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'Klipsy', now the performance with spectactors, choreographed by Eryk Makohon and performed by the METAphysical Laboratory dancers, a danceproject organized by Mościckie Centrum Kultury, Tarnów, Poland.
Crystal Export From India-Manufacturer & Wholesaler of New Age Products, Gemstone Products, Metaphysical Products, Gemstone Jewellery, Silver Jewelery, Chakra jewllery, Chakra Pendants, Pendulums, Healing Wands Etc With Low cost and high quality
Artist MIRZA AJANOVIC: Painting With Light ,.
FROM OPUS: Painting Light in Motion, FROM GRAND OPUS: Painting with Light, Rhythm and Movement Painting, Music of light, painter of light, Painting Music, Visual expression of music in Photography, ART Avant-garde, Painting with Light, Motion ART, Interrupted, graffiti/street-art, ART Avant-garde, Avant-garde Painting with Light, Motion ART, Painting with MOTION Light, Motion artist, Shadows Dance, Metaphysics ART, Spirituality, Transcendental ART, Mystic ART, Mystical Photography, Fine ART Photography, Artist MIRZA AJANOVIC Photography, Acutely observed realism brought a new level of emotional intensity, Observation of physical and psychological reality… Perception beyond Appearance’s, POETIC Photography, Symbolism, Transcendental ART surrealism, Perception Internal, Perception Beyond the Veil, Perception beyond any veil; including the veil of religion, ""I've brought you a mirror. Look at yourself and remember me."" - Jalaluddin Rumi Artist MIRZA AJANOVIC Fine ART Photography, .
www.wix.com/artajanovic/MIRZA.
These Pictures are Actually Not Photoshopped,
The atmosphere is a physical and metaphysical representation of the boundary that exists between the earthly nature of the physical world and the light of creation. It is within this border region that the Angels of Light work.
They begin their activity with light as an aspect of fire, slowly working down through the elements in order of density with air next, then water, and finally earth. Associated with these angels are the nature spirits working with the creative forces of sound, color, and harmony which are all modes of creation.
Giorgio de Chirico (1888-1978) - Metaphysical interior (1925). In the collection of the Yale University Art Gallery, New Haven, CT.
The painting in the picture reminds me of François Auguste Biard's work at the North Norway Art Museum.
“Metaphysics is a dark ocean without shores or lighthouse, strewn with many a philosophic wreck.” Immanuel Kant
"You win some, lose some, and wreck some" Dale Earnhardt NASCAR driver 1951-2001
Saw this old rusted wreck just east of FR205 on the Arizona Trail hiking across the Central Kaibab between the North Rim of the Grand Canyon and Jacob Lake north of Crane Lake.
The Knight's bones are dust,
And his good sword rust;--
His soul is with the saints, I trust.
Samuel Taylor Coleridge "The Knight's Tomb"
This is the 6th of 9 images of a wonderful stone from India that I first saw a few years ago and had not purchased any until this year. These are the small ones (only about 4" long"). At this size, 4" = $4.00 each. Yes, I bought several of these. Seen at the Tucson Rock and Gem Show, venue at the Ramada Ltd.
Here is a link to another online vendor, who has embellished the metaphysical information more than Raj Minerals, who is the vendor who allowed me to photograph here. You may get a chuckle out of this:
www.freespiritemporium.com/lingams.html
Some of these images are quite beautiful to me and faithfully capture how I saw them displayed this year. Each photo has another link and detail added to the description. All are part of the set I have started for this year's show. The largest stones are seen at the start of this series and go up to about 50" long!
"I was thrown out of college for cheating on the metaphysics exam: I looked into the soul of another boy."
– Woody Allen, "Annie Hall" (1977).
"I am against bigness and greatness in all their forms, and with the invisible molecular moral forces that work from individual to individual, stealing in through the crannies of the world like so many soft rootlets, or like the capillary oozing of water, and yet rending the hardest monuments of man's pride, if you give them time. The bigger the unit you deal with, the hollower, the more brutal, the more mendacious is the life displayed. So I am against all big organizations as such, national ones first and foremost; against all big successes and big results; and in favor of the eternal forces of truth which always work in the individual and immediately unsuccessful way, under-dogs always, till history comes, after they are long dead, and puts them on top.—You need take no notice of these ebullitions of spleen, which are probably quite unintelligible to anyone but myself."
– William James, letter to Mrs. Henry Whitman (June 7, 1899).
Test shot. Not sure exactly what a Metaphysical store sells - I will check it out another time when they're open.
Nikon D700 + AF-S NIKKOR 24mm f/1.4 G ED N Aspherical
_ND74376
Theyyam is an artistic dance form where metaphysical thoughts and expressions of immortal souls are impersonated to a believer through a mortal body. Theyyam originated from "Kaliyattam" once practiced by the tribal community of north Kerala. Theyyam had grown to the present form through many transformations since it’s origin. Landlords and chieftains of those days are the main forces behind many of such transformations. The community and its body began to use this art to propagate the major theme of social enforcement. The artists are also encouraged by the authorities to introduce new themes into its traditional layers and classified different acts and expressions to match specific needs for their desire. The character representations were very broad. They range from mild to wild in representations. Theyyam is a sect in which old heroes are sanctified and worshipped as the guardians of villages and homes. Yet, it includes a complex universe centered on the belief that a man can—after suitable mental, physical and spiritual preliminaries—don the costume of a particular deity and then become that deity. In this elevated state he assumes superhuman and divine powers—speaking, moving, blessing and even healing as a god or goddess. What is crucial is that the person is not possessed by the spirit of the deity.
Post your comments here: www.gty.org/Blog/B100413
As you can see, metaphysical questions become practical very quickly. The essential question John brings out is this: What is the non-biblical basis for a universal, transcendent law? If you deny biblical authority, then you deny divine law, which is transcendent and universal (cf. Rom. 2:15, God wrote His law on the heart of every individual). So, here are a few questions for the comment thread:
First, how do naturalists/evolutionists explain the existence of a universal law, a standard that applies to everyone?
