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Verrà forse un tempo in cui la luce interiore uscirà da noi, in modo che non avremo più bisogno di altra luce.
Johann Wolfgang von Goethe
Elegance in Motion
Grace, style, and a skyline backdrop—this is "Velvet Dusk.
Fujifilm X-T10 and XF18-55.
Foto do ensaio maravilhoso que fizemos com a modelo Larissa Anjos ( @anjos_laari ) !
O que acharam? Querem ver mais fotos desse ensaio? Deixe nos comentários!
Projetos do @videomakers.art.br e @modelosweb.com.br
Modelo Larissa @anjos_laari
Produtora Rayssa @ray_luennyy
Equipamentos:
Canon 5D M III
24-70mm 2.4f
Tirada dia 06/02/2021
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📷 #fotografia #photo #photos #photographyeveryday #ensaioboudoir #photographysouls #sessaocuritiba #photoart #ilovephotography #ensaiomimp #instaphotography #fotografiaboudoir #bonita #photographyart #mulher #fotoerotica #minimalismo #photooftheday #menina #photographerlife #sessaofotografica #foto #gata #ensaio #ensaiofotografico
Perché aspettiamo per qualsiasi cosa? Perché non afferiamo immediatamente il piacere? Quante volte la felicità viene distrutta dalla preparazione, stupida preparazione!
Jane Austen
L’umanità può vivere senza la scienza, può vivere senza pane, ma soltanto senza la bellezza non potrebbe più vivere, perché non ci sarebbe più niente da fare al mondo! … La scienza stessa non resisterebbe un minuto senza la bellezza.
Fëdor Dostoevskij
Vi sono due possibilità di far carriera. O ci si impegna veramente molto, oppure si afferma di lavorare molto. Io consiglio il primo metodo, poiché c’è molta meno concorrenza.
Danny Kaye
Attending Theyyam is by far the best thing one can do while they are in Kerala. ”Theyyam” is a ritualistic performance, which can be described as the most visible, spectacular art form of Malabar (Northern part of Kerala), associated with myths and legends. Theyyam can also be described as a form of worship consisting of rituals, colorful costumes, and divine dance through which the gods are appeased and honoured.
Theyyam – the form of worshipping gods, goddesses, legendary heroes, etc is based on a rather simple concept, that after suitable propitiatory rituals, the god or goddess belonging to a temple becomes temporally manifest in the body of an empowered man (the performer), thereby elevating him to a divine status. Theyyam ceremonies usually take place either within the precincts of a small shrine – usually called Kavu, Kazhakam, Muchilottu, Mundiya, Sthanametc, or in the yard of an ancestral house or in an open space with a temporary shrine called Pathi.
According to Hinduism, all the creation-preservation-destruction activities in the universe are controlled by the three Gods – Brahma, Vishnu, and Maheshwara (Shiva), respectively. For upholding righteousness, these gods appear in many godly guises and incarnations. For propitiation of these gods, apart from ritualistic worship and sacrifices, the man also gave form to donning their godly forms and performing as another form of worship. These became a part of their culture, underwent many changes over time, and is an evolution of the clan culture. It is very difficult to find out the exact period of the origin of theyyam. At the same time, none can refute its antiquity.
According to the general belief, the origin of the theyyam is attributed to Manakkadan Gurukkal.(Gurukkal means master) He was a great artist and occultist belonging to the Vannan Community. Once, the Rajah of Chirakkal invited this great occultist to test his capacity as an artist as well as a magician. Gurukkal was residing at Manakkad in Karivellur, about 40 kilometers away from the palace of the Rajah. The Rajah had given several tests like causing obstacles to the ferry as he was trying to cross the river. But Gurukkal managed to cross the river with his divine power. The gates of the fort were also closed to prevent him from entering, but here also he managed to appear before the king with his physical power. The Rajah sat along with a few other persons so that Gurukkal could not identify him. But Gurukkal easily recognized the king and respected. While he was called for the food it was so arranged that he himself would have to throw away the plantain leaf in which food would be supplied. This was intended to make him feel inferior. Gurukkal foreseeing this received the hot rice in a melon leaf and after taking the food he swallowed the leaf and thus he cleverly avoided the indignity of himself taking the leaf and throwing it away. Thus he successfully overcame the tests of the Raja, Manakkadan. Gurukkal was asked to make the costumes for some deities whose ritualistic dances were to be performed in the form of the theyyams in the night. Accordingly, Gurukkal designed 35 different theyyams before the sunrise. Rajah realizing Gurukkal’s skill, a title, Manakkadan was bestowed on Gurukkal. It is believed that this is how the present form of Theyyams originated.
