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“La naturaleza del hombre es completamente diferente a Mi esencia; esto se debe a que la naturaleza corrupta del hombre tiene su origen completamente en Satanás y la naturaleza del hombre ha sido procesada y corrompida por Satanás. Es decir, el hombre sobrevive bajo la influencia de la maldad y fealdad de Satanás. El hombre no crece en un mundo de la verdad o en un ambiente santo y además no vive en la luz. Por lo tanto, no es posible que la verdad se posea de manera innata dentro de la naturaleza de cada persona y, además, no se puede nacer con una esencia que tema y obedezca a Dios. Por el contrario, son poseedores de una naturaleza que resiste a Dios, desobedece a Dios y no tiene amor por la verdad. Esta naturaleza es el problema del que quiero hablar —la traición—. La traición es el origen de la resistencia de cada persona a Dios. Este es un problema que sólo existe en el hombre y no en Mí. Algunos harán esta clase de pregunta: ya que todos ellos están viviendo en el mundo del hombre, ¿por qué todos los hombres tienen una naturaleza que traiciona a Dios pero Cristo no? Esta es una pregunta que se os debe explicar con toda claridad.

La existencia de la humanidad se basa a su vez en la reencarnación del alma. En otras palabras, cada persona gana una vida humana de la carne cuando su alma se reencarna. Después de que el cuerpo de una persona nace, esa vida continúa hasta el límite más grande de la carne, es decir, el momento final cuando el alma deja su caparazón. Este proceso se repite una y otra vez con el alma de una persona yendo y viniendo, y yendo y viniendo, manteniendo así la existencia de toda la humanidad. La vida de la carne también es la vida del alma del hombre y el alma del hombre sostiene la existencia de la carne del hombre. Es decir, la vida de cada persona procede de su alma; no es su carne la que originalmente tuvo vida. Por lo tanto, la naturaleza del hombre procede de su alma, no de su carne. Sólo el alma de cada persona sabe cómo ha sufrido las tentaciones, la aflicción y la corrupción de Satanás. La carne del hombre no puede saber esto. En consecuencia, sin darse cuenta, la humanidad se está volviendo más y más inmunda, malvada y sombría, mientras que la distancia entre el hombre y Yo se hace cada vez más lejana y los días de la humanidad se vuelven más y más sombríos. Las almas de la humanidad están todas en las garras de Satanás. Como tal, se sobrentiende que la carne del hombre también ha sido ocupada por Satanás. ¿Cómo podrían carne como esta y humanos como estos no resistir a Dios y ser compatibles de manera innata con Él? La razón por la que Satanás fue arrojado al aire por Mí es porque me traicionó, así que ¿cómo podrían los humanos escapar ellos mismos de las repercusiones de esto? Esta es la razón por la que la naturaleza humana es traición. Confío que una vez que entendáis este razonamiento también creeréis en la esencia de Cristo. La carne vestida por el Espíritu de Dios es la propia carne de Dios. El Espíritu de Dios es supremo; Él es todopoderoso, santo y justo. Así, de igual forma, Su carne también es suprema, todopoderosa, santa y justa. Carne como esa sólo es capaz de hacer lo que es justo y beneficioso para la humanidad, lo que es santo, glorioso y poderoso, y es incapaz de hacer cualquier cosa que viole la verdad o la moralidad y la justicia, mucho menos cualquier cosa que traicione al Espíritu de Dios. El Espíritu de Dios es santo y, por lo tanto, Su carne no es susceptible de corrupción por Satanás; Su carne es de una esencia diferente que la carne del hombre. Porque es el hombre, no Dios, el que es corrompido por Satanás; Satanás no podría corromper la carne de Dios. Por lo tanto, a pesar del hecho de que el hombre y Cristo moran dentro del mismo espacio, es sólo el hombre quien es ocupado, usado y entrampado por Satanás. En cambio, Cristo es eternamente inmune a la corrupción de Satanás porque Satanás nunca será capaz de ascender al lugar del altísimo y nunca será capaz de acercarse a Dios. Hoy, todos vosotros debéis entender que sólo es la humanidad, que ha sido corrompida por Satanás, la que me traiciona, y que este problema siempre será irrelevante para Cristo.

