metaphysics photos on Flickr

23 2

"here a detail of the metaphysical garden of Casa Cuseni."

“qui un dettaglio del giardino metafisico di Casa Cuseni.”

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A history of Taormina: chronicles of a forbidden love and its great secret (not only Paolo and Francesca) with an unexpected "scoop".

This story is an integral part of the story previously told, the historical period is the same, the place is the same, the various characters often meet each other because they know each other; Taormina, between the end of the 1800s and the beginning of the 1900s, in an ever increasing growth, became the place of residence of elite tourism, thanks to the international interest aroused by writers and artists, such as Johann Wolfgang von Goethe , or great personalities like Lady Florence Trevelyan: Taormina becomes so famous, thanks to the paintings of the painter Otto Geleng and the photographs of the young Sicilian models by Wilhelm von Gloeden; in the air of Taormina there is a sense of libertine, its famous and histrionic visitors never fail to create scandal, even surpassing the famous Capri, in which, to cite just one example, the German gunsmith Krupp, trying to recreate the he environment of Arcadia that one breathed in Taormina (thanks to the photos of von Gloeden) was overwhelmed by the scandal for homosexuality, and took his own life. Taormina thus becomes a heavenly-like place, far from industrial civilizations, where you can freely live your life and sexuality; this is the socio-cultural environment in which the two protagonists of this story move, the British painter Robert Hawthorn Kitson (1873 - 1947) and the painter Carlo Siligato (born in Taormina in 1875, and died there in 1959). Robert H. Kitson, born in Leeds in England, belonged to a more than wealthy family, as a young engineer he had begun to replace his father in the family locomotive construction company (Kitson & Co.), on the death of his father in 1899 sells everything and decides to move very rich in Sicily to Taormina (he had been there the previous year with a trip made with his parents, here he had met, in addition to Baron von Gloeden, also the writer and poet Oscar Wilde who came to Italy, immediately after having served two years in prison in forced labor, on charges of sodomy); Kitson settled there because he was suffering from a severe form of rheumatic fever (like von Gloeden was advised to treat himself in the Mediterranean climate milder), and because as a homosexual, he leaves England because the Labouchere amendment considered homosexuality a crime. The other protagonist of this story is Carlo Siligato, he was from Taormina, he had attended the Academy of Fine Arts in Venice, a very gifted painter, he was very good at oil painting (he exhibited his paintings in an art workshop, even now existing, in via Teatro Greco in Taormina), the meeting with the painter Robert Kitson, led him to adopt the watercolor technique: almost to relive Dante's verses on Paolo and Francesca "Galeotto was the book and who wrote it" the common passion for painting led the two artists to live an intense love story. Kitson built his home in the "Cuseni" district of Taormina, called for this "Casa Cuseni", the house was built between 1900 and 1905, its decorations were entrusted to the artists Alfred East (realist landscape painter, president of the Royal Society ), and Frank Brangwyn (painter, decorator, designer), he was a pupil of William Morris, leader of the English movement "Arts and Crafts" which spread to England in the second half of the nineteenth century (the Arts and Crafts was a response to the industrialization of Europe, of mass production operated by factories, all this at the expense of traditional craftsmanship, from this movement originated the Art Nouveau, in Italy also known as Liberty Style or Floral Style, which distinguished itself for having been a artistic and philosophical movement, which developed between the end of the 19th century and the first decade of the 20th century, whose style spread in such a way as to be present everywhere). Casa Cuseni has kept a secret for 100 years that goes far beyond the forbidden love lived by Robert and Carlo, a secret hidden inside the "secret room", that dinning room that was reopened in 2012; entering the dining room, you can witness a series of murals painted on the four walls by Frank Brangwyn, in Art Nouveau style, which portray the life and love story between the painter Robert Kitson, and his life partner, the Carlo Siligato from Taormina, but the thing that makes these murals even more special, full of tenderness and sweetness, is that "their secret" (!) is represented in them, it is described visually, as in an "episodic" story that really happened in their lives: Messina (and Reggio Calabria) are destroyed by the terrible earthquake with a tsunami on December 28, 1908, Carlo Siligato, Robert Kitson, Wilhelm von Gloeden and Anatole France leave for Messina, to see and document in person the tragedy, the city was a pile of rubble, many dead, Robert and Carlo see a baby, Francesco, he is alone in the world, without parents who died in the earthquake, abandoned to a certain and sad destiny, a deep desire for protection is born in the two of them, a maternal and paternal desire is born, they decide to takes that little child with them even knowing that they are risking a lot ... (!), what they want to do is something absolutely unthinkable in that historical period, they are a homosexual couple, what they are about to do is absolutely forbidden ..(!) but now there is Francesco in their life, thus becoming, in fact, the first homogenitorial family (with a more generic term, rainbow family) in world history: hence the need to keep the whole story absolutely hidden, both from an artistic point of view , represented by the murals (for more than 100 years, the "dinning room" will be kept hidden), both of what happens in real life, with little Francesco cared for lovingly, but with great risk or. I have allegorically inserted, in the photographic story, some photographs of the artists of the company "Casa del Musical", who came to Taormina to perform during the Christmas period: today as yesterday, Taormina has always been (starting from the last 20 years of the 19th century) center of a crossroads of artists and great personalities, Casa Cuseni also in this has an enormous palmares of illustrious guests, too long to state. The young boys painted on the murals of Casa Cuseni, wear white, this is a sign of purity, they wanted to represent their ideal homosexual world, fighting against the figure dressed in black, short in stature, disturbing, which acquires a negative value, an allegorical figure of the English society of the time, indicating the Victorian morality that did not hesitate to condemn Oscar Wilde, depriving him of all his assets and rights, even preventing him from giving the surname to his children. The boys are inspired by the young Sicilian models photographed by Wilhelm von Gloeden, dressed in white tunics, with their heads surrounded by local flowers. The only female figure present has given rise to various interpretations, one could be Kitson's detachment from his motherland, or his detachment from his mother. On the third wall we witness the birth of the homogenitorial family, both (allegorically Carlo and Kitson with the child in their arms) are in profile, they are walking, the younger man has a long, Greek-style robe, placed on the front, next to him behind him, the sturdier companion holds and gently protects the little child in his arms, as if to spare the companion the effort of a long and uncertain journey, there is in the representation of the family the idea of a long journey, in fact the man holding the child wears heavy shoes, their faces are full of apprehension and concern: in front of them an empty wall, so deliberately left by Frank Brangwin, since their future is unknown, in front of them they have a destiny full of unknowns (at the same time, their path points east, they go towards the rising sun: opening the large window the sun floods everything in the room). In the "secret room" there is the picture painted in 1912 by Alfred E. East, an oil on canvas, representing Lake Bourget. Carlo Siligato later married Costanza, she was my father's grandmother's sister, they had a son, Nino, who for many years lived and worked as a merchant in his father's art workshop. I sincerely thank my colleague Dr. Francesco Spadaro, doctor and esteemed surgeon, owner and director of the "Casa Cuseni" House-Garden-Museum, who, affectionately acting as a guide, gave me the precious opportunity to create "this photographic tour" inside the house- museum and in the "metaphysical garden" of Casa Cuseni. … And the scoop that I announced in the title ..? After photographing the tomb of Carlo Siligato, in the Catholic cemetery of Taormina, I started looking for that of Robert Kitson, in the non-Catholic cemetery of Taormina: when I finally found it (with him lies his niece Daphne Phelps, buried later in 2005) ... I felt a very strong emotion, first of all I was expecting a mausoleum, instead I found a small, very modest tomb on this is not a photo of him, not an epitaph, not a Cross, not a praying Angel to point it out, but ... unexpectedly for a funerary tombstone ... a small bas-relief carved on marble (or stone) depicting ... the Birth ... (!), obviously , having chosen her could have a very specific meaning: a desire to transmit a message, something very profound about him, his tomb thus testified that in his soul, what was really important in life was having a family, with Carlo and baby Francesco, certainly beloved, saved from a certain and sad fate, in the terrible Messina earthquake-tsunami of 28 December 1908 ... almost recalling in an absolute synthesis, at the end of his life, what had already been told in the "secret murals" of Casa Cuseni.

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Una storia di Taormina: cronache di un amore proibito e del suo grande segreto (non solo Paolo e Francesca) con inaspettato “scoop”.