Second, if they deny a universal standard, how do naturalists/evolutionists hold anyone accountable for their actions? That is, what allows them to condemn the actions of Marquis de Sade, Hitler, or Ted Bundy?
Third, how do naturalists/evolutionists betray their reliance on Gods law, written in their hearts?
Watch this video on Vimeo. Video created by John MacArthur.
according to wikipedia
A hijab or ḥijāb (Arabic: حجاب, (he-zjab)pronounced [ħiˈʒæːb]/[ħiˈɡæːb]) is both the head covering traditionally worn by Muslim women and modest Muslim styles of dress in general.
The Arabic word literally means curtain or cover (noun). Most Islamic legal systems define this type of modest dressing as covering everything except the face and hands in public.[1][2] According to Islamic scholarship, hijab is given the wider meaning of modesty, privacy, and morality;[3] the word for a headscarf or veil used in the Qur'an is khimār (خمار) and not hijab. Still another definition is metaphysical, where al-hijab refers to "the veil which separates man or the world from God."[2]
Muslims differ as to whether the hijab should be required on women in public, as it is in countries like Iran and Saudi Arabia, or whether it should be banned in schools, as it is in France and Turkey.
According to the Encyclopedia of Islam and the Muslim World, the meaning of hijab has evolved over time:
The term hijab or veil is not used in the Qur'an to refer to an article of clothing for women or men, rather it refers to a spatial curtain that divides or provides privacy. The Qur'an instructs the male believers (Muslims) to talk to wives of Prophet Muhammad behind a hijab. This hijab was the responsibility of the men and not the wives of Prophet Muhammad. However, in later Muslim societies this instruction, specific to the wives of Prophet Muhammad, was generalized, leading to the segregation of the Muslim men and women. The modesty in Qur'an concerns both men's and women's gaze, gait, garments, and genitalia. The clothing for women involves khumūr over the necklines and jilbab (cloaks) in public so that they may be identified and not harmed. Guidelines for covering of the entire body except for the hands, the feet and the face, are found in texts of fiqh and hadith that are developed later.[4]
In Indonesia, notably the nation with the largest Muslim population, and some cultures or languages influenced by it namely Malaysia, Brunei and the Philippines, the term jilbab is used instead with few exceptions to refer to the hijab, as opposed to its "correct" modern Arabic definition. In some cases, colloquial use of the term Jilbab may refer to any pre-Islamic female traditional head-dress.
Qur'an
The Qur'an instructs both Muslim men and women to dress in a modest way.
The clearest verse on the requirement of the hijab is surah 24:30-31, asking women to draw their khimar over their bosoms.[5][6]
And say to the believing women that they should lower their gaze and guard their modesty; that they should not display their beauty and ornaments except what (must ordinarily) appear thereof; that they should draw their khimar over their bosoms and not display their beauty except to [...] (Qur'an 24:31)
In the following verse, Muslim women are asked to draw their jilbab over them (when they go out), as a measure to distinguish themselves from others, so that they are not harassed. Sura 33:59 reads:[6]
Those who harass believing men and believing women undeservedly, bear (on themselves) a calumny and a grievous sin. O Prophet! Enjoin your wives, your daughters, and the wives of true believers that they should cast their outer garments over their persons (when abroad) That is most convenient, that they may be distinguished and not be harassed. [...] (Qur'an 33:58–59)
Other Muslims take a relativist approach to ħijāb. They believe that the commandment to maintain modesty must be interpreted with regard to the surrounding society. What is considered modest or daring in one society may not be considered so in another. It is important, they say, for believers to wear clothing that communicates modesty and reserve in the situations in which they find themselves.[7]
Along with scriptural arguments, Leila Ahmed argues that head covering should not be compulsory in Islam because the veil predates the revelation of the Qur'an. Head-covering was introduced into Arabia long before Muhammad, primarily through Arab contacts with Syria and Iran, where the hijab was a sign of social status. After all, only a woman who need not work in the fields could afford to remain secluded and veiled.[8][9]
Leila Ahmed argues for a more liberal approach to hijab. Among her arguments is that while some Qur'anic verses enjoin women in general to Qur'an 33:58–59. “draw their Jilbabs (overgarment or cloak) around them to be recognized as believers and so that no harm will come to them.” and Qur'an 24:31. “guard their private parts... and drape down khimar over their breasts [when in the presence of unrelated men]”, they urge modesty.
However according to the vast majority of Muslims Sunni and Shia, al-Mawrid al-Qawrid Arabic dictionary, Hans-Wehr Dictionary of Arabic into English, and the exhaustive ancient Arabic dictionary "Lisan al-arab", (literally the tongue of the Arabs) the word 'Khimar' means and was used to refer to a piece of cloth that covers the head, or headscarf today called 'hijab'.