…”

De "La Palabra manifestada en carne"

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http://theshinedrop.blogspot.com/2018/11/blog-post_13.html by Gocciolina Navarita

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One misstep, you're mine... by Assay Rez

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CASA DA CULTURA - Uberlândia city - Brazil - House of Culture - by Estevam Cesar

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Site: casadaculturaudi.blogspot.com/2008/01/o-atual-edifcio-da-...

O atual edifício da Casa da Cultura foi construído entre 1922 e 1924, com o objetivo de se tornar a residência do Sr. Eduardo Marquez, intendente municipal (de 1923 a 1926), que queria construir uma suntuosa casa, com características monumentais, semelhante a algumas, vistas por ele, em São Paulo. Somente nos anos 60 a casa foi adquirida pelo Governo do Estado, nela instalando-se a Delegacia de Polícia Civil. Para atender a essa nova função, foram feitas intervenções estruturais, como, por exemplo, a colocação de grades nos vãos dos porões, convertendo-os em cárceres. Em 1970, a Delegacia foi transferida, e o espaço ficou sem utilização durante algum tempo, até que o Governo instalou a Superintendência Regional da Fazenda Estadual, que funcionou no local até 1983. Com a criação da Secretaria Municipal de Cultura, em 1983, o poder público solicitou ao Estado a doação do imóvel à Prefeitura para que ali fosse sediada a futura “Casa da Cultura”. Essa doação efetivou-se por meio do Projeto de Lei n. 8541/84 e do Contrato de Comodato firmado entre o Estado e o Município. Em seguida, a Prefeitura, em parceria como IEPHA (Instituto Estadual do Patrimônio Histórico e Artístico), iniciou o processo de restauração do edifício, recuperando alguns de seus elementos originais, como a pintura, ornamentos parietais e lustres, e removendo algumas estruturas que foram adaptadas em seu espaço interno. As atividades de restauração foram concluídas em 1985, ano que inaugurou a Casa da Cultura, um centro cultural onde se desenvolviam atividades diversas como palestras, oficinas, projeções de filmes e exposições. A “nova” Casa da Cultura apresenta a seguinte estrutura básica: dois espaços para reuniões, um Salão Nobre, que disponibiliza um piano meia-cauda e equipamentos, destinado a pequenos encontros artísticos; e o Memorial da Casa, uma sala de pesquisa com recursos de informática; além da Galeria de Arte .

Mady by Shana Blakewell

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Escucha la voz de Dios para dar la bienvenida al regreso del Señor by Benita Jose

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Escucha la voz de Dios para dar la bienvenida al regreso del Señor

Dios dice: “Las palabras del Dios encarnado inician una nueva era, guían a toda la humanidad, revelan misterios y le muestran al ser humano la dirección de avance en una nueva era. La iluminación obtenida por el hombre no es sino simple práctica o conocimiento. No puede guiar a toda la humanidad a una nueva era ni revelar el misterio de Dios mismo. Después de todo, Dios es Dios, y el hombre es hombre. Dios tiene la esencia de Dios, y el hombre la del hombre” y “Él está muy consciente de la esencia del hombre; puede poner de manifiesto todas las clases de prácticas que pertenecen a todas las clases de personas. Incluso es mejor en poner de manifiesto el carácter corrupto y el comportamiento rebelde humanos. No vive entre las personas mundanas, pero está consciente de la naturaleza de los mortales y de todas las corrupciones de las personas mundanas. Eso es lo que Él es. Aunque no trata con el mundo, conoce las reglas para tratar con el mundo porque entiende completamente la naturaleza humana. Conoce acerca de la obra del Espíritu que los ojos del hombre no pueden ver y que los oídos del hombre no pueden escuchar, tanto del día de hoy como del pasado. Esto incluye una sabiduría que no es una filosofía de vida y una fascinación que a las personas les es difícil entender. Eso es lo que Él es, abierto a las personas pero también escondido de las personas. Lo que Él expresa no es lo que una persona extraordinaria es, sino los atributos y el ser inherente del Espíritu”.