Questa storia fa parte integrante della storia precedentemente raccontata, il periodo storico è lo stesso, il luogo è lo stesso, i vari personaggi spesso si frequentano tra loro poiché si conoscono; Taormina, tra la fine dell’800 e l’inizio del’900, in un sempre maggiore crescendo, diventa luogo di residenza del turismo d’élite, grazie all’interesse internazionale suscitato ad opera di scrittori ed artisti, come Johann Wolfgang von Goethe, o grandi personalità come Lady Florence Trevelyan: Taormina diventa così famosa, complici i quadri del pittore Otto Geleng e le fotografie dei giovani modelli siciliani di Wilhelm von Gloeden; nell’aria di Taormina si respira un che di libertino, i suoi famosi ed istrionici frequentatori non mancano mai di creare scandalo, superando persino la famosa Capri, nella quale, per citare solo un esempio, l’armiere tedesco Krupp, cercando di ricreare l’ambiente dell’Arcadia che si respirava a Taormina (grazie alle foto di von Gloeden) viene travolto dallo scandalo per omosessualità, e si toglie la vita. Taormina diviene quindi un luogo simil-paradisiaco, lontana dalle civiltà industriali, nella quale poter vivere liberamente la propria vita e la propria sessualità; questo è l’ambiente socio-culturale nel quale si muovono i due protagonisti di questa vicenda, il pittore britannico Robert Hawthorn Kitson (1873 – 1947) ed il pittore Carlo Siligato (nato a Taormina nel 1875, ed ivi morto nel 1959). Robert H. Kitson, nacque a Leeds in Inghilterra, apparteneva ad una famiglia più che benestante, da giovane ingegnere aveva cominciato a sostituire il padre nell’impresa familiare di costruzioni di locomotive (la Kitson & Co.), alla morte del padre nel 1899 vende tutto e decide di trasferirsi ricchissimo in Sicilia a Taormina (vi era stato l’anno precedente con un viaggio fatto coi suoi genitori, qui aveva conosciuto, oltre al barone von Gloeden, anche lo scrittore e poeta Oscar Wilde venuto in Italia, subito dopo aver scontato due anni di prigione ai lavori forzati, con l’accusa di sodomia); Kitson vi si stabilisce perché affetto da una grave forma di febbre reumatica (come von Gloeden gli fu consigliato di curarsi nel clima mediterraneo più mite), sia perché in quanto omosessuale, lascia l’Inghilterra perché l’emendamento Labouchere considerava l’omosessualità un crimine. L’altro protagonista di questa storia è Carlo Siligato, egli era taorminese, aveva frequentato l’Accademia di Belle Arti di Venezia, pittore molto dotato, era bravissimo nel dipingere ad olio (esponeva i suoi quadri in una bottega d’arte, ancora adesso esistente, in via Teatro Greco a Taormina), l’incontro col pittore Robert Kitson, lo portò ad adottare la tecnica dell’acquarello: quasi a rivivere i versi di Dante su Paolo e Francesca “Galeotto fu ‘l libro e chi lo scrisse” la comune passione per la pittura condusse i due artisti a vivere una intensa storia d’amore. Kitson costruì nel quartiere “Cuseni” di Taormina la sua abitazione, detta per questo “Casa Cuseni”, la casa fu costruita tra il 1900 ed il 1905, le sue decorazioni furono affidate agli artisti Alfred East (pittore verista paesaggista, presidente della Royal Society), e Frank Brangwyn (pittore, decoratore, designer, progettista), egli era allievo di William Morris, leader del movimento inglese “Arts and Crafts” (Arti e Mestieri) che si diffuse in Inghilterra nella seconda metà del XIX secolo (l’Arts and Crafts era una risposta alla industrializzazione dell’Europa, della produzione in massa operata dalle fabbriche, tutto ciò a scapito dell’artigianato tradizionale, da questo movimento ebbe origine l’Art Nouveau, in Italia conosciuta anche come Stile Liberty o Stile Floreale, che si distinse per essere stata un movimento artistico e filosofico, che si sviluppò tra la fine dell’800 ed il primo decennio del ‘900, il cui stile si diffuse in tal modo da essere presente dappertutto). Casa Cuseni ha custodito per 100 anni un segreto che va ben oltre quell’amore proibito vissuto da Robert e Carlo, segreto celato all’interno della “stanza segreta”, quella dinning room che è stata riaperta nel 2012; entrando nella sala da pranzo, si assiste ad una serie di murales realizzati sulle quattro pareti da Frank Brangwyn, in stile Art Nouveau, che ritraggono la vita e la storia d’amore tra il pittore Robert Kitson, ed il suo compagno di vita, il pittore taorminese Carlo Siligato, ma la cosa che rende questi murales ancora più particolari, carichi di tenerezza e dolcezza, è che in essi viene rappresentato “il loro segreto” (!), viene descritto visivamente, come in un racconto “ad episodi” quello che è realmente avvenuto nella loro vita: Messina (e Reggio Calabria) vengono distrutte dal terribile sisma con maremoto il 28 dicembre del 1908, partono per Messina, Carlo Siligato, Robert Kitson, Wilhelm von Gloeden ed Anatole France, per vedere e documentare di persona la tragedia, la città era un cumulo di macerie, moltissimi i morti, Robert e Carlo vedono un piccolo bimbo, Francesco, egli è solo al mondo, privo dei genitori periti nel terremoto, abbandonato ad un certo e triste destino, nasce in loro due un profondo desiderio di protezione, nasce un desiderio materno e paterno, decidono di prende quel piccolo bimbo con loro pur sapendo che stanno rischiando moltissimo…(!) , quello che vogliono fare è una cosa assolutamente impensabile in quel periodo storico, loro sono una coppia omosessuale, quello che stanno per fare è assolutamente proibito..(!) ma oramai c’è Francesco nella loro vita, divenendo così, di fatto, la prima famiglia omogenitoriale (con termine più generico, famiglia arcobaleno) nella storia mondiale: da qui la necessità di tenere assolutamente nascosta tutta la vicenda, sia dal punto di vista artistico, rappresentata dai murales (per più di 100 anni, la “dinning room” verrà tenuta nascosta), sia di quanto accade nella vita reale, col piccolo Francesco accudito amorevolmente, ma con grandissimo rischio. Ho inserito allegoricamente, nel racconto fotografico, alcune fotografie degli artisti della compagnia “Casa del Musical”, giunti a Taormina per esibirsi durante il periodo natalizio: oggi come ieri, Taormina è sempre stata (a partire dagli ultimi 20 anni dell’800) al centro di un crocevia di artisti e grandi personalità, Casa Cuseni anche in questo ha un enorme palmares di ospiti illustri, troppo lungo da enunciare. I giovani ragazzi dipinti sui murales di Casa Cuseni, vestono di bianco, questo è segno di purezza, si è voluto in tal modo rappresentare il loro mondo ideale omosessuale, in lotta contro la figura vestita di nero, bassa di statura, inquietante, che acquista un valore negativo, figura allegorica della società inglese dell’epoca, indicante la morale Vittoriana che non ha esitato a condannare Oscar Wilde, privandolo di tutti i suoi beni e diritti, impedendogli persino di dare il cognome ai suoi figli. I ragazzi sono ispirati ai giovani modelli siciliani fotografati da Wilhelm von Gloeden, vestiti con tuniche bianche, col capo cinto dei fiori locali. L’unica figura femminile presente, ha dato spunto a varie interpretazioni, una potrebbe essere il distacco da parte di Kitson dalla sua madre patria, oppure il distacco da sua madre. Sulla terza parete si assiste alla nascita della famiglia omogenitoriale, entrambi (allegoricamente Carlo e Kitson col bimbo in braccio) sono di profilo, sono in cammino, l’uomo più giovane ha una veste lunga, alla greca, posto sul davanti, accanto a lui, alle sue spalle, il compagno più robusto sostiene in braccio e protegge con dolcezza il piccolo bimbo, quasi a voler risparmiare al compagno la fatica di un lungo ed incerto percorso, vi è nella rappresentazione della famiglia l’idea di un lungo percorso, infatti l’uomo che regge il bimbo indossa delle calzature pesanti, i loro volti sono carichi di apprensione e preoccupazione: davanti a loro una parete vuota, così volutamente lasciata da Frank Brangwin, poiché il loro futuro è ignoto, davanti hanno un destino pieno di incognite (al tempo stesso, il loro cammino indica l’est, vanno verso il sole nascente: aprendo la grande finestra il sole inonda ogni cosa nella stanza).

Nella “stanza segreta” c’è il quadro dipinto nel 1912 da Alfred E. East, un olio su tela, rappresentante il lago Bourget.

Carlo Siligato, successivamente si sposò con Costanza, una sorella della nonna di mio padre, da lei ebbe un figlio, Nino, il quale per tantissimi anni ha vissuto e lavorato come commerciante nella bottega d’arte del padre. Ringrazio di cuore il mio collega dott. Francesco Spadaro, medico e stimato chirurgo, proprietario e direttore della Casa-Giardino-Museo “Casa Cuseni”, il quale, facendomi affettuosamente da cicerone, mi ha dato la preziosa opportunità di realizzare “questo tour fotografico” all’interno dell’abitazione-museo e nel “giardino-metafisico” di Casa Cuseni.

…E lo scoop che ho annunciato nel titolo..? Dopo aver fotografato la tomba di Carlo Siligato, nel cimitero cattolico di Taormina, mi sono messo alla ricerca di quella di Robert Kitson, nel cimitero acattolico di Taormina: quando finalmente l’ho trovata (insieme a lui giace sua nipote Daphne Phelps, seppellita successivamente nel 2005)…ho provato una fortissima commozione, innanzitutto mi aspettavo un mausoleo, invece ho trovato una tomba piccola, molto modesta, su questa non una sua foto, non un epitaffio, non una Croce, non un Angelo pregante ad indicarla, ma … inaspettatamente per una lapide funeraria…un piccolo bassorilievo scolpito su marmo (o su pietra) raffigurante…la Natalità…(!), evidentemente, l’averla scelta potrebbe avere un significato ben preciso: un desiderio di trasmettere un messaggio, qualcosa di molto profondo di lui, la sua tomba testimoniava così che nel suo animo, ciò che in vita fu davvero importante fu l’aver avuto una famiglia, con Carlo e col piccolo Francesco, certamente amatissimo, salvato da un molto probabile triste destino, nel terribile terremoto-maremoto di Messina del 28 dicembre del 1908…quasi rievocando in una sintesi assoluta, al termine della sua vita, ciò che era già stato raccontato nei “murales segreti” di Casa Cuseni.