Other verses do mention separation of men and women but they refer specifically to the wives of the prophet:
Abide still in your homes and make not a dazzling display like that of the former times of ignorance:(Qur'an 33:32–33)
And when ye ask of them [the wives of the Prophet] anything, ask it of them from behind a curtain.(Qur'an 33:53)
According to Leila Ahmed, nowhere in the whole of the Qur'an is the term hijab applied to any woman other than the wives of Muhammad..[8][10]
According to at least two authors, (Reza Aslam and Leila Ahmed) the stipulations of the hijab were originally meant only for Muhammad's wives, and were intended to maintain their inviolability. This was because Muhammad conducted all religious and civic affairs in the mosque adjacent to his home:
People were constantly coming in and out of this compound at all hours of the day. When delegations from other tribes come to speak with Prophet Muhammad, they would set up their tents for days at a time inside the open courtyard, just a few feet away from the apartments in which Prophet Muhammad's wives slept. And new emigrants who arrived in Yatrib would often stay within the mosque's walls until they could find suitable homes.[8]
According to Ahmed:
By instituting seclusion Prophet Muhammad was creating a distance between his wives and this thronging community on their doorstep.[11]
They argue that the term darabat al-hijab ("taking the veil"), was used synonymously and interchangeably with "becoming Prophet Muhammad's wife", and that during Muhammad's life, no other Muslim woman wore the hijab. Aslam suggests that Muslim women started to wear the hijab to emulate Muhammad's wives, who are revered as "Mothers of the Believers" in Islam,[8] and states "there was no tradition of veiling until around 627 C.E." in the Muslim community.[8][11]
The four major Sunni schools of thought (Hanafi, Shafi'i, Maliki and Hanbali) hold that entire body of the woman, except her face and hands- though many[who?] say face, hands, and feet-, is part of her awrah, that is the parts of her body that must be covered during prayer and in public settings.[13][14]
Some Muslims[who?] recommend that women wear clothing that is not form fitting to the body: either modest forms of western clothing (long shirts and skirts), or the more traditional jilbāb, a high-necked, loose robe that covers the arms and legs. A khimār or shaylah, a scarf or cowl that covers all but the face, is also worn in many different styles. Some Salafi scholars encourage covering the face, while some follow the opinion that it is only not obligatory to cover the face and the hands but mustahab (Highly recommended). Other scholars oppose face covering, particularly in the west where the woman may draw more attention as a result. These garments are very different in cut than most of the traditional forms of ħijāb, and they are worn worldwide by Muslims.
Detailed scholarly attention has been focused on prescribing female dress. Most scholars agree that the basic requirements are that when in the presence of someone of the opposite sex (other than a close family member - see mahram), a woman should cover her body, and walk and dress in a way which does not draw sexual attention to her. Some scholars go so far as to specify exactly which areas of the body must be covered. In some cases, this is everything save the eyes but most require everything save the face and hands to be covered. In nearly all Muslim cultures, young girls are not required to wear a ħijāb. There is not a single agreed age when a woman should begin wearing a ħijāb; however, in many Muslim countries, puberty is the dividing line.
In private, and in the presence of mahrams, the rules on dress are relaxed. However, in the presence of husband, most scholars stress the importance of mutual freedom and pleasure of the husband and wife.[15]
The burqa (also spelled burka) is the garment that covers women most completely: either only the eyes are visible, or nothing at all. Originating in what is now Pakistan, it is more commonly associated with the Afghan chadri. Typically, a burqa is composed of many yards of light material pleated around a cap that fits over the top of the head, or a scarf over the face (save the eyes). This type of veil is cultural as well as religious.
It has become tradition that Muslims in general, and Salafis in particular, believe the Qur'ān demands women wear the garments known today as jilbāb and khumūr (the khumūr must be worn underneath the jilbāb). However, Qur'ān translators and commentators translate the Arabic into English words with a general meaning, such as veils, head-coverings and shawls.[16] Ghamidi argues that verses [Qur'an 24:30] teach etiquette for male and female interactions, where khumūr is mentioned in reference to the clothing of Arab women in the 7th century, but there is no command to actually wear them in any specific way. Hence he considers head-covering a preferable practice but not a directive of the sharia (law).[17]
[edit] Men's dress
Although certain general standards are widely accepted, there has been little interest in narrowly prescribing what constitutes modest dress for Muslim men. Most mainstream scholars say that men should cover themselves from the navel to the knees; a minority say that the hadith that are held to require this are weak and possibly inauthentic. They argue that there are hadith indicating that the Islamic prophet Muħammad wore clothing that uncovered his thigh when riding camels, and hold that if Muħammad believed that this was permissible, then it is surely permissible for other Muslim males.[citation needed]
As a practical matter, however, the opinion that Muslim men must cover themselves between the navel and the knees is predominant, and most Muslims believe that a man who fails to observe this requirement during salah must perform the prayer again,[citation needed] properly covered, in order for it to be valid. Three of the four Sunni Madh'hab, or schools of law, require that the knees be covered; the Maliki school recommends but does not require knee covering.
According to some hadith, Muslim men are asked not to wear gold jewellery, silk clothing, or other adornments that are considered feminine. Some scholars say that these prohibitions should be generalized to prohibit the lavish display of wealth on one's person.[18]
In more secular Muslim nations, such as Turkey or Tunisia, many women are choosing, or being coerced, to wear the Hijab, Burqa, Niqab, etc. because of the widespread growth of the Islamic revival in those areas.[citation needed] Similarly, increasing numbers of men are abandoning the Western dress of jeans and t-shirts, that dominated places like Egypt 20 to 30 years ago, in favour of more traditional Islamic clothing such as the Galabiyya.
In Iran many women, especially younger ones, have taken to wearing transparent, colorful and very loosly worn Hijabs instead of Chadors or mantoos to protest but keep within the law of the state.
The colors of this clothing varies. It is mostly black, but in many African countries women wear clothes of many different colours depending on their tribe, area, or family. In Turkey, where the hijab is banned in private and state universities and schools, 11% of women wear it, though 60% wear traditional non-Islamic headscarves, figures of which are often confused with hijab.[19] [20][21]
In many of the western nations, there has been a general rise of hijab-wearing women. They are especially common in Muslim Student Associations at college campuses.
Some Muslims have criticized strict dress codes that they believe go beyond the demands of hijab, using Qur'an 66:1 to apply to dress codes as well; the verse suggests that it is wrong to refrain from what is permitted by God.[cit
John Esposito, professor of Islamic Studies at Georgetown University, writes that the customs of veiling and seclusion of women in early Islam were assimilated from the conquered Persian and Byzantine societies and then later on they were viewed as appropriate expressions of Quranic norms and values. The Qur'an does not stipulate veiling or seclusion; on the contrary, it tends to emphasize the participation of religious responsibility of both men and women in society.[22] He claims that "in the midst of rapid social and economic change when traditional security and support systems are increasingly eroded and replaced by the state, (...) hijab maintains that the state has failed to provide equal rights for men and women because the debate has been conducted within the Islamic framework, which provides women with equivalent rather than equal rights within the family."[23]
Bloom and Blair also write that the Qur'an doesn't require women to wear veils; rather, it was a social habit picked up with the expansion of Islam. In fact, since it was impractical for working women to wear veils, "A veiled woman silently announced that her husband was rich enough to keep her idle."[24]
[edit] Modern practice
Some governments encourage and even oblige women to wear the hijab, whilst others have banned it in at least some public settings.