Extracto de “La Palabra manifestada en carne”

La palabra de Dios nos dice que reconozcamos la voz de Dios de cuatro maneras:

1. Las palabras ser publicado por Dios son todas verdades, pueden ser vidas a las humanas y pueden proporcionar al necesario a las personas, para que las personas tenga el camino a practicar.

2. Todas las palabras de Dios tienen autoridad y poder, y son expresiones de carácter de Dios.

3. Las palabras de Dios pueden revelar los misterios de la obra gestión de Dios.

4. Las palabras ser publicado por Dios pueden revelar la corrupción humana y los pensamientos humanos.

Si pueden escuchar la voz de Dios, está directamente relacionado con si podemos dar la bienvenida al Señor sea llevado al reino celestial.

Byzantine Fort in Kavala, Eastern Macedonia and Thrace, Greece - August 2014 by Saffy H

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www.virtualtourist.com/travel/Europe/Greece/Prefecture_of...

One of the most intense elements of the image of Kavala is its citadel. While it stands on the top of the peninsula of Virgin Mary (Panagia) it is tied up in a harmonious total with the houses of the homonymous historical district that extended all around it in tiers. It is interesting to watch the course of the fortress in time.

The name “Christoupolis” first appears in texts of the beginning of the 9th century. The change of the city’s name should not be linked to its abandonment, but to its reorganisation as a fortress of the Byzantine state. The role of Christoupolis as a fortress is particularly emphasized in Byzantine texts: «the Christoupolis fortress as on the one side was very powerful thanks to its construction... on the other side as a bolster lies down… it leads through Thrace, and thirdly as it is onshore and it could easily enter into alliances” (Ioannes Cantacuzenus, 1,4 Bonnae edition). The citadel (fortress) standing dominatingly on the top of the hill of the peninsula, at a height of approximately 70 metres, was reconstructed upon the remnants of the older Byzantine castle, in two phases: first, at the beginning of 1425 in view of the imminent attack of the Venetian fleet, the Ottomans built the “new walls”, obviously the parts that had been destroyed during the siege and occupation of Christoupolis (1390-1391). Secondly, in approximately 1530 the walls were repaired once again, at a larger extent and more assiduous intervention. At this time, the exterior surrounding walls of the citadel were built, with the addition of which the fortress was extended considerably and increased its defensive puissance. More specifically, the exterior surrounding walls of the citadel must have been built during the years 1530 -1536, at the era where Suleiman the Magnificent decided to enforce its defence in several coastline positions (e.g. Thessaloniki – the White Tower). The exterior surrounding walls linked the citadel with the half destroyed then perimetrical walls of the peninsula and also fortified the lowest side of the hill, towards the harbour. The two entrance gates of the citadel are found here also: the First (in the place of an older Byzantine gate), is found at the end of today’s Kapsali street and is equipped with a «zematistra» (scalding spot – from where the defenders threw boiling oil onto the enemies).

https://theshinedrop.blogspot.com/2026/04/blog-post_28.html by Gocciolina Navarita

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Guildhall of Sint-Joris, Pand van Spanje, House of Spain, Grote Markt, Great Market, Antwerp, Belgium by Snuffy

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Excerpt from www.visitantwerpcity.com/grote-markt-antwerp.html:

The Guild Halls

Opposite the city hall, on both sides of the Grote Markt Antwerp, you will see a row of beautiful guildhalls.

These houses were very typical in the 16th and 17th century.

Every house was connected to a certain guild that was built to show off their power, status and wealth.

That’s why you see on top of the guildhalls those amazing golden statues that are related to their specific guild.

The largest guildhall is named the ‘Pand van Spanje’, which means the house of Spain. You will recognize it at the chevalier on its horse that is just ready to kill the dragon that is climbing up. The Horseman is Saint Joris.

Truth to be told, only a few guildhalls are original. House numbers 24, 38 and 40 are authentic. They have been renovated to show their original beauty again.

The other houses are actually replicas from houses that were there before. These were built in the 19th and 20th century and were based on old paintings and testimonies. Some houses were based on houses that used to be elsewhere in the city.