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Ludwig Wittgenstein TudioJepegii by TudioJepegii

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Known for Main interests, Logic, metaphysics, philosophy of language, philosophy of mathematics, philosophy of mind, epistemology

Ludwig Josef Johann Wittgenstein (26 April 1889 – 29 April 1951) was an Austrian philosopher who worked primarily in logic, the philosophy of mathematics, the philosophy of mind, and the philosophy of language.

From 1929 to 1947, Wittgenstein taught at the University of Cambridge. During his lifetime he published just one slim book, the 75-page Tractatus Logico-Philosophicus (1921), one article, one book review and a children's dictionary. His voluminous manuscripts were edited and published posthumously. Philosophical Investigations appeared as a book in 1953, and has since come to be recognised as one of the most important works of philosophy in the 20th century. His teacher, Bertrand Russell, described Wittgenstein as "the most perfect example I have ever known of genius as traditionally conceived; passionate, profound, intense, and dominating".

Born in Vienna into one of Europe's richest families, he inherited a fortune from his father in 1913. He initially made some donations to artists and writers, and then, in a period of severe personal depression after the First World War, he gave away his entire fortune to his brothers and sisters. Three of his brothers committed suicide, which Wittgenstein had also contemplated. He left academia several times—serving as an officer on the front line during World War I, where he was decorated a number of times for his courage; teaching in schools in remote Austrian villages where he encountered controversy for hitting children when they made mistakes in mathematics; and working as a hospital porter during World War II in London, where he told patients not to take the drugs they were prescribed while largely managing to keep secret the fact that he was one of the world's most famous philosophers. He described philosophy as "the only work that gives me real satisfaction".

His philosophy is often divided into an early period, exemplified by the Tractatus, and a later period, articulated in the Philosophical Investigations. "Early Wittgenstein" was concerned with the logical relationship between propositions and the world and he believed that by providing an account of the logic underlying this relationship, he had solved all philosophical problems. "Late Wittgenstein," however, rejected many of the assumptions of the Tractatus, arguing that the meaning of words is best understood as their use within a given language-game. His mentor Bertrand Russell was likely the first to coin this distinction in Wittegenstein's work.

A survey among American university and college teachers ranked the Investigations as the most important book of 20th-century philosophy, standing out as "the one crossover masterpiece in twentieth-century philosophy, appealing across diverse specializations and philosophical orientations." The Investigations also ranked 54th on a list of most influential twentieth-century works in cognitive science prepared by the University of Minnesota's Center for Cognitive Sciences. However, in the words of his friend Georg Henrik von Wright, he believed "his ideas were generally misunderstood and distorted even by those who professed to be his disciples. He doubted he would be better understood in the future. He once said he felt as though he was writing for people who would think in a different way, breathe a different air of life, from that of present-day men

Born in Vienna, Austria-Hungary

Artwork by TudioJepegii

Metaphysical Tuscany by Antonio Gallinaro

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Typical view of the Val d'Orcia in Tuscany Italy). Landscape with pure lines, without frills, a celebration of silence and the flow of thoughts

Mandie's Metaphysical...IMG_0714A by dklaughman

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A very metaphysical place in Lewes, Delaware.

And the eye moves!

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"here a detail of the metaphysical garden of Casa Cuseni."

“qui un dettaglio del giardino metafisico di Casa Cuseni.”

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click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;

or…. Press the “L” button to zoom in the image;

clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;

oppure…. premi il tasto “L” per ingrandire l'immagine;

www.worldphoto.org/sony-world-photography-awards/winners-...

www.fotografidigitali.it/gallery/2726/opere-italiane-segn...

……………………………………………………………………….

A history of Taormina: chronicles of a forbidden love and its great secret (not only Paolo and Francesca) with an unexpected "scoop".

This story is an integral part of the story previously told, the historical period is the same, the place is the same, the various characters often meet each other because they know each other; Taormina, between the end of the 1800s and the beginning of the 1900s, in an ever increasing growth, became the place of residence of elite tourism, thanks to the international interest aroused by writers and artists, such as Johann Wolfgang von Goethe , or great personalities like Lady Florence Trevelyan: Taormina becomes so famous, thanks to the paintings of the painter Otto Geleng and the photographs of the young Sicilian models by Wilhelm von Gloeden; in the air of Taormina there is a sense of libertine, its famous and histrionic visitors never fail to create scandal, even surpassing the famous Capri, in which, to cite just one example, the German gunsmith Krupp, trying to recreate the he environment of Arcadia that one breathed in Taormina (thanks to the photos of von Gloeden) was overwhelmed by the scandal for homosexuality, and took his own life. Taormina thus becomes a heavenly-like place, far from industrial civilizations, where you can freely live your life and sexuality; this is the socio-cultural environment in which the two protagonists of this story move, the British painter Robert Hawthorn Kitson (1873 - 1947) and the painter Carlo Siligato (born in Taormina in 1875, and died there in 1959). Robert H. Kitson, born in Leeds in England, belonged to a more than wealthy family, as a young engineer he had begun to replace his father in the family locomotive construction company (Kitson & Co.), on the death of his father in 1899 sells everything and decides to move very rich in Sicily to Taormina (he had been there the previous year with a trip made with his parents, here he had met, in addition to Baron von Gloeden, also the writer and poet Oscar Wilde who came to Italy, immediately after having served two years in prison in forced labor, on charges of sodomy); Kitson settled there because he was suffering from a severe form of rheumatic fever (like von Gloeden was advised to treat himself in the Mediterranean climate milder), and because as a homosexual, he leaves England because the Labouchere amendment considered homosexuality a crime. The other protagonist of this story is Carlo Siligato, he was from Taormina, he had attended the Academy of Fine Arts in Venice, a very gifted painter, he was very good at oil painting (he exhibited his paintings in an art workshop, even now existing, in via Teatro Greco in Taormina), the meeting with the painter Robert Kitson, led him to adopt the watercolor technique: almost to relive Dante's verses on Paolo and Francesca "Galeotto was the book and who wrote it" the common passion for painting led the two artists to live an intense love story. Kitson built his home in the "Cuseni" district of Taormina, called for this "Casa Cuseni", the house was built between 1900 and 1905, its decorations were entrusted to the artists Alfred East (realist landscape painter, president of the Royal Society ), and Frank Brangwyn (painter, decorator, designer), he was a pupil of William Morris, leader of the English movement "Arts and Crafts" which spread to England in the second half of the nineteenth century (the Arts and Crafts was a response to the industrialization of Europe, of mass production operated by factories, all this at the expense of traditional craftsmanship, from this movement originated the Art Nouveau, in Italy also known as Liberty Style or Floral Style, which distinguished itself for having been a artistic and philosophical movement, which developed between the end of the 19th century and the first decade of the 20th century, whose style spread in such a way as to be present everywhere). Casa Cuseni has kept a secret for 100 years that goes far beyond the forbidden love lived by Robert and Carlo, a secret hidden inside the "secret room", that dinning room that was reopened in 2012; entering the dining room, you can witness a series of murals painted on the four walls by Frank Brangwyn, in Art Nouveau style, which portray the life and love story between the painter Robert Kitson, and his life partner, the Carlo Siligato from Taormina, but the thing that makes these murals even more special, full of tenderness and sweetness, is that "their secret" (!) is represented in them, it is described visually, as in an "episodic" story that really happened in their lives: Messina (and Reggio Calabria) are destroyed by the terrible earthquake with a tsunami on December 28, 1908, Carlo Siligato, Robert Kitson, Wilhelm von Gloeden and Anatole France leave for Messina, to see and document in person the tragedy, the city was a pile of rubble, many dead, Robert and Carlo see a baby, Francesco, he is alone in the world, without parents who died in the earthquake, abandoned to a certain and sad destiny, a deep desire for protection is born in the two of them, a maternal and paternal desire is born, they decide to takes that little child with them even knowing that they are risking a lot ... (!), what they want to do is something absolutely unthinkable in that historical period, they are a homosexual couple, what they are about to do is absolutely forbidden ..(!) but now there is Francesco in their life, thus becoming, in fact, the first homogenitorial family (with a more generic term, rainbow family) in world history: hence the need to keep the whole story absolutely hidden, both from an artistic point of view , represented by the murals (for more than 100 years, the "dinning room" will be kept hidden), both of what happens in real life, with little Francesco cared for lovingly, but with great risk or. I have allegorically inserted, in the photographic story, some photographs of the artists of the company "Casa del Musical", who came to Taormina to perform during the Christmas period: today as yesterday, Taormina has always been (starting from the last 20 years of the 19th century) center of a crossroads of artists and great personalities, Casa Cuseni also in this has an enormous palmares of illustrious guests, too long to state. The young boys painted on the murals of Casa Cuseni, wear white, this is a sign of purity, they wanted to represent their ideal homosexual world, fighting against the figure dressed in black, short in stature, disturbing, which acquires a negative value, an allegorical figure of the English society of the time, indicating the Victorian morality that did not hesitate to condemn Oscar Wilde, depriving him of all his assets and rights, even preventing him from giving the surname to his children. The boys are inspired by the young Sicilian models photographed by Wilhelm von Gloeden, dressed in white tunics, with their heads surrounded by local flowers. The only female figure present has given rise to various interpretations, one could be Kitson's detachment from his motherland, or his detachment from his mother. On the third wall we witness the birth of the homogenitorial family, both (allegorically Carlo and Kitson with the child in their arms) are in profile, they are walking, the younger man has a long, Greek-style robe, placed on the front, next to him behind him, the sturdier companion holds and gently protects the little child in his arms, as if to spare the companion the effort of a long and uncertain journey, there is in the representation of the family the idea of a long journey, in fact the man holding the child wears heavy shoes, their faces are full of apprehension and concern: in front of them an empty wall, so deliberately left by Frank Brangwin, since their future is unknown, in front of them they have a destiny full of unknowns (at the same time, their path points east, they go towards the rising sun: opening the large window the sun floods everything in the room). In the "secret room" there is the picture painted in 1912 by Alfred E. East, an oil on canvas, representing Lake Bourget. Carlo Siligato later married Costanza, she was my father's grandmother's sister, they had a son, Nino, who for many years lived and worked as a merchant in his father's art workshop. I sincerely thank my colleague Dr. Francesco Spadaro, doctor and esteemed surgeon, owner and director of the "Casa Cuseni" House-Garden-Museum, who, affectionately acting as a guide, gave me the precious opportunity to create "this photographic tour" inside the house- museum and in the "metaphysical garden" of Casa Cuseni. … And the scoop that I announced in the title ..? After photographing the tomb of Carlo Siligato, in the Catholic cemetery of Taormina, I started looking for that of Robert Kitson, in the non-Catholic cemetery of Taormina: when I finally found it (with him lies his niece Daphne Phelps, buried later in 2005) ... I felt a very strong emotion, first of all I was expecting a mausoleum, instead I found a small, very modest tomb on this is not a photo of him, not an epitaph, not a Cross, not a praying Angel to point it out, but ... unexpectedly for a funerary tombstone ... a small bas-relief carved on marble (or stone) depicting ... the Birth ... (!), obviously , having chosen her could have a very specific meaning: a desire to transmit a message, something very profound about him, his tomb thus testified that in his soul, what was really important in life was having a family, with Carlo and baby Francesco, certainly beloved, saved from a certain and sad fate, in the terrible Messina earthquake-tsunami of 28 December 1908 ... almost recalling in an absolute synthesis, at the end of his life, what had already been told in the "secret murals" of Casa Cuseni.

