted that the players be portrayed wearing helmets. Pachter obediently acceded, adding several protective headpieces to the design.
Finally, no public competition was ever held for the installation (in contrast to the Spadina line, where a wide-ranging invitational competition took place). Pachter conceived the idea, pitched it to Julian Porter, the TTC Chairman, and the contract was awarded summarily to the artist (along with a 2nd proposal for a mural at Dundas, which was ultimately never implemented). This prompted calls for TTC policy changes with regards to subway artwork.
“Charlie had a moral claim to the project...” said Porter, “because he came to us with the idea. It was his concept.”
Excerpt from temple.bongeunsa.org/public_html_en/intro/buddhist.asp:
Panjeon (Tripitaka Hall)
Panjeon was built in 1855 by the Venerable Yeonggi and a great scholar and calligrapher Kim Jeong-hee whose pen name was Chusa to preserve the wooden blocks of the 81 volumes of the Avatamsaka Sutra. Added later were the wooden blocks of the Vimalakirti Sutra, the Collection of Poems written by hermit Hansanja, the Initial Self-Discipline by monk Jinul and the printing of Sakyamuni Buddha's feet among others. Currently 3,438 wooden blocks are well kept in this hall. This is the oldest building in the Bongeunsa Temple where the Vairocana Buddha is enshrined. The hanging board of Panjeon and the wooden blocks of the Avatamsaka Sutra have been designated as the Tangible Cultural Property No. 83 and No. 84 of the Seoul City. The hanging board features the last work of Chusa Kim Jeong-hee as a calligrapher of the Joseon Dynasty.
Escuchar esta canción：
es.easternlightning.org/videos/God-perfects-those-who-lov...
Himno cristiano | Dios sólo perfecciona a los que realmente lo aman
I
Si deseas que Dios te perfeccione,
aprende a vivirlo todo en el presente, ya sea bueno o malo.
Aprende a ser iluminado en todo lo que enfrentas.
Debes beneficiarte de eso.
Si deseas que Dios te perfeccione,
no te transformes en alguien pasivo.
Ponte del lado de Dios, debes entenderlo así.
No lo mires desde la perspectiva del hombre.
Si deseas que Dios te perfeccione,
prueba esta forma de vivir,
y tu corazón absorberá las cargas de tu vida,
vivirás siempre en la luz de Su presencia,
no te desviarás fácilmente en tu práctica,
y se te abrirán perspectivas muy grandes.
Hay tantas oportunidades de que Dios te perfeccione
si lo amas de verdad.
Hay tantas posibilidades de que Dios te perfeccione
si estás decidido a ser ganado y perfeccionado por Él,
a recibir Su herencia y Su bendición.
...
De “Seguir al Cordero y cantar nuevos cánticos”
Escuchar más: Escuchar música cristiana
www.kingdomsalvation.org/es/special-topic/pray/index.html
Versículos bíblicos como referencia
“Entonces, vosotros también debéis estar listos porque el Hijo del Hombre vendrá a la hora que menos lo penséis” (Mateo 24:44).
“Porque como el relámpago al fulgurar resplandece desde un extremo del cielo hasta el otro extremo del cielo, así será el Hijo del Hombre en su día. Pero primero es necesario que El padezca mucho y sea rechazado por esta generación” (Lucas 17:24-25).
“He aquí, vengo como ladrón. Bienaventurado el que vela y guarda sus ropas, no sea que ande desnudo y vean su vergüenza” (Apocalipsis 16:15).
“He aquí, yo estoy a la puerta y llamo; si alguno oye mi voz y abre la puerta, entraré a él, y cenaré con él y él conmigo” (Apocalipsis 3:20).