Theyyam reveals the human capabilities of abstraction, synthesis, and idealization; it describes social and economic activities and reveals practices, beliefs, and ideas. It provides a unique insight into spirituality, intellectual life, and cultural adventures. It is a divine dance with ancient testimony of customs, traditions, and artistic creativity. Shrines, ancestral houses, Kavus in villages offer the platform for theyyam festivals. Since the theyyam performer, transforms to the status of a particular deity, theyyam is very much a divine dance. Invoking god or goddess in his body, he dances through the compound of the sacred space where deities are worshipped. The dance is considered not for propitiating gods or goddesses, rather it is dance of the gods or goddesses themselves. Scores of nature deities (including animals and trees), ancestors, village heroes and heroines, and gods and goddesses from Saivite, Vaisnavite, and Sakti traditions of Hinduism form part of the pantheon of theyyam performance.
The fundamental facts of existence of theyyam performance, even in the present day, make the ritual a powerful instrument that influences the thoughts and practices of Malabar society. In support of this, experts point out that the deities are worshipped and propitiated for the blessing of fertility, for protection and security. There are powerful deities who ward off smallpox and other contagious diseases. Theyyam ritual performances also provide judicial services.
Some of the major disputes and caste conflicts are often settled by a specific representative of a particular deity during the theyyam performance. The devotees present their personal problems and troubles to the deities and the deities give them counsel and blessings.
During the time when I attended one of these rituals in theyyam, I was positioned right in front of where the holy bonfire is made in order to click photographs. I was warned by the authorities there to sit somewhere else as the devotee who dances in and around the fire strews the embers in his enthusiasm and that it was dangerous for me. I was quite reluctant to move, because I had travelled far to reach there and really wanted to materialize the composition that I had in my mind. I decided to stay put and watch the performance. As the performer entered the premises, the energy of the area completely changed. Their dance form was extremely exhilarating to watch and they were performing with absolutely no holding back. As he entered the fire, dancing to the music, his movements and actions actually tossed a large number of embers in his surroundings and especially on me because I was in proximity. I got really promising photos but I got burned by the shower of embers and my clothes got badly burnt too albeit at the compensation of getting some really memorable photographs.
Palkhi is a 1000 — year old tradition which was started by some saints of Maharashtra (India). and is still continued by their followers called as Varkaris (people who follow a Vari, a fundamental ritual). People collectively go singing and dancing, chanting Dnyanba-Tukaram in what are called as Dindis (organised group of Varkaris) to the holy town of Pandharpur (a small town in the district of Solapur) in Hindu months of Ashadh (June-July) and Karthik (November-December).
The Palkhi starts in the month of Jyeshth (June) and the whole process lasts a total of 22 days. Every year on the eleventh day of the first half of the month of Ashadh, the Palkhi reaches Pandharpur. Every saint, right from Sant Dnyaneshwar to Sant Tukaram was following the Vari tradition.
In the year 1685, Narayan baba, the youngest son of Tukaram was a man of innovative spirit and decided to bring about a change in the dindi-wari tradition by introducing the Palkhi, which is a sign of social respect. He put the silver padukas (footsteps) of Tukaram in the Palkhi and proceeded with his dindi to Alandi where he put the padukas of Dnyaneshwar in the same Palkhi. This tradition of twin Palkhis went on every year, but in 1830 there were some disputes in the family of Tukaram, concerned with rights and privileges. Following this, some thoughtful persons decided to break-up the tradition of twin Palkhis and organise here after, two separate Palkhis Tukaram Palkhi from Dehu (Pune Maharashta) and the Dnyaneshwar Palkhi from Alandi (Pune Maharashta).
From that time till date, both the Palkhis meet in Pune for a brief halt and then diverge at Hadapsar to meet again at Wakhri, a village nearby to Pandharpur.
In course of time, this tradition is becoming popular day by day. A total of approximately 2 lakh devotees proceed along with the Sant Tukaram Palkhi from Dehu village, while a total of 4 lakh devotees march along with the Sant Dnyaneshwar Palkhi from alandi village. At present a total of 43 Palkhis including the above two visit Pandharpur village every year.
Thousands of people called ‘Varkari’ reach Pandharpur from Alandi or Dehu after walking for about 250kms in Aashad (a hindu month which coincides with June/ July) Ekadashi (11th day of the moon). They walk with palkhis (chariots) carrying paduka (sandals) of the saints singing sacred songs. Varkaris are a Hindu religion sect who workship Vithoba (or Vitthal), an incarnation of Krishna.
Devotee chants the name of “Mauli Vittal” all the way & completes the yatra by feet on Ashadi Ekadashi at Pandharpur. Around 8 lakhs of warkaris flocked the city and their chants of “Ram Krishna Hari, jai jai Ram Krishna Hari” and Dnyanba-Tukaram (the famous Maharashtrian saints, Dnyaneshwar and Tukaram) reverberated on the streets.
La sensualità affretta spesso la crescita dell'amore, così che la radice rimane debole e facile da strappare.
Nietzsche