Some Muslims believe hijab covering for women should be compulsory as part of sharia, i.e. Muslim law. Wearing of the hijab was enforced by the Taliban regime in Afghanistan, and is enforced in the Kingdom of Saudi Arabia and in the Islamic Republic of Iran. The Islamic Emirate required women to cover not only their head but their face as well, because "the face of a woman is a source of corruption" for men not related to them.[25] While some women wholeheartedly embrace the rules, others protest by observing the rules in slipshod or inconsistent fashion, or flouting them whenever possible. Sudan's criminal code allows the flogging or fining of anyone who “violates public morality or wears indecent clothing”, albeit without defining "indecent clothing",
Turkey, Tunisia, and Tajikistan are Muslim-majority countries where the law prohibits the wearing of hijab in government buildings, schools, and universities. In Tunisia, women were banned from wearing hijab in state offices in 1981 and in the 1980s and 1990s more restrictions were put in place.[26] The Turkish government recently attempted to lift a ban on Muslim headscarves at universities, but were overturned by the country's Constitutional Court.[27]
On March 15, 2004, France passed a law banning "symbols or clothes through which students conspicuously display their religious affiliation" in public primary schools, middle schools, and secondary schools. In the Belgian city of Maaseik, Niqāb has been banned.[28] (2006)
On July 13, 2010, France's lower house of parliament overwhelmingly approved a bill that would ban wearing the Islamic full veil in public. There were 335 votes for the bill and only one against in the 557-seat National Assembly.
[edit] Non-governmental
Non-governmental enforcement of hijab is found in many parts of the Muslim world.
Successful informal coercion of women by sectors of society to wear hijab has been reported in Gaza where Mujama' al-Islami, the predecessor of HAMAS, reportedly used "a mixture of consent and coercion" to "`restore` hijab" on urban educated women in Gaza in the late 1970s and 1980s.[29]
Similar behavior was displayed by Hamas itself during the first intifada in Palestine. Though a relatively small movement at this time, Hamas exploited the political vacuum left by perceived failures in strategy by the Palestinian factions to call for a 'return' to Islam as a path to success, a campaign that focused on the role of women.[30] Hamas campaigned for the wearing of the hijab alongside other measures, including insisting women stay at home, segregation from men and the promoting of polygamy. In the course of this campaign women who chose not to wear the hijab were verbally and physically harassed, with the result that the hijab was being worn 'just to avoid problems on the streets'.[31]
In France, according to journalist Jane Kramer, veiling among school girls became increasingly common following the 9/11 Attack of 2001, due to coercion by "fathers and uncles and brothers and even their male classmates" of the school girls. "Girls who did not conform were excoriated, or chased, or beaten by fanatical young men meting out Islamic justice."[32] According to the American magazine The Weekly Standard, a survey conducted in France in May 2003 reportedly "found that 77% of girls wearing the hijab said they did so because of physical threats from Islamist groups."[33]
In India a 2001 "acid attack on four young Muslim women in Srinagar ... by an unknown militant outfit, [was followed by] swift compliance by women of all ages on the issue of wearing the chadar (head-dress) in public."[34][35][36]
In Basra Iraq, "more than 100 women who didn't adhere to strict Islamic dress code" were killed between the summer of 2007 and spring of 2008 by Islamist militias (primarily the Mahdi Army) who controlled the police there, according to the CBS news program 60 Minutes.[37]
Islamists in other countries have been accused of attacking or threatening to attack the faces of women in an effort to intimidate them from wearing of makeup or allegedly immodest dress.[38][39][40]
[edit] Hijab by country
The veil has become the subject of lively contemporary debate, in Muslim countries as well as within Western countries with Muslim populations. For example, in 2006 British government minister Jack Straw suggested that communication with some of the Muslim members of his constituency would be made significantly easier if they ceased covering their faces.[41] In broader terms, the sweep of the debate is captured by Bodman and Tohidi, stating that 'the meaning of the hijab ranges from a form of empowerment for the woman choosing to wear it to a means of seclusion and containment imposed by others'.[42] The subject has also become highly politicized. There is a diverse range of views on the wearing of the hijab in general. Sadiki interviews a woman who views it as 'submission to God's commandments'.[43] Rubenberg illustrates how even secular women in Muslim countries can be made to wear the veil due to a social or political context.[44] Some criticise the hijab in its own right as a regressive device, such as Polly Toynbee stating that it 'turns women into things'.[45] Faisal al Yafai meanwhile argues that the veil should be debated, but that more pressing issues like political and legal rights of women should be a greater priority.[46]
Writers such as Leila Ahmed and Karen Armstrong have highlighted how the veil became a symbol of resistance to colonialism, particularly in Egypt in the latter part of the 19th Century, and again today in the post-colonial period. In The Battle for God, Armstrong writes:
“The veiled woman has, over the years, become a symbol of Islamic self-assertion and a rejection of Western cultural hegemony.”[47]
While in Women and Gender, Ahmed states:
“...it was the discourses of the West, and specifically the discourse of colonial domination, that in the first place determined the meaning of the veil in geopolitical discourses and thereby set the terms for its emergence as a symbol of resistance.”[48]
The issue of the veil has thus been “hijacked” to a degree by cultural essentialists on both sides of the divide.[citation needed] Arguments against veiling have been co-opted, along with wider “feminist” discourse, to create a colonial “feminism” that uses questions of Muslim women’s dress amongst others to justify “patriarchal colonialism in the service of particular political ends.”[citation needed] Thus, efforts to improve the situation of women in Muslim (and other non-Western) societies are judged purely on what they wear.[citation needed] Meanwhile, for Islamists, rejection of “Western” modes of dress is not enough: resistance and independence can only be demonstrated by the “wholesale affirmation of indigenous culture”[49]—a prime example being the wearing of the veil.