Las palabras relevantes de Dios
La aparición de Dios se refiere a Su llegada a la tierra para hacer Su obra en persona. Con Su propia identidad y carácter, y en la manera que es innata a Él, desciende entre la humanidad para llevar a cabo la obra de comenzar una era y terminar otra. Esta clase de aparición no es una especie de ceremonia. No es una señal, una imagen, un milagro o una especie de visión grandiosa y mucho menos una clase de proceso religioso. Es un hecho real y verdadero que cualquiera puede tocar y contemplar. Esta clase de aparición no es en aras de cumplir un trámite o de una labor a corto plazo, sino que es para una etapa en la obra de Su plan de gestión. La aparición de Dios siempre es significativa y siempre guarda relación con Su plan de gestión. A lo que se le llama “aparición” aquí es completamente diferente a la clase de “aparición” en la que Dios guía, lidera y esclarece al hombre. Cada vez que Él se revela, Él lleva a cabo una etapa de Su gran obra. Esta obra es diferente de la de cualquier otra era. El hombre no la puede imaginar y nunca la ha experimentado. Es una obra que da inicio a una nueva era y termina con la antigua, y es una forma nueva y mejorada de obrar para la salvación de la humanidad; más aún, es una obra que lleva a la humanidad a una nueva era. Esto es lo que significa la aparición de Dios.
Extracto de “La aparición de Dios ha dado lugar a una nueva era”
Jesús dijo que Él llegaría tal como se fue, pero ¿conoces el verdadero significado de Sus palabras? ¿Pudo realmente habérselo dicho a este grupo que formáis? Sólo sabes que Él llegará tal como se fue en una nube, pero ¿sabes exactamente cómo hace Su obra Dios mismo? Si de verdad fueras capaz de ver, entonces ¿cómo deben explicarse las palabras de Jesús? Él dijo: Cuando el Hijo del hombre venga en los últimos días, Él mismo no sabrá, los ángeles no sabrán, los mensajeros en el cielo no sabrán, y las personas no sabrán. Sólo el Padre sabrá, esto es, sólo el Espíritu sabrá. Ni siquiera el propio Hijo del hombre sabe, ¿y tú eres capaz de ver y saber? Si tú fueras capaz de saberlo y verlo con tus propios ojos, ¿acaso estas palabras no se habrán dicho en vano? ¿Y qué dijo Jesús en ese momento? “Pero de aquel día y hora nadie sabe, ni siquiera los ángeles del cielo, ni el Hijo, sino solo el Padre. Porque como en los días de Noé, así será la venida del Hijo del Hombre. […] Por eso, también vosotros estad preparados, porque a la hora que no pensáis vendrá el Hijo del Hombre”. Cuando llegue ese día, el Hijo del hombre no lo sabrá. El Hijo del hombre se refiere a la carne encarnada de Dios, una persona normal y corriente. Ni siquiera el propio Hijo del hombre lo sabe; así pues, ¿cómo podrías saberlo tú?
Extracto de “La visión de la obra de Dios (3)”
Esta vez, Dios viene a hacer la obra, no en un cuerpo espiritual, sino en uno muy corriente. Además, no sólo es el cuerpo de la segunda encarnación de Dios, sino también el cuerpo a través del cual Él regresa a la carne. Es una carne muy corriente. No puedes ver nada que lo haga resaltar entre los demás, pero puedes recibir de Él las verdades que nunca antes se han oído. Esta carne insignificante es la personificación de todas las palabras de la verdad de Dios, la que emprende Su obra en los últimos días y la que expresa todo el carácter de Dios para que el hombre lo entienda. ¿No deseas enormemente ver al Dios del cielo? ¿No deseas enormemente entender al Dios del cielo? ¿No deseas enormemente ver el destino de la humanidad? Él te contará todos estos secretos que ningún hombre ha sido capaz de contarte y Él te hablará también de las verdades que no entiendes. Él es tu puerta al reino y tu guía a la nueva era. Una carne tan corriente contiene muchos misterios insondables. Sus hechos pueden ser inescrutables para ti, pero el objetivo de toda la obra que Él realiza es suficiente para que veas que Él no es una simple carne como la gente cree. Porque Él representa la voluntad de Dios, así como el cuidado mostrado por Dios hacia la humanidad en los últimos días. Aunque no puedes oír las palabras que Él habla, que parecen sacudir los cielos y la tierra, ni ver Sus ojos como llamas abrasadoras, y aunque no puedes sentir la disciplina de Su vara de hierro, sí puedes oír de Sus palabras la furia de Dios y saber que Él muestra compasión por la humanidad; puedes ver Su carácter justo y Su sabiduría, y darte cuenta, además, de la preocupación que tiene por toda la humanidad. La obra de Dios en los últimos días consiste en permitirle al hombre ver al Dios del cielo vivir entre los hombres sobre la tierra y permitirles que lo conozcan, obedezcan, reverencien y amen. Por esta razón, Él ha regresado a la carne por segunda vez.