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Una storia di Taormina: cronache di un amore proibito e del suo grande segreto (non solo Paolo e Francesca) con inaspettato “scoop”.

Questa storia fa parte integrante della storia precedentemente raccontata, il periodo storico è lo stesso, il luogo è lo stesso, i vari personaggi spesso si frequentano tra loro poiché si conoscono; Taormina, tra la fine dell’800 e l’inizio del’900, in un sempre maggiore crescendo, diventa luogo di residenza del turismo d’élite, grazie all’interesse internazionale suscitato ad opera di scrittori ed artisti, come Johann Wolfgang von Goethe, o grandi personalità come Lady Florence Trevelyan: Taormina diventa così famosa, complici i quadri del pittore Otto Geleng e le fotografie dei giovani modelli siciliani di Wilhelm von Gloeden; nell’aria di Taormina si respira un che di libertino, i suoi famosi ed istrionici frequentatori non mancano mai di creare scandalo, superando persino la famosa Capri, nella quale, per citare solo un esempio, l’armiere tedesco Krupp, cercando di ricreare l’ambiente dell’Arcadia che si respirava a Taormina (grazie alle foto di von Gloeden) viene travolto dallo scandalo per omosessualità, e si toglie la vita. Taormina diviene quindi un luogo simil-paradisiaco, lontana dalle civiltà industriali, nella quale poter vivere liberamente la propria vita e la propria sessualità; questo è l’ambiente socio-culturale nel quale si muovono i due protagonisti di questa vicenda, il pittore britannico Robert Hawthorn Kitson (1873 – 1947) ed il pittore Carlo Siligato (nato a Taormina nel 1875, ed ivi morto nel 1959). Robert H. Kitson, nacque a Leeds in Inghilterra, apparteneva ad una famiglia più che benestante, da giovane ingegnere aveva cominciato a sostituire il padre nell’impresa familiare di costruzioni di locomotive (la Kitson & Co.), alla morte del padre nel 1899 vende tutto e decide di trasferirsi ricchissimo in Sicilia a Taormina (vi era stato l’anno precedente con un viaggio fatto coi suoi genitori, qui aveva conosciuto, oltre al barone von Gloeden, anche lo scrittore e poeta Oscar Wilde venuto in Italia, subito dopo aver scontato due anni di prigione ai lavori forzati, con l’accusa di sodomia); Kitson vi si stabilisce perché affetto da una grave forma di febbre reumatica (come von Gloeden gli fu consigliato di curarsi nel clima mediterraneo più mite), sia perché in quanto omosessuale, lascia l’Inghilterra perché l’emendamento Labouchere considerava l’omosessualità un crimine. L’altro protagonista di questa storia è Carlo Siligato, egli era taorminese, aveva frequentato l’Accademia di Belle Arti di Venezia, pittore molto dotato, era bravissimo nel dipingere ad olio (esponeva i suoi quadri in una bottega d’arte, ancora adesso esistente, in via Teatro Greco a Taormina), l’incontro col pittore Robert Kitson, lo portò ad adottare la tecnica dell’acquarello: quasi a rivivere i versi di Dante su Paolo e Francesca “Galeotto fu ‘l libro e chi lo scrisse” la comune passione per la pittura condusse i due artisti a vivere una intensa storia d’amore. Kitson costruì nel quartiere “Cuseni” di Taormina la sua abitazione, detta per questo “Casa Cuseni”, la casa fu costruita tra il 1900 ed il 1905, le sue decorazioni furono affidate agli artisti Alfred East (pittore verista paesaggista, presidente della Royal Society), e Frank Brangwyn (pittore, decoratore, designer, progettista), egli era allievo di William Morris, leader del movimento inglese “Arts and Crafts” (Arti e Mestieri) che si diffuse in Inghilterra nella seconda metà del XIX secolo (l’Arts and Crafts era una risposta alla industrializzazione dell’Europa, della produzione in massa operata dalle fabbriche, tutto ciò a scapito dell’artigianato tradizionale, da questo movimento ebbe origine l’Art Nouveau, in Italia conosciuta anche come Stile Liberty o Stile Floreale, che si distinse per essere stata un movimento artistico e filosofico, che si sviluppò tra la fine dell’800 ed il primo decennio del ‘900, il cui stile si diffuse in tal modo da essere presente dappertutto). Casa Cuseni ha custodito per 100 anni un segreto che va ben oltre quell’amore proibito vissuto da Robert e Carlo, segreto celato all’interno della “stanza segreta”, quella dinning room che è stata riaperta nel 2012; entrando nella sala da pranzo, si assiste ad una serie di murales realizzati sulle quattro pareti da Frank Brangwyn, in stile Art Nouveau, che ritraggono la vita e la storia d’amore tra il pittore Robert Kitson, ed il suo compagno di vita, il pittore taorminese Carlo Siligato, ma la cosa che rende questi murales ancora più particolari, carichi di tenerezza e dolcezza, è che in essi viene rappresentato “il loro segreto” (!), viene descritto visivamente, come in un racconto “ad episodi” quello che è realmente avvenuto nella loro vita: Messina (e Reggio Calabria) vengono distrutte dal terribile sisma con maremoto il 28 dicembre del 1908, partono per Messina, Carlo Siligato, Robert Kitson, Wilhelm von Gloeden ed Anatole France, per vedere e documentare di persona la tragedia, la città era un cumulo di macerie, moltissimi i morti, Robert e Carlo vedono un piccolo bimbo, Francesco, egli è solo al mondo, privo dei genitori periti nel terremoto, abbandonato ad un certo e triste destino, nasce in loro due un profondo desiderio di protezione, nasce un desiderio materno e paterno, decidono di prende quel piccolo bimbo con loro pur sapendo che stanno rischiando moltissimo…(!) , quello che vogliono fare è una cosa assolutamente impensabile in quel periodo storico, loro sono una coppia omosessuale, quello che stanno per fare è assolutamente proibito..(!) ma oramai c’è Francesco nella loro vita, divenendo così, di fatto, la prima famiglia omogenitoriale (con termine più generico, famiglia arcobaleno) nella storia mondiale: da qui la necessità di tenere assolutamente nascosta tutta la vicenda, sia dal punto di vista artistico, rappresentata dai murales (per più di 100 anni, la “dinning room” verrà tenuta nascosta), sia di quanto accade nella vita reale, col piccolo Francesco accudito amorevolmente, ma con grandissimo rischio. Ho inserito allegoricamente, nel racconto fotografico, alcune fotografie degli artisti della compagnia “Casa del Musical”, giunti a Taormina per esibirsi durante il periodo natalizio: oggi come ieri, Taormina è sempre stata (a partire dagli ultimi 20 anni dell’800) al centro di un crocevia di artisti e grandi personalità, Casa Cuseni anche in questo ha un enorme palmares di ospiti illustri, troppo lungo da enunciare. I giovani ragazzi dipinti sui murales di Casa Cuseni, vestono di bianco, questo è segno di purezza, si è voluto in tal modo rappresentare il loro mondo ideale omosessuale, in lotta contro la figura vestita di nero, bassa di statura, inquietante, che acquista un valore negativo, figura allegorica della società inglese dell’epoca, indicante la morale Vittoriana che non ha esitato a condannare Oscar Wilde, privandolo di tutti i suoi beni e diritti, impedendogli persino di dare il cognome ai suoi figli. I ragazzi sono ispirati ai giovani modelli siciliani fotografati da Wilhelm von Gloeden, vestiti con tuniche bianche, col capo cinto dei fiori locali. L’unica figura femminile presente, ha dato spunto a varie interpretazioni, una potrebbe essere il distacco da parte di Kitson dalla sua madre patria, oppure il distacco da sua madre. Sulla terza parete si assiste alla nascita della famiglia omogenitoriale, entrambi (allegoricamente Carlo e Kitson col bimbo in braccio) sono di profilo, sono in cammino, l’uomo più giovane ha una veste lunga, alla greca, posto sul davanti, accanto a lui, alle sue spalle, il compagno più robusto sostiene in braccio e protegge con dolcezza il piccolo bimbo, quasi a voler risparmiare al compagno la fatica di un lungo ed incerto percorso, vi è nella rappresentazione della famiglia l’idea di un lungo percorso, infatti l’uomo che regge il bimbo indossa delle calzature pesanti, i loro volti sono carichi di apprensione e preoccupazione: davanti a loro una parete vuota, così volutamente lasciata da Frank Brangwin, poiché il loro futuro è ignoto, davanti hanno un destino pieno di incognite (al tempo stesso, il loro cammino indica l’est, vanno verso il sole nascente: aprendo la grande finestra il sole inonda ogni cosa nella stanza).