Tracing the Victorian law of coverture, Legal Scholar L. Ali Khan provides a critique of the British male elite that wishes to impose its own "comfort views" to unveil Muslim women from Asia, Africa, and Middle East.[50]
In her discussion of findings from interviews of university-educated Moroccan Muslim women who choose to wear the Hijab, Hessini argues that wearing the Hijab is used as a method of separation of women from men when women work and therefore step into what is perceived to be the men’s public space, so in this case, when women have the right and are able to work, a method has been found to maintain the traditional societal arrangements.[51]
Academic Rema Hammai quotes a Palestinian woman reflective of an "activist" resistance to "hijabization" in Gaza saying that "in my community it's natural to wear" hijab. "The problem is when little boys, including my son, feel they have the right to tell me to wear it."[52] Similarly Iranian-American novelist Azar Nafisi, author of Reading Lolita in Tehran, Marjane Satrapi, author of the graphic novel Persepolis, and Parvin Darabi, who wrote Rage Against the Veil are some of the famous opponents of compulsory hijab, which was protested when first imposed.[53]
Cheryl Benard, writing an opinion piece in Rand Corporation, criticized those who used fear to enforce the hijab and stated that "in Pakistan, Kashmir, and Afghanistan, hundreds of women have been blinded or maimed when acid was thrown on their unveiled faces by male fanatics who considered them improperly dressed."[54]
Lubna al-Hussein, a journalist in Khartoum, was arrested by the Public Order Police for wearing trousers. She is protesting the punishment for breaking hijab: forty lashes and an indeterminate fine.
Balthasar de Monconys (1611-1665) was a French physicist and judge, born in Lyon. In 1618, Monconys' parents sent him to a Jesuit boarding school in Salamanca, Spain, as a plague had broken out in Lyon. Monconys was deeply interested in metaphysics and mysticism, and studied the teachings of Pythagoras, Zoroastrism, and Greek and Arab alchemists. From a young age, he dreamed of travelling to India and China. However, he returned to Lyon after finishing his studies. At the age of thirty-four years old he was finally able to leave behind the safety of his library and the theoretical speculation of the laboratory, and become a tireless traveller in Europe and the East.
Monconys travelled to Portugal, England, Germany, Italy, the Netherlands, Istanbul and the Middle East with the son of the Duke of Luynes. Even in his very first journey to Portugal, it is obvious that in each city Monconys is very soon able to connect with mathematicians, clergymen, surgeons, engineers, chemists, physicians and princes, to visit their laboratories and to collect “secrets and experiences”.
After Portugal, Monconys travelled to Italy, and finally departed to the East, to study the ancient religions and denominations, and meet the gymnosophists. In 1647-48 he was in Egypt. Seeking the Zoroasters and followers of Hermes Trismegistus, he reached Mount Sinai. In Egypt, the 17th century European was lost in a labyrinth of small and winding streetlets, and discovered different cults and religions, the diversity of ethnicities and their customs: Turks, Kopts, Jews, Arabs, Mauritans, Maronites, Armenians, and Dervishes. He followed several superstitious suggestions and discovered marvellous books of astronomy in Hebrew, Persian and Arabic. Later on, after his pilgrimage to the Holy Land, he crossed Asia Minor and reached Istanbul, from where he planned to travel to Persia. For once more in his life however, the plague forced him to change his course; he left for Izmir, and returned to Lyon in 1649.
Fron 1663 to 1665 Monconys travelled incessantly between Paris, London, the Netherlands and Germany. He visited princes and philosophers, libraries and laboratories, and maintained frequent correspondence with several scientists. Finally, after consequent asthma attacks he passed away before his travel notes could be published.
His travel journal (1665-1666) was edited and published by his son and by his Jesuit friend J. Berchet. The journal is enriched by drawings which testify to the wide scope of Monconys' interests. Monconys collected a vast corpus of material which includes medical recipes, chemistry forms, material connected to the esoteric sciences, mathematical puzzles, questions of Algebra and Geometry, zoological observations, mechanical applications, descriptions of natural phenomena, chemistry experiments, various machines and devices, medical matters, the philosopher's stone, astronomical measurements, magnifying lenses, thermometres, hydraulic devices, drinks, hydrometres, microscopes, architectural constructions and even matters connected to hygiene or the preparation of liquors.
The third volume includes a hundred and sixty-five medical, chemical and physics experiments with their outcomes as well as a sonnet on the battle of Marathon. There are five detailed indexes for the classification of the material. At the same time, this three-volume work permits the construction of a list of names (more than two hundred and fifty) of scholars, physicians, alchemists, astrologists, mathematicians, empirical scientists and other researches. From Monconys' text and correspondence a highly interesting network emerges, as it is possible for specialists of all disciplines to reconstruct the contacts between scientists and scholars of Western Europe, for a period spanning more than a decade in the mid-17th century.
Monconys' work is written in a monotonous style, but nevertheless possesses a perennial charm, as it is a combination of a travel journal and a laboratory scientist's workbook. The drawings accompanying the text make up a corpus of material unique in travel literature.