Extracto de “¿Sabías que Dios ha hecho algo grande entre los hombres?”
Las escrituras tomadas de LA BIBLIA DE LAS AMERICAS® (LBLA) Copyright © 1986, 1995, 1997 por The Lockman Foundation usado con permiso. www.LBLA.com.
Excerpt from english.cha.go.kr/html/HtmlPage.do?pg=/royal/RoyalPalaces...:
If one passes the garden at the rear of the Juhamnu Pavilion and walks down along the slope of the hill leading into the stairway, the person can find a square pond on the opposite side and a pavilion on the north bank of the pond. This is the Aeryeonjeong, which is composed of only 1 kan. Looking out of the windows of the pavilion, one can enjoy a wonderful view. It looks like just a framed picture, owing to the decorations attached to the upper part of the pillars. Of course, the mood of the picture depends on the season. In particular, the stone structure, through which water comes into the pond, is opposite excellent in beauty and technique of design.
xxxminamikazexxx.blogspot.com/2018/10/181030.html
what will happen! What?
October 31 Halloween🎃
Dr. M Creation!
My dear Frankenstein will gather
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Excerpt from miyajima.or.jp/english/spot/spot_other.html:
Designated as a National Important Cultural Property on August 29, 1910
Hokoku Shrine is dedicated to the warlord Toyotomi Hideyoshi (one of the three unifiers of Japan in the 16th century) and his loyal aid Kato Kiyomasa. The reason for building this structure is clearly stated in a letter by Ankokuji Ekei, head monk of Ankokuji Temple. In 1587, Ekei asked Daiganji Temple, the temple in charge of construction and repair work in Miyajima including Itsukushima Shrine, to build a Buddhist library in which the chanting of Senbu-kyo sutras could be held every month. As there is no board ceiling or outer gate, it is believed that the construction of the building was not completed.
Originally, Amida Buddha and two subordinate Buddhist saints, Anan and Kasho-sonja, were enshrined in the Buddhist altar until the early Meiji era. Since that time, however, the altar has been used in Shinto rituals.
The building is called Senjokaku (Hall of One Thousand Tatami Mats), reflecting its standing as the largest structure on Miyajima Island. The shrine was a popular landmark in Miyajima where many people came to relax and cool themselves and to buy popular souvenirs such as tooth picks, and a variety of legends and traditions have been created here.
The fact that this structure, unique among the buildings belonging to Itsukushima Shrine, is unpainted and that its exact date of founding is recorded makes it a valuable gauge of the passage of time. The traces of weathering on its pillars and floor boards can be used to determine the approximate age of any other wooden structure on Miyajima.
A piece of wood used as a measuring device in the reconstruction work of the O-Torii in 1873 hangs on a pillar under the floor of the south part of the shrine. Countless votive picture tablets that had been hanging on the walls of Itsukushima Shrine buildings until the mid Meiji era decorate the walls inside the hall.
The shrine did not yet exist at the time of the Battle of Itsukushima in 1555 when the Mori clan defeated the Sue clan to unify the Chugoku region. The headquarters of the Sue clan was located on this hill, which was then called To-no-oka (Pagoda Hill). Starting in the Meiji era, the hill was developed through the establishment of stone steps, among other additions.
Excerpt from www.japan-experience.com/all-about-japan/miyajima/temples...:
Its bare appearance may not intrigue you at first. Only unfinished walls and a hundred pillars. Although the building is pretty, there is something missing. But once inside, look up: the gigantic ceiling is covered with a mosaic of paintings whose subjects are as varied as the styles and periods of implementation. Medieval battles, Buddhist representations, landscapes and animals in a modern style, the eye does not know where to turn.