Nella “stanza segreta” c’è il quadro dipinto nel 1912 da Alfred E. East, un olio su tela, rappresentante il lago Bourget.

Carlo Siligato, successivamente si sposò con Costanza, una sorella della nonna di mio padre, da lei ebbe un figlio, Nino, il quale per tantissimi anni ha vissuto e lavorato come commerciante nella bottega d’arte del padre. Ringrazio di cuore il mio collega dott. Francesco Spadaro, medico e stimato chirurgo, proprietario e direttore della Casa-Giardino-Museo “Casa Cuseni”, il quale, facendomi affettuosamente da cicerone, mi ha dato la preziosa opportunità di realizzare “questo tour fotografico” all’interno dell’abitazione-museo e nel “giardino-metafisico” di Casa Cuseni.

…E lo scoop che ho annunciato nel titolo..? Dopo aver fotografato la tomba di Carlo Siligato, nel cimitero cattolico di Taormina, mi sono messo alla ricerca di quella di Robert Kitson, nel cimitero acattolico di Taormina: quando finalmente l’ho trovata (insieme a lui giace sua nipote Daphne Phelps, seppellita successivamente nel 2005)…ho provato una fortissima commozione, innanzitutto mi aspettavo un mausoleo, invece ho trovato una tomba piccola, molto modesta, su questa non una sua foto, non un epitaffio, non una Croce, non un Angelo pregante ad indicarla, ma … inaspettatamente per una lapide funeraria…un piccolo bassorilievo scolpito su marmo (o su pietra) raffigurante…la Natalità…(!), evidentemente, l’averla scelta potrebbe avere un significato ben preciso: un desiderio di trasmettere un messaggio, qualcosa di molto profondo di lui, la sua tomba testimoniava così che nel suo animo, ciò che in vita fu davvero importante fu l’aver avuto una famiglia, con Carlo e col piccolo Francesco, certamente amatissimo, salvato da un molto probabile triste destino, nel terribile terremoto-maremoto di Messina del 28 dicembre del 1908…quasi rievocando in una sintesi assoluta, al termine della sua vita, ciò che era già stato raccontato nei “murales segreti” di Casa Cuseni.

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22

"here a detail of the metaphysical garden of Casa Cuseni."

“qui un dettaglio del giardino metafisico di Casa Cuseni.”

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A history of Taormina: chronicles of a forbidden love and its great secret (not only Paolo and Francesca) with an unexpected "scoop".

This story is an integral part of the story previously told, the historical period is the same, the place is the same, the various characters often meet each other because they know each other; Taormina, between the end of the 1800s and the beginning of the 1900s, in an ever increasing growth, became the place of residence of elite tourism, thanks to the international interest aroused by writers and artists, such as Johann Wolfgang von Goethe , or great personalities like Lady Florence Trevelyan: Taormina becomes so famous, thanks to the paintings of the painter Otto Geleng and the photographs of the young Sicilian models by Wilhelm von Gloeden; in the air of Taormina there is a sense of libertine, its famous and histrionic visitors never fail to create scandal, even surpassing the famous Capri, in which, to cite just one example, the German gunsmith Krupp, trying to recreate the he environment of Arcadia that one breathed in Taormina (thanks to the photos of von Gloeden) was overwhelmed by the scandal for homosexuality, and took his own life. Taormina thus becomes a heavenly-like place, far from industrial civilizations, where you can freely live your life and sexuality; this is the socio-cultural environment in which the two protagonists of this story move, the British painter Robert Hawthorn Kitson (1873 - 1947) and the painter Carlo Siligato (born in Taormina in 1875, and died there in 1959). Robert H. Kitson, born in Leeds in England, belonged to a more than wealthy family, as a young engineer he had begun to replace his father in the family locomotive construction company (Kitson & Co.), on the death of his father in 1899 sells everything and decides to move very rich in Sicily to Taormina (he had been there the previous year with a trip made with his parents, here he had met, in addition to Baron von Gloeden, also the writer and poet Oscar Wilde who came to Italy, immediately after having served two years in prison in forced labor, on charges of sodomy); Kitson settled there because he was suffering from a severe form of rheumatic fever (like von Gloeden was advised to treat himself in the Mediterranean climate milder), and because as a homosexual, he leaves England because the Labouchere amendment considered homosexuality a crime. The other protagonist of this story is Carlo Siligato, he was from Taormina, he had attended the Academy of Fine Arts in Venice, a very gifted painter, he was very good at oil painting (he exhibited his paintings in an art workshop, even now existing, in via Teatro Greco in Taormina), the meeting with the painter Robert Kitson, led him to adopt the watercolor technique: almost to relive Dante's verses on Paolo and Francesca "Galeotto was the book and who wrote it" the common passion for painting led the two artists to live an intense love story. Kitson built his home in the "Cuseni" district of Taormina, called for this "Casa Cuseni", the house was built between 1900 and 1905, its decorations were entrusted to the artists Alfred East (realist landscape painter, president of the Royal Society ), and Frank Brangwyn (painter, decorator, designer), he was a pupil of William Morris, leader of the English movement "Arts and Crafts" which spread to England in the second half of the nineteenth century (the Arts and Crafts was a response to the industrialization of Europe, of mass production operated by factories, all this at the expense of traditional craftsmanship, from this movement originated the Art Nouveau, in Italy also known as Liberty Style or Floral Style, which distinguished itself for having been a artistic and philosophical movement, which developed between the end of the 19th century and the first decade of the 20th century, whose style spread in such a way as to be present everywhere). Casa Cuseni has kept a secret for 100 years that goes far beyond the forbidden love lived by Robert and Carlo, a secret hidden inside the "secret room", that dinning room that was reopened in 2012; entering the dining room, you can witness a series of murals painted on the four walls by Frank Brangwyn, in Art Nouveau style, which portray the life and love story between the painter Robert Kitson, and his life partner, the Carlo Siligato from Taormina, but the thing that makes these murals even more special, full of tenderness and sweetness, is that "their secret" (!) is represented in them, it is described visually, as in an "episodic" story that really happened in their lives: Messina (and Reggio Calabria) are destroyed by the terrible earthquake with a tsunami on December 28, 1908, Carlo Siligato, Robert Kitson, Wilhelm von Gloeden and Anatole France leave for Messina, to see and document in person the tragedy, the city was a pile of rubble, many dead, Robert and Carlo see a baby, Francesco, he is alone in the world, without parents who died in the earthquake, abandoned to a certain and sad destiny, a deep desire for protection is born in the two of them, a maternal and paternal desire is born, they decide to takes that little child with them even knowing that they are risking a lot ... (!), what they want to do is something absolutely unthinkable in that historical period, they are a homosexual couple, what they are about to do is absolutely forbidden ..(!) but now there is Francesco in their life, thus becoming, in fact, the first homogenitorial family (with a more generic term, rainbow family) in world history: hence the need to keep the whole story absolutely hidden, both from an artistic point of view , represented by the murals (for more than 100 years, the "dinning room" will be kept hidden), both of what happens in real life, with little Francesco cared for lovingly, but with great risk or. I have allegorically inserted, in the photographic story, some photographs of the artists of the company "Casa del Musical", who came to Taormina to perform during the Christmas period: today as yesterday, Taormina has always been (starting from the last 20 years of the 19th century) center of a crossroads of artists and great personalities, Casa Cuseni also in this has an enormous palmares of illustrious guests, too long to state. The young boys painted on the murals of Casa Cuseni, wear white, this is a sign of purity, they wanted to represent their ideal homosexual world, fighting against the figure dressed in black, short in stature, disturbing, which acquires a negative value, an allegorical figure of the English society of the time, indicating the Victorian morality that did not hesitate to condemn Oscar Wilde, depriving him of all his assets and rights, even preventing him from giving the surname to his children. The boys are inspired by the young Sicilian models photographed by Wilhelm von Gloeden, dressed in white tunics, with their heads surrounded by local flowers. The only female figure present has given rise to various interpretations, one could be Kitson's detachment from his motherland, or his detachment from his mother. On the third wall we witness the birth of the homogenitorial family, both (allegorically Carlo and Kitson with the child in their arms) are in profile, they are walking, the younger man has a long, Greek-style robe, placed on the front, next to him behind him, the sturdier companion holds and gently protects the little child in his arms, as if to spare the companion the effort of a long and uncertain journey, there is in the representation of the family the idea of a long journey, in fact the man holding the child wears heavy shoes, their faces are full of apprehension and concern: in front of them an empty wall, so deliberately left by Frank Brangwin, since their future is unknown, in front of them they have a destiny full of unknowns (at the same time, their path points east, they go towards the rising sun: opening the large window the sun floods everything in the room). In the "secret room" there is the picture painted in 1912 by Alfred E. East, an oil on canvas, representing Lake Bourget. Carlo Siligato later married Costanza, she was my father's grandmother's sister, they had a son, Nino, who for many years lived and worked as a merchant in his father's art workshop. I sincerely thank my colleague Dr. Francesco Spadaro, doctor and esteemed surgeon, owner and director of the "Casa Cuseni" House-Garden-Museum, who, affectionately acting as a guide, gave me the precious opportunity to create "this photographic tour" inside the house- museum and in the "metaphysical garden" of Casa Cuseni. … And the scoop that I announced in the title ..? After photographing the tomb of Carlo Siligato, in the Catholic cemetery of Taormina, I started looking for that of Robert Kitson, in the non-Catholic cemetery of Taormina: when I finally found it (with him lies his niece Daphne Phelps, buried later in 2005) ... I felt a very strong emotion, first of all I was expecting a mausoleum, instead I found a small, very modest tomb on this is not a photo of him, not an epitaph, not a Cross, not a praying Angel to point it out, but ... unexpectedly for a funerary tombstone ... a small bas-relief carved on marble (or stone) depicting ... the Birth ... (!), obviously , having chosen her could have a very specific meaning: a desire to transmit a message, something very profound about him, his tomb thus testified that in his soul, what was really important in life was having a family, with Carlo and baby Francesco, certainly beloved, saved from a certain and sad fate, in the terrible Messina earthquake-tsunami of 28 December 1908 ... almost recalling in an absolute synthesis, at the end of his life, what had already been told in the "secret murals" of Casa Cuseni.