All the guildhalls on the Grote Markt Antwerp are built in a Renaissance style with a few Gothic elements like the pinnacles, that are so typical for Belgium and the Netherlands.

LOTD# 598 by ᴀɴɴɨкᴀ ɴᴇɨʀᴏ

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https://theshinedrop.blogspot.com/2025/10/blog-post_23.html by Gocciolina Navarita

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Photo argentique prise lors d'un ancien voyage breton, la roche baleine de l'île aux lapins, Trégastel, Côte de granit rose, Côtes d'Armor, Bretagne, France by Claude

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www.troglonautes.com/Histoire-de-Zantig-et-autres-bretons...

L’Ile aux Lapins, au large de la Grève Blanche à Trégastel dans les Côtes d’Armor, fut le refuge d’un homme solitaire appelé Zantig, de son vrai nom Alexandre Marie Lefebvre (1893-1968). C’est un personnage de la mythologie locale, encore bien vivant dans le souvenir des anciens, et dont les tatouages étranges effrayaient les enfants. Aujourd’hui, on dirait de lui qu’il est un « marginal ». Il se voyait en homme libre, hostile à la modernité. Sa cabane était un rempart qui protégeait un mode de vie en rébellion contre son époque.

A marée basse, vous gagnez l’île à pied, dominée par deux gros rochers en forme de poisson, qui autrefois n’en formaient qu’un seul. Né il y a 300 millions d’année, ce paysage de chaos granitique s’est adouci au fil de l’érosion du vent et de la mer. Sur l’un d’eux, on trouve aisément les traces d’une construction adossée à la paroi. Habitat semi troglodytique ? Sans nul doute. Zantig avait en effet monté un mur composé de moellons de granit, de briques et de parpaings devant le rocher baleine qui lui faisait office de toit. Un auvent naturel servait à abriter le matériel de pêche. Une porte et une seule fenêtre. A l’intérieur, les traces d’une cheminée. De nombreuses photos le représentent devant sa maison ou fanfaronnant devant les photographes. Il vivait de la pêche, chassait le phoque… et le lapin.

A quoi pensait Zantig, lorsque, à marée haute, isolé du continent, ou par les soirs de tempête, il contemplait les flots bretons? Seul sur son promontoire balayé par les vents, ou camouflé sous son rocher comme un gros crabe : se sentait-il un misérable pêcheur dans son abri de fortune, ou bien le roi du monde dans un palais de granit?

www.troglonautes.com/Histoire-de-Zantig-et-autres-bretons... Rabbit Island, off the coast of Grève Blanche in Trégastel, Côtes-d'Armor, was the refuge of a solitary man named Zantig, whose real name was Alexandre Marie Lefebvre (1893-1968). He is a figure of local mythology, still very much alive in the memories of the older generation, and whose strange tattoos frightened children. Today, he would be considered an "outsider." He saw himself as a free man, hostile to modernity. His cabin was a bulwark protecting a way of life in rebellion against his time.

At low tide, you can reach the island on foot, dominated by two large, fish-shaped rocks that were once one. Formed 300 million years ago, this landscape of granite chaos has been smoothed by wind and sea erosion. On one of them, traces of a structure built against the cliff face are easily found. A semi-troglodytic dwelling? Undoubtedly. Zantig had indeed built a wall made of granite rubble, bricks, and cinder blocks in front of the whale-shaped rock that served as his roof. A natural overhang sheltered his fishing equipment. There was a door and a single window. Inside, the remains of a fireplace. Numerous photos show him in front of his house or showing off for the photographers. He lived by fishing, hunting seals… and rabbits.

What was Zantig thinking when, at high tide, isolated from the mainland, or on stormy evenings, he gazed at the Breton waves? Alone on his windswept promontory, or camouflaged under his rock like a large crab: did he feel like a miserable fisherman in his makeshift shelter, or the king of the world in a granite palace?

Haus of Ito Desire Dress/Moda/Egozy Skin by Suzie Coba Esquire

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Hokoku Shrine 豊国神社, Senjokaku 千畳閣, Itsukushima 厳島, Miyajima 宮島, Japan by Snuffy

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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.

SHE'S A RAINBOW by gabby.jaws

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