Written by Ioli Vingopoulou
Fransız asıllı fizikçi ve yargıç Balthasar de Monconys (1611-1665) (okunuş: Baltazar dö Monkoni) Lyon şehrinde doğar. Yaşadığı kentte 1618 yılında veba salgını baş gösterince, ailesi onu Salamanka şehrine bir Cizvit yatılı okuluna gönderir. Metafizik ve gizemcilik (mistisizm) için yoğun ilgi duyan Monconys, Pythagoras öğretilerini, Zerdüştlüğü, hatta Yunan ve Arap simyacıların eserlerini okur. Daha küçük yaştan beri Hindistan ve Çin'e kadar ulaşmayı düşlemesine karşın eğitimini tamamladıktan sonra Lyon'a geri döner ve nihayet 34 yaşındayken kütüphane güvenliğini ve teorik laboratuvar bilgilerini terkedip kararlı bir biçimde Avrupa ve Doğu'ya seyahat etmeye başlar.
Monconys, Luynes dükünün oğluyla birlikte Portekiz, İngiltere, Almanya, İtalya, Alçak Ülkeler (Hollanda), İstanbul ve Orta Doğu'ya seyahat eder. Daha ilk yolculuğundan (Portekiz'de) uğradığı her şehirde kısa zamanda matematikçi, rahip, cerrah, mühendis, kimyager, doktor ve prens gibi çeşit çeşit insanlarla bağ kurup laboratuvarlarını ziyaret ederek "sır ve tecrübeler" derler. Yazdığı metinde bu süreci izlemekteyiz. Portekiz'den sonra ilk kez olarak İtalya'ya gider ve nihayet çeşitli dogmaları, eski dinleri ve "gymnosophist"leri (çıplak bilgeler) incelemek üzere Doğu'ya doğru yola çıkar. 1647-48 yıllarında Mısır'da bulunmaktadır; Zerdüştçüler ve Hermes-Thot (Hermes Trismegistus) müritleriyle karşılaşmak için Sina dağına kadar ulaşır. Mısır'da 17. yüzyılın bu Batı Avrupalısı daracık sokakların oluşturduğu labirent içinde yitip, türk, kıptî, yahudî, arap, moritanyalı, maruni, ermeni, derviş gibi binbir çeşit dogma ve mezhep, milliyet ve kültürel adet keşfeder. Batıl inançlara uyar, ibranice farsça yada arapça dillerinde yazılmış şahane gökbilim kitapları keşfeder. Kutsal Yerlere hacılık ziyaretinin ardından Anadolu'yu boydan boya geçip İstanbul'a varır. Buradan İran'a gitmeyi planlar. Ancak veba salgını bir kez daha onu kaçmaya zorlar; İzmir'e geçip oradan 1649 yılında Lyon'a döner.
Monconys 1663'ten 1665'e kadar hiç ara vermeden Paris, Londra, Hollanda ve Almanya arasında mekik dokuyup prens ve filozoflarla konuşur, çeşitli kütüphane ve laboratuvarları ziyaret eder ve birçok bilim adamıyla yoğun bir mektuplaşma sürdürür. Ancak sonunda üstüste geçirdiği astım krizlerinden sonra seyahat notlarının kitap olarak basılmış halini göremeden ölür.
Sözkonusu yayın (1665-1666) Monconys'nin oğlu ve dostu Cizvit rahip J. Berchet tarafından hazırlanmıştır. Monconys'nin geniş bir ilgi alanına sahip oluşu günlüğünü tamamlayan desenlerle kanıtlanmaktadır. Derlemiş olduğu çeşitli ve zengin malzeme içinde: ilâç reçeteleri, kimyasal formüller, gizli ilimlerle ilgili malzeme, matematik bilmeceleri, cebir ve geometri problemleri, zoolojiye (hayvan bilimi) ilişkin gözlemler, mekanik uygulamalar, doğa fenomenleri betimlemeleri, kimyasal deneyler, makineler, tıp konuları, felsefe taşı, astronomi ölçümleri, büyüteçler, termometreler, su tesisatıyla ilgili cihazlar, içkiler, hidrometreler, mikroskoplar, mimarî yapılar, hijyen ve likör yapımı gibi konular var.
Kitabın üçüncü cildinde işlenen konular arasında 165 tane fizik kimya ve tıp deneyi ve sonuçları, ve Maraton muharebesi hakkında bir sone yer almaktadır. Bu içeriğin sınıflanması için kitaba beş tane ayrı çözümlemeli dizin eklenmiştir. Aynı zamanda, Monconys'nin üç ciltlik eserinden upuzun bir isimler katalogu da (250'den fazla isim) elde edilebilir. Bu isimler yazar ve düşünür, doktor, simyacı, astrolog, matematikçi, deneyci ve çeşitli uzman araştırmacılara aittir. Monconys'nin metninden ve mektuplaşmalarından, 17. yüzyıl ortalarında özellikle batı Avrupa'da, 20 yıldan fazla bir süre için, tüm bilim uzmanlarının yeniden birleştirebileceği son derece ilginç bir bilimler arası ilişki ağı ortaya çıkmaktadır.
Monconys'nin yazış uslubu tekdüze olmakla birlikte, bir laboratuvar araştırmacısının seyahat günlüğü ile gözlem defterini bir arada bulundurması açısından eşsiz bir cazibeye sahiptir. Metne eşlik eden desenler seyahat edebiyatı yayınlarında rastlanan ender türden bir malzeme oluşturmaktadır.
Yazan: İoli Vingopoulou
Painted in 1917. The subject of this painting comes from the Iliad, when the Trojan hero Hector bids goodbye to his wife Andromache before he leaves to fight the Achaeans. Italian artist Giorgio De Chirico (1888-1978) painted the figures into geometrical shapes typical of his 'metaphysical' style.
Un omaggio a Boecklin, a Magritte, al simbolismo, alla metafisica...
An hommage to Boecklin, to Magritte, to the symbolism, to metaphysic...
This is part of a leaf from a copy of Aristotle's "Metaphysica" in the Latin translation of William of Moerbeke. It was probably produced in Germany in the fourteenth century.