…………………………………………………………………..

Una storia di Taormina: cronache di un amore proibito e del suo grande segreto (non solo Paolo e Francesca) con inaspettato “scoop”.

Questa storia fa parte integrante della storia precedentemente raccontata, il periodo storico è lo stesso, il luogo è lo stesso, i vari personaggi spesso si frequentano tra loro poiché si conoscono; Taormina, tra la fine dell’800 e l’inizio del’900, in un sempre maggiore crescendo, diventa luogo di residenza del turismo d’élite, grazie all’interesse internazionale suscitato ad opera di scrittori ed artisti, come Johann Wolfgang von Goethe, o grandi personalità come Lady Florence Trevelyan: Taormina diventa così famosa, complici i quadri del pittore Otto Geleng e le fotografie dei giovani modelli siciliani di Wilhelm von Gloeden; nell’aria di Taormina si respira un che di libertino, i suoi famosi ed istrionici frequentatori non mancano mai di creare scandalo, superando persino la famosa Capri, nella quale, per citare solo un esempio, l’armiere tedesco Krupp, cercando di ricreare l’ambiente dell’Arcadia che si respirava a Taormina (grazie alle foto di von Gloeden) viene travolto dallo scandalo per omosessualità, e si toglie la vita. Taormina diviene quindi un luogo simil-paradisiaco, lontana dalle civiltà industriali, nella quale poter vivere liberamente la propria vita e la propria sessualità; questo è l’ambiente socio-culturale nel quale si muovono i due protagonisti di questa vicenda, il pittore britannico Robert Hawthorn Kitson (1873 – 1947) ed il pittore Carlo Siligato (nato a Taormina nel 1875, ed ivi morto nel 1959). Robert H. Kitson, nacque a Leeds in Inghilterra, apparteneva ad una famiglia più che benestante, da giovane ingegnere aveva cominciato a sostituire il padre nell’impresa familiare di costruzioni di locomotive (la Kitson & Co.), alla morte del padre nel 1899 vende tutto e decide di trasferirsi ricchissimo in Sicilia a Taormina (vi era stato l’anno precedente con un viaggio fatto coi suoi genitori, qui aveva conosciuto, oltre al barone von Gloeden, anche lo scrittore e poeta Oscar Wilde venuto in Italia, subito dopo aver scontato due anni di prigione ai lavori forzati, con l’accusa di sodomia); Kitson vi si stabilisce perché affetto da una grave forma di febbre reumatica (come von Gloeden gli fu consigliato di curarsi nel clima mediterraneo più mite), sia perché in quanto omosessuale, lascia l’Inghilterra perché l’emendamento Labouchere considerava l’omosessualità un crimine. L’altro protagonista di questa storia è Carlo Siligato, egli era taorminese, aveva frequentato l’Accademia di Belle Arti di Venezia, pittore molto dotato, era bravissimo nel dipingere ad olio (esponeva i suoi quadri in una bottega d’arte, ancora adesso esistente, in via Teatro Greco a Taormina), l’incontro col pittore Robert Kitson, lo portò ad adottare la tecnica dell’acquarello: quasi a rivivere i versi di Dante su Paolo e Francesca “Galeotto fu ‘l libro e chi lo scrisse” la comune passione per la pittura condusse i due artisti a vivere una intensa storia d’amore. Kitson costruì nel quartiere “Cuseni” di Taormina la sua abitazione, detta per questo “Casa Cuseni”, la casa fu costruita tra il 1900 ed il 1905, le sue decorazioni furono affidate agli artisti Alfred East (pittore verista paesaggista, presidente della Royal Society), e Frank Brangwyn (pittore, decoratore, designer, progettista), egli era allievo di William Morris, leader del movimento inglese “Arts and Crafts” (Arti e Mestieri) che si diffuse in Inghilterra nella seconda metà del XIX secolo (l’Arts and Crafts era una risposta alla industrializzazione dell’Europa, della produzione in massa operata dalle fabbriche, tutto ciò a scapito dell’artigianato tradizionale, da questo movimento ebbe origine l’Art Nouveau, in Italia conosciuta anche come Stile Liberty o Stile Floreale, che si distinse per essere stata un movimento artistico e filosofico, che si sviluppò tra la fine dell’800 ed il primo decennio del ‘900, il cui stile si diffuse in tal modo da essere presente dappertutto). Casa Cuseni ha custodito per 100 anni un segreto che va ben oltre quell’amore proibito vissuto da Robert e Carlo, segreto celato all’interno della “stanza segreta”, quella dinning room che è stata riaperta nel 2012; entrando nella sala da pranzo, si assiste ad una serie di murales realizzati sulle quattro pareti da Frank Brangwyn, in stile Art Nouveau, che ritraggono la vita e la storia d’amore tra il pittore Robert Kitson, ed il suo compagno di vita, il pittore taorminese Carlo Siligato, ma la cosa che rende questi murales ancora più particolari, carichi di tenerezza e dolcezza, è che in essi viene rappresentato “il loro segreto” (!), viene descritto visivamente, come in un racconto “ad episodi” quello che è realmente avvenuto nella loro vita: Messina (e Reggio Calabria) vengono distrutte dal terribile sisma con maremoto il 28 dicembre del 1908, partono per Messina, Carlo Siligato, Robert Kitson, Wilhelm von Gloeden ed Anatole France, per vedere e documentare di persona la tragedia, la città era un cumulo di macerie, moltissimi i morti, Robert e Carlo vedono un piccolo bimbo, Francesco, egli è solo al mondo, privo dei genitori periti nel terremoto, abbandonato ad un certo e triste destino, nasce in loro due un profondo desiderio di protezione, nasce un desiderio materno e paterno, decidono di prende quel piccolo bimbo con loro pur sapendo che stanno rischiando moltissimo…(!) , quello che vogliono fare è una cosa assolutamente impensabile in quel periodo storico, loro sono una coppia omosessuale, quello che stanno per fare è assolutamente proibito..(!) ma oramai c’è Francesco nella loro vita, divenendo così, di fatto, la prima famiglia omogenitoriale (con termine più generico, famiglia arcobaleno) nella storia mondiale: da qui la necessità di tenere assolutamente nascosta tutta la vicenda, sia dal punto di vista artistico, rappresentata dai murales (per più di 100 anni, la “dinning room” verrà tenuta nascosta), sia di quanto accade nella vita reale, col piccolo Francesco accudito amorevolmente, ma con grandissimo rischio. Ho inserito allegoricamente, nel racconto fotografico, alcune fotografie degli artisti della compagnia “Casa del Musical”, giunti a Taormina per esibirsi durante il periodo natalizio: oggi come ieri, Taormina è sempre stata (a partire dagli ultimi 20 anni dell’800) al centro di un crocevia di artisti e grandi personalità, Casa Cuseni anche in questo ha un enorme palmares di ospiti illustri, troppo lungo da enunciare. I giovani ragazzi dipinti sui murales di Casa Cuseni, vestono di bianco, questo è segno di purezza, si è voluto in tal modo rappresentare il loro mondo ideale omosessuale, in lotta contro la figura vestita di nero, bassa di statura, inquietante, che acquista un valore negativo, figura allegorica della società inglese dell’epoca, indicante la morale Vittoriana che non ha esitato a condannare Oscar Wilde, privandolo di tutti i suoi beni e diritti, impedendogli persino di dare il cognome ai suoi figli. I ragazzi sono ispirati ai giovani modelli siciliani fotografati da Wilhelm von Gloeden, vestiti con tuniche bianche, col capo cinto dei fiori locali. L’unica figura femminile presente, ha dato spunto a varie interpretazioni, una potrebbe essere il distacco da parte di Kitson dalla sua madre patria, oppure il distacco da sua madre. Sulla terza parete si assiste alla nascita della famiglia omogenitoriale, entrambi (allegoricamente Carlo e Kitson col bimbo in braccio) sono di profilo, sono in cammino, l’uomo più giovane ha una veste lunga, alla greca, posto sul davanti, accanto a lui, alle sue spalle, il compagno più robusto sostiene in braccio e protegge con dolcezza il piccolo bimbo, quasi a voler risparmiare al compagno la fatica di un lungo ed incerto percorso, vi è nella rappresentazione della famiglia l’idea di un lungo percorso, infatti l’uomo che regge il bimbo indossa delle calzature pesanti, i loro volti sono carichi di apprensione e preoccupazione: davanti a loro una parete vuota, così volutamente lasciata da Frank Brangwin, poiché il loro futuro è ignoto, davanti hanno un destino pieno di incognite (al tempo stesso, il loro cammino indica l’est, vanno verso il sole nascente: aprendo la grande finestra il sole inonda ogni cosa nella stanza).