Excerpt from www.mtr.com.hk/en/customer/community/art_archi_kat.html:
Art in station architecture
Artwork Title:
Horizon in Time
Artist Name:
Kingsley Ng (Hong Kong)
Location:
Kai Tak Station
Artwork Completion Date:
February 2020
Concept:
Whether as the former airport, the new cruise terminal or a railway station, Kai Tak is always a point of departure for travel. The journeys that begin or end here are loaded with fascination, sentiments and memories: the amazement of reaching up to the sky for the first time, the vast vista at the open sea, the mixed feelings about migration, the lively pulse of everyday commuting. Horizon in Time invites passengers to contemplate these moving moments when they step into the train station. A sculptural interpretation of the old runway, in direct proportions and aligned to the orientations of the former airport runway, floats above the entrance. Across the flipboard-like structure, an array of iridescent colours changes tones when commuters look from different vantage points. As the sun glides across its daily path, the sculpture’s shadow shifts like a sundial. At night, sparks of light are projected onto the surroundings, like a constellation rising after dark. The theme of transitoriness is carried through in imagery inside the station. At the platforms, watermark traces of old photographs bring back ephemeral vignettes at Kai Tak when the historical airport first opened. Like memories, the faint images await to be rediscovered. Along the subway, ports connecting to Hong Kong’s migratory history come together in a topological panorama. Viewed from a consistent altitude of 35,000 feet, all traces of human habitation—and the impulses driving each journey—fade away. A joint horizon stretches across borders in timelessness.
Credits..http://creativeimageryphotography.blogspot.co.uk/2016/01/jar-of-hearts.html
"I know I can't take one more step towards you
'Cause all that's waiting is regret
Don't you know I'm not your ghost anymore
You lost the love I loved the most
I learned to live half alive
And now you want me one more time
And who do you think you are?
Runnin' 'round leaving scars
Collecting your jar of hearts
And tearing love apart
You're gonna catch a cold
From the ice inside your soul
So don't come back for me
Who do you think you are?
I hear you're asking all around
If I am anywhere to be found
But I have grown too strong
To ever fall back in your arms
And I've learned to live half alive
And now you want me one more time
And who do you think you are?
Runnin' 'round leaving scars
Collecting your jar of hearts
And tearing love apart
You're gonna catch a cold
From the ice inside your soul
So don't come back for me
Who do you think you are?
And it took so long just to feel alright
Remember how to put back the light in my eyes
I wish I had missed the first time that we kissed
'Cause you broke all your promises
And now you're back
You don't get to get me back
And who do you think you are?
Runnin' 'round leaving scars
Collecting your jar of hearts
And tearing love apart
You're gonna catch a cold
From the ice inside your soul
So don't come back for me
Don't come back at all
And who do you think you are?
Runnin' 'round leaving scars
Collecting your jar of hearts
Tearing love apart
You're gonna catch a cold
From the ice inside your soul
Don't come back for me
Don't come back at all
Who do you think you are?..."
gabbyjaws.blogspot.com/2024/12/wild-fashiondesigner-showc...
WILD FASHION Candice includes earrings
sizes include Erica, GenX, Curvy, Kupra, LaraX, Legacy, Peach, Reborn, Waifu w/20 Texture hud
WILD Fashion & Beauty
LM: maps.secondlife.com/secondlife/Tropical%20Lodge/61/87/27
MP: marketplace.secondlife.com/stores/191525
LANDMARK TO DESIGNER SHOWCASE: maps.secondlife.com/secondlife/Whispering%20Angels/193/51...
Stealthic Barbwire
an lar [poses] The Jane series
LaraX
WoW Skins Valea
Full Body BOM 5 Skin Tones
6 Velour Tones
6 Skinnery Tones
WoW Skins
LM TO Wow Skins: maps.secondlife.com/secondlife/Vintage%20Romance/158/113/...