The text is from Book 3 of Aristotle's “Metaphysica” in the Latin translation of William of Moerbeke If this had been a complete leaf the text would probably have started in Chapter 1, Section 7 but as it is, the first part line is towards the beginning of Section 8 (“et tractandum). The text then continues through to Chapter 2 as far as Section 20 where it ends immediately before the catch words in the bottom margin of the verso (“sensus palma”).
Note: - At www.logicmuseum.com/wiki/Authors/Aristotle/metaphysics/l3 can be found this text in its original Greek, in the Latin translation and in an English translation.
There are 30 complete lines in two columns of text plus another 6 part lines. It is estimated that there are another 9 lines missing.
The maximum size of the fragment as presented is 272 x 223mm (10 7/10ins. x 8 8/10ins.).
It is possible to estimate what the size of the complete leaf would have been as follows: -
The existing 36 lines (=167mm) + an estimated 9 additional lines of text (= 40mm) + height of bottom margin (=101mm) + estimated height of top margin (half bottom margin = say 52mm).
This gives an estimated leaf size of 360mm x 223mm (14 2/10ins x 8 8/10ins.).
OVERALL CONDITION: -
There is no doubt that this item is somewhat of a wreck. A quarter of the original leaf has been lost and what remains has creases and areas that are darkened from its use as a book cover. The later addition to the bottom margin also does nothing to improve the look of the fragment.
GENERAL COMMENTS: -
Despite the condition issues, this is a superb addition to the collection. Most leaves that have Aristotle texts are from texts other than “Metaphysica” and from texts that are actually commentaries on Aristotle texts. Leaves like this one that are the Aristotle “Metaphysica” on its own are quite uncommon. A single leaf that was Bloomsbury Auctions, Western and Oriental Manuscripts and Miniatures, 7th. December 2016, Lot 28 sold for £3,720 (including buyers premium). Also, a half leaf in a somewhat distressed condition that was Bloomsbury Auctions, Western and Oriental Manuscripts and Miniatures, 10th. July 2018, Lot 37 sold for £868 (including buyers premium).
ARISTOTLE (384-322 BC): -
Aristotle was an ancient Greek philosopher and scientist born in the city of Stagira, Chalkidiki, Greece. Along with Plato, he is considered the "Father of Western Philosophy". Aristotle provided a complex and harmonious synthesis of the various existing philosophies prior to him, including those of Socrates and Plato, and it was above all from his teachings that the West inherited its fundamental intellectual lexicon, as well as problems and methods of inquiry. As a result, his philosophy has exerted a unique influence on almost every form of knowledge in the West and it continues to be central to the contemporary philosophical discussion.
The works of Aristotle were described by Cicero as “a river of gold”, but were almost entirely lost to the West with the fall of the Roman Empire. They were rediscovered in their original Greek as well as Arabic translations following the Crusades in the twelfth and thirteenth centuries, and Latin translations such as this one swept through European universities.
"METAPHYSICA": -
The “Metaphysics” is considered to be one of the greatest philosophical works. Its influence on the Greeks , the Muslim philosophers, the scholastic philosophers and even writers such as Dante, was immense. It is essentially a reconciliation of Plato's theory of Forms that Aristotle acquired at the Academy in Athens, with the view of the world given by common sense and the observations of the natural sciences. According to Plato, the real nature of things is eternal and unchangeable. However, the world we observe around us is constantly and perpetually changing. Aristotle’s genius was to reconcile these two apparently contradictory views of the world. The result is a synthesis of the naturalism of empirical science, and the rationalism of Plato, that informed the Western intellectual tradition for more than a thousand years.
At the heart of the book lie three questions. What is existence, and what sorts of things exist in the world? How can things continue to exist, and yet undergo the change we see about us in the natural world? And how can this world be understood?
WILLIAM OF MOERBEKE: -
William of Moerbeke, (215-35 – c.1286), was a prolific medieval translator of philosophical, medical, and scientific texts from Greek language into Latin, enabled by the period of Latin rule of the Byzantine Empire. His translations were influential in his day, when few competing translations were available, and are still respected by modern scholars.
Probably at the request of Thomas Aquinas, he undertook a complete translation of the works of Aristotle directly from the Greek or, for some portions, a revision of existing translations. The reason for the request was that many of the copies of Aristotle in Latin then in circulation had originated in Spain from Arabic whose texts in turn had often passed through Syriac versions rather than being translated from the originals.
sometimes you do something just because you can. I really hate spiders, but I can't help but want to take photos of them when the opportunity presents itself.
A4, 2019
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Carlo Carra (1881- 1966) summarizes in his artistic career currents of its fundamental historical period, Futurism to the evolution of metaphysical painting Novecento, identifying himself as one of the most important artists of the first decades of the '900 Italy. Artist engaged, active culture, highly dynamic and creative, with contacts in the intellectual and Italian Parisien, intrusion into pointillism and cubism, Carra is set for an expressive personal style of high strength plastic, in the wake the great Italian painting (published spoken of Giotto and builder Paolo Uccello formal analysis of considerable depth on the touch paint valence), recognizing the tradition, with a clear commitment to the values ââof the twentieth century, the roots his tongue severe volumetricità solidly in three dimensions, which will clearly metaphysical accents, with some shades of enfaticità , after a meeting with Giorgio De Chirico and Savinio.
The breadth of interests and issues more or less by chance in the arts also very diverse in Carra involves some formal uncertainty, at least in the first phase of its activity, the uncertainty will finally overcome in what will be the style artist's personal, in the vein of magical realism that recovers the cultural origins of the Italian painting tradition, especially of the fourteenth century, revisited by the search for an intrinsic structural order in the architectural style of reality ( in 1922, he said he had decided "not to take me more time to other, only to be myself).
The image shown is for the period of Cubist trend, in conjunction with a stay in Paris (in 1911 and in 1912 he was in Paris, where he met Picasso, Modigliani, Braque, Matisse), which recognizes the same as Carra a result of the evolution of his poetic.