Nella “stanza segreta” c’è il quadro dipinto nel 1912 da Alfred E. East, un olio su tela, rappresentante il lago Bourget.

Carlo Siligato, successivamente si sposò con Costanza, una sorella della nonna di mio padre, da lei ebbe un figlio, Nino, il quale per tantissimi anni ha vissuto e lavorato come commerciante nella bottega d’arte del padre. Ringrazio di cuore il mio collega dott. Francesco Spadaro, medico e stimato chirurgo, proprietario e direttore della Casa-Giardino-Museo “Casa Cuseni”, il quale, facendomi affettuosamente da cicerone, mi ha dato la preziosa opportunità di realizzare “questo tour fotografico” all’interno dell’abitazione-museo e nel “giardino-metafisico” di Casa Cuseni.

…E lo scoop che ho annunciato nel titolo..? Dopo aver fotografato la tomba di Carlo Siligato, nel cimitero cattolico di Taormina, mi sono messo alla ricerca di quella di Robert Kitson, nel cimitero acattolico di Taormina: quando finalmente l’ho trovata (insieme a lui giace sua nipote Daphne Phelps, seppellita successivamente nel 2005)…ho provato una fortissima commozione, innanzitutto mi aspettavo un mausoleo, invece ho trovato una tomba piccola, molto modesta, su questa non una sua foto, non un epitaffio, non una Croce, non un Angelo pregante ad indicarla, ma … inaspettatamente per una lapide funeraria…un piccolo bassorilievo scolpito su marmo (o su pietra) raffigurante…la Natalità…(!), evidentemente, l’averla scelta potrebbe avere un significato ben preciso: un desiderio di trasmettere un messaggio, qualcosa di molto profondo di lui, la sua tomba testimoniava così che nel suo animo, ciò che in vita fu davvero importante fu l’aver avuto una famiglia, con Carlo e col piccolo Francesco, certamente amatissimo, salvato da un molto probabile triste destino, nel terribile terremoto-maremoto di Messina del 28 dicembre del 1908…quasi rievocando in una sintesi assoluta, al termine della sua vita, ciò che era già stato raccontato nei “murales segreti” di Casa Cuseni.

………………………………………………………………………………….

Metaphysical by Elena S Pezzini

15 13

Sicily, Saline di Mozia, Trapani

A Yin/Yang Perception of Opposites by buddhadog

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Tao Te Ching -:- Verse 2

====================================

When people see things as beautiful,

ugliness is created.

When people see things as good,

evil is created.

Being and non-being produce each other.

Difficult and easy complement each other.

Long and short define each other.

High and low oppose each other.

Fore and aft follow each other.

====================================

A Couple of Haiku Notes:

~~~~~~~~~~~~~~~~~~~~~~~~

The Yin and the Yang

they're not really opposites

complementary