It represents the Galleria Vittorio Emanuele II in Milan, the commercial heart of the city, public places, shops, cafes, as Carra second represents a marked fragmentation of form, with so clear cubist, in a limited range of colors, this in the wake the monochromatic characterizing the first cubism of Picasso and Braque.
The image decomposed into its plans and rebuilt as a new area of ââneed that proposed simultaneously from several points of view, identify the place through some quotes, the word Biffi, the name of a famous coffee, and mention of the octagonal dome at the intersection of the two arms of the gallery, while the feeling of vitality and movement made by introducing a sharp contrast accentuated luministic game of light and shadows to implement a concept Dynamic assumed as a key element,is related to the search of Futurism, whose controversial Carra released three years later (I had joined in 1910 by subscribing to the Manifesto).
The composition is penetrated by a dynamic tension unknown to cubism of Picasso, who claims to differences Carra aware Cubist goals are simply consider things girandovi around ....... We futuristic instead we wanted to get to center of things, so I formed our unique glue, a complex .so we gave the plans a spherical plastic expansion in space, this feeling of perpetual motion that is just in all that lives.;
Perhaps, with Rhythms of objects , the most significant works of futurist Carrà , this picture sums up the two variants of language, on the one hand a strong need for dynamism, another essential need to structure ordained in which even in the presence of a metaphysical perception of reality, never misses a substantial figurative and interpreted in a naturalistic work, balanced game in which lies the originality of the language of this artist.
The Blessing
is the moment of sunsplashed brilliance,
the walking-in by chance at the time
of greatest need. The blessing is swallows
alive from Africa, cavorting in English sky.
The blessing is a surprise, like luminescence
seen from a boat at night, between islands,
and the way it rises on the swell, the shallows
all aglow with it, the tide a woman’s sigh.
The blessing doesn’t choose. Its substance
is just bestowed. We have no right.
The blessing is the rustling of willows
when dawn comes, and mayflies love and die.
We are much in need of blessing. Its essence
will not distil: it evaporates if we try.
It’s lurking in shadows; it skulks in hollows.
It weeps, yet bids us fly.
Poem by Giles Watson, 2013. Filmed at Compton Beauchamp church, Oxfordshire.
Here is a sculpture serving up a bit of a metaphysical joke: While we usually look to a car as shelter from the rain (hailing a taxi to get out of a downpour, for example). Rainy Rolls 2010 turns expectations inside out, enclosing inclement weather in a shiny, motorized thundering tempest. Acknowledging Salvador Dali's sense of serious play, this piece inspires wry smiles while touching on something darker -unconscious fears of drowning and or claustrophobia.
The Dali Museum is grateful to the Tampa Bay Automobile Museum for the engineering. design and long-term loan of this reinterpretation of one of Dali's greatest surrealist objects. Dali very early on understood the enduring appeal and romanticism of the car and figured automobiles into many of his works. The founders of the Tampa Bay Automobile Museum share twin passions for the automobile and the art of Salvador Dali, which here. with the Rainy Rolls, intersect.
With the gracious authorization of the Fundacio Gala-Salvador Dali in Figueres. Spain, The Dali pays homage to Dali's Rainy Taxi, which he created for the 1938 International Surrealist Exhibition in Paris. Dali revisited this work for his Venus pavilion at the 1939 NY World's Fair. where he presented NYC Rainy Taxi. At the Dali Theatre-Museum in Figueres. he made a permanent installation of this work using a 1940 Cadillac. The Dali Museum continues to explore Salvador Dali's art as a reference for emerging artists of successive generations. Each era has its own Dali. We thank artists Kevin Brady, Vickie Brunner, Montserrat Cerf and project director Yvonne Marrullier for the collaborative creation of the mannequins presented in this work. Source: The Dali Museum, Saint Petersburg, Florida, United States of America
The Engineer’s Mistress (L’amante dell’ingegnere), 1921
Oil on canvas, 55 x 40 cm
Gianni Mattioli Collection
Long-term loan to the Peggy Guggenheim Collection, Venice
© Carlo Carrà, by SIAE 2008
This powerful and strange small painting closed the period of Carlo Carrà's ''pittura metafisica,'' of which he was one of the leading exponents together with Giorgio de Chirico.
Although evidently a mere sculpture, the upright female head is invested with an aura of semi-consciousness, as if hypnotized—the eyes closed but the mouth open in readiness to speak. The preternaturally long neck appears frequently in Carrà's work prior to this. Certainly the tension between the dead and the live in an indeterminate interior-exterior space and in a pre-dawn light evokes a Metaphysical dream state with masterly brevity. No explanation of the title has ever been given. To suggest that the square and compass represent the engineer's profession and the plaster head his secret life impoverishes the richly evocative mystery of the painting. The goal of Metaphysical painting was to make ordinary objects transcend reality and induce an elevated state of consciousness.
Androgynous
Androgyne & Chimpanzee (F.A. VIII) Apocalypse Now - Artist: Leon 47 ( Leon XLVII )
A Tribute to Mary Ellen Mark / Francis Ford Coppola
Thanks to Rosalinda Celentano / Marlon Brando
Dymanic Modern Minimal Portrait Painting from Portrait Fashion Photography
Oil on Canvas
Androgino e Scimpanzé |
Androgynous & Chimpanzee, Apocalypse Now |
Futuro Antico, Antique Future |
Triangulism Art, Triangolismo |
Arte Metafisica, Metaphysics, Enigma |
Individualism, individuality, Individualismo |
Humanism, Umanesimo |
Expressionism, Espressionismo |
Surrealism Surrealismo |
Abstract Art, Arte Astratta |
Minimalism, Minimalismo |
Giorgio de Chirico
Arnold Böcklin
Arthur Schopenhauer
Friedrich Nietzsche
Leon XLVII, Artwork to Sell by Artist
Buy Original & Print Drawing / Painting / Sketch
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Impressionismo, Impressionism