~~~~~~~~~~~~~~~~~~~~~~~~

When you have questions

look and listen for the signs

synchronicity

~~~~~~~~~~~~~~~~~~~~~~~~

======================================================

( 1 ) - ( 2 ) - ( 3 ) - ( 4 ) - ( 2x5) - ( 6 ) - ( 7 ) - ( 8 ) - ( 9 ) - (2x10 ) - ( * )

======================================================

In Chinese philosophy, yin and yang (also, yin-yang or yin yang) describes how apparently opposite or contrary forces are actually complementary, interconnected, and interdependent in the natural world, and how they give rise to each other as they interrelate to one another. Many tangible dualities (such as light and dark, fire and water, and male and female) are thought of as physical manifestations of the duality of yin and yang. This duality lies at the origins of many branches of classical Chinese science and philosophy, as well as being a primary guideline of traditional Chinese medicine, and a central principle of different forms of Chinese martial arts and exercise, such as baguazhang, taijiquan (t'ai chi), and qigong (Chi Kung), as well as in the pages of the I Ching written in 1,000 BC and before.

Yin and yang can be thought of as complementary (rather than opposing) forces that interact to form a dynamic system in which the whole is greater than the assembled parts. Everything has both yin and yang aspects, (for instance shadow cannot exist without light). Either of the two major aspects may manifest more strongly in a particular object, depending on the criterion of the observation. The yin yang shows a balance between two opposites with a little bit in each.

In Daoist metaphysics, distinctions between good and bad, along with other dichotomous moral judgments, are perceptual, not real; so, the duality of yin and yang is an indivisible whole. In the ethics of Confucianism on the other hand, most notably in the philosophy of Dong Zhongshu (c. 2nd century BC), a moral dimension is attached to the idea of yin and yang.

......................................................................................... Wikipedia

====================================================

www.youtube.com/watch?v=wdD80MkLEE4

====================================================

Yin --- Yang

0 --- 1

- ... +

abdomen --- back

absorbing --- penetrating

acidity --- alkalinity

affective --- cognitive

afternoon --- morning

akasha --- prana

autumn --- spring

back --- front

backward --- forward

belly --- head

below --- above

black --- white

bottom --- top

broken --- solid

calm --- chaos

center --- extreme

centripetal force --- centrifugal force

chills --- fever

cinnabar --- lead

circle --- square

circular --- straight

clockwise --- counter-clockwise

cold --- hot

contracting --- expanding

copper--- tin

dark --- light

death --- life

diffuse --- focused

down --- up

earth --- sky

eight --- nine

emotional --- logical

empty --- full

end of motion --- beginning of motion

even --- odd

fat --- muscle

female --- male

feminine --- masculine

flexible --- firm

fluid --- static

follower --- leader

forgiveness --- anger

freezing water --- boiling water

fruits --- cereals

girl --- boy

heart --- mind

heaven --- earth

ice --- fire

introvert --- extrovert

intuitive --- logical

involuntary --- voluntary

inward --- outward

jou --- kang

left --- right

light --- shadow

liu --- chiu

low --- high

me --- I

minus --- plus

momentum ---position

moon --- sun

mother --- father

night --- day

non-action --- action

north --- south

northwest --- southeast

off --- on

open --- close

orange --- azure

passion --- reason

passive --- active

pink --- blue

pliable --- rigid

potassium --- sodium

process --- structure

pull --- push

quiescence --- activity

quiet --- loud

receiving --- giving

receptive --- creative

relaxed --- tense

right brain --- left brain

salt --- pepper

sensitivity --- firmness

short --- tall

sister --- brother

six --- nine

slow --- fast

small --- large

softness --- hardness

spiritual --- physical

static --- energetic

stillness --- motion

subconscious --- conscious

subjective --- objective

submissive --- dominant

sugar --- salt

sunset --- sunrise

sweet --- sour

taking --- giving

tiger --- dragon

tranquil --- active

vagina --- penis

valley --- mountain

venus --- jupiter

water --- fire

wave --- particle

weak --- strong

west --- east

wet --- dry

winter --- summer

wisdom --- intelligence

woman --- man

xue-blood --- qi-energy

yielding --- aggressive

yin --- yang

zero --- one

A Cybernetic Thought

=====================================

The creation of negative entropy through

complimentary forces of energy.

Metaphysical scenery by Buonaventura's & Carla's

16 105

#23 Created for 365 Photo Manipulatios Project www.flickr.com/groups/365pmp/pool/44102087@N07/

Created for the WPC Week 196

Many thanks to Hank Conner for source image

www.flickr.com/photos/gatorhank/1618379952/

Thanks to Maggie me for " Strange Land"

www.flickr.com/photos/maggie-me/4641707614/in/faves-

Thank to Anandham for the beautiful Bharatham

www.flickr.com/photos/anandham/2638003643/in/faves-buonav...

Thanks to Alicepopkorn for the texture "lucid dream"

www.flickr.com/photos/alicepopkorn/4382862435/in/faves-bu...

oman metaphysics... by richard pomella

6

ras al hadd, sultanate of oman

metaphysical sea #1 by Alessandro Signore

4 73

All rights reserved - Copyright © Alessandro Signore - www.alessandrosignore.it All images are exclusive property and may not be copied, downloaded, reproduced, transmitted, manipulated or used in any way without expressed, written permission of the photographer.

Vajradhara Enlightenment by Hartwig HKD

25 75

Vajradhara (Sanskrit: वज्रधार Vajradhāra, Tibetan: རྡོ་རྗེ་འཆང་། rdo rje 'chang (Dorje Chang); Chinese: 多杰羌佛; Javanese: Kabajradharan; Japanese: 執金剛神; English: Diamond-holder) is the ultimate primordial Buddha, or Adi Buddha, according to the Gelug and Kagyu schools of Tibetan Buddhism.

Vajradhara displaced Samantabhadra who remains the 'Primordial Buddha' in the Nyingma, or 'Ancient School' and the Sakya school. However the two are metaphysically equivalent. Achieving the 'state of vajradhara' is synonymous with complete realisation.

As such Vajradhara is thought to be the supreme essence of all (male) Buddhas (his name means the bearer of the thunderbolt). It is the Tantric form of Sakyamuni which is called Vajradhara. Tantras are texts specific to Tantrism and are believed to have been originally taught by the Tantric form of Sakyamuni called Vajradhara. He is an expression of Buddhahood itself in both single and yabyum form.[2]. Vajradhara is considered to be the prime Buddha of the Father tantras [3] (tib. pha-rgyud) such as Guhyasamaja, Yamantaka, and so on [4].

From the primordial Vajradhara/Samantabhadra were manifested the Five Wisdom Buddhas (Dhyani Buddhas):

From Wikipedia

HKD

Thema Vajradhara

Symbolik – Verinigung der Gegensätze:

Realisation und Vereinigung der Gegensätze - Vajradhara

Für mich ermöglicht die mystische Perspektive einen Blick auf die psychologische. Die psychologische Perspektive untersucht alle Sichtweisen, die natürliche, die wissenschaftliche und die mystische. Alle Sichtweisen werden analysiert in Bezug auf das Ego, doch kann die eigene Perspektive (die psychologische) noch nicht voll erkannt werden.

Aus meiner heutigen Sicht sehe ich den ersten Abschnitt des psychischen Entwicklungsprozesses, den C. G. Jung als Individuationsprozess bezeichnet, als eine Konsolidierung des rational fundierten Egobewusstseins.

Für mich ist es vergleichbar mit dem voll ausgebildeten Vajra oder Dorje (Donnerkeil), dem klaren Geist, oder dem klaren männlichen, intellektuellen Prinzip.

Der Bereich des erfahrenen Seins, das weibliche und emotionale Prinzip ist aber noch nicht voll entwickelt, solange der mystische Bereich (transzendente Erfahrung) nicht voll exploriert wurde.

Transzendente Erfahrungen werden in tiefer Meditation oder Trance-Zuständen gemacht. Der Geist wird entgrenzt von den Beschränkungen des Ego-Bewusstseins. Während dieser Erfahrung entsteht der Blick auf das Leben und Denken in der Verfassung des Bewusstseins, die mir als Alltag bekannt ist.

Ich habe im Alltag gelebt und an einem Leben teilgenommen, das man als gutbürgerlich bezeichnen kann. Als Unternehmer haben meine Eltern diese Umgebung geschaffen. Kaufleute, Politiker, Reiter und Bauern. Das ist meine Umgebung. In dieser handfest auf die Welt bezogenen Aufmerksamkeit bin ich aufgewachsen. Das Bewusstsein ist auf das Materielle bezogen und die Aufmerksamkeit wird durch die Motivationskraft A1 fixiert. In die Ausweitung von Macht und Besitz wird viel Energie investiert und Sorgen und Gedanken über Aufträge, Wirtschaft, Politik und Handel bestimmen den Alltag.

Wenn ich von Alltagsbewusstsein spreche, beziehe ich mich auf meinen Hintergrund in diesem Umfeld. Dieses Umfeld war mir wie das Wasser für den Fisch, ich erkannte viele andere Dinge, sah, in welchen Nischen sich andere versteckten, welche Beute sie machten, oder wie sie sich Respekt verschafften, das eigene Schwimmbecken erfasste ich nicht.

In der Firma meines Vaters wuchs ich mit Arbeitern und ihrer Weltsicht heran. Mit den Herrenreitern sprach ich über ihren neuen Porsche oder das siegreiche Springturnier.

Sieger wollen und müssen immer weiter gewinnen und dieser Drang zieht sie überall dorthin, wo es um Sieg und Niederlage geht. Auch ihr Geist ist fixiert. Bis ich erkannte, worauf mein Geist sich ausgerichtet hatte, nämlich Selbsterkenntnis, dauerte eine Weile. Während ich mich intensiv mit C. G. Jung auseinandersetzte, wurde mir das aber klar.

Diese analytische Klarheit bezeichne ich als Vajra, als intellektuelles Wissen. Es baut sich auf mit der intellektuellen Durchdringung von religiösen, weltanschaulichen oder philosophischen Konzepten.

Zu diesen Konzepten gehört für mich auch der philosophische Buddhismus. Innerhalb dieses sehr nützlichen und die Bewusstheit erweiternden Konzeptes werden Texte zur Anschauung gebracht, in denen es um die Vereinigung der Gegensätze geht. Die bekanntesten gehören zum tibetischen Tantra, das auch als das tantrische Fahrzeug, Tantrayana, bekannt ist.

Im Tantra steht die Vereinigung von voll ausgebildeter intellektueller Klarheit (Vajra) mit einer voll entwickelten Gefühlsseite (Gantha – Glocke) an. Die tantrischen Schriften werden auf Vajradhara zurückgeführt, einer Erscheinungsform des Ur-Buddha.

Für mich ist der Begriff „Buddha“ synonym für ein geistiges Feld oder eine transzendente Motivationskraft, die alle Menschen motiviert, den Weg nach Hause zu suchen und auch zu finden. Die Fragen - Wer bin ich? Woher komme ich? Wohin gehe ich? - entspringen dieser Kraft. Und auch die Antworten auf die Frage - Wie komme ich nach Hause? – werden von ihr gegeben. Eine dieser Antworten trägt Vajradhara in seiner figürlichen Abbildung und wird daher ein Träger der Weisheit. Die Weisheit drückt sich aus durch die vor der Brust auf Herzhöhe überkreuzten Hände mit Vajra und Gantha.

Übersetzt bedeutet das: Vereinige die widerstrebenden Gegensätze deiner männlichen und weiblichen Aspekte (Energien) in deinem Herzen.

Ist dieser Vorgang vollzogen, bedeutet das die volle Verwirklichung, auch Buddhaschaft genannt.

HKD

Digital Art – own resources

HKD

Mineral metaphysics by Zakaria Wakrim

21 3

The Dryads by 10 mm

16 10

To discover that metaphysical Tree which hid

From my worldling look its brilliant vein

Far deeper in gross wood

Than axe could cut.

But before I might blind sense

To see with the spotless soul,

Each particular quirk so ravished me

Every pock and stain bulked more beautiful

Than flesh of any body

Flawed by love's prints.

— Sylvia Plath “On The Plethora Of Dryads”

Untitled by Maya

13

Visit this location at Echoes, Metaphysics of frequencies in Second Life

Metaphysical Tasks by Sophie Shapiro

40

How deep the tenderness that yearns

Within the silent wood that turns

From green to gold, and slowly burns

As by some inward fire!

How dear the sense that all things wild

Have been at last by love beguiled

To join one chorus, reconciled....

Words by Helena Coleman, Canadian Poet

♫ - Mei-lan Maurits

for Flickriver - Sophie Shapiro

I would like to thank everyone who takes an interest in my work. I am truly grateful and appreciate your ongoing support. Please take good care of yourselves in these uncertain times. Keep well, safe & inspired.

Kind regards,

Sophie

PAUL JAISINI NY NY'03-Sep 27 CODE PINK by Kenneth Smith

47

en.wikipedia.org/wiki/Immaterialism

Subjective idealism, or empirical idealism, is the monistic metaphysical doctrine that only minds and mental contents exist. It entails and is generally identified or associated with immaterialism, the doctrine that material things do not exist.

It is the contrary of eliminative materialism, the doctrine that only material things, and no mental things, exist.

Subjective idealism: This form of idealism is "subjective" not because it denies that there is an objective reality, but because it asserts that this reality is completely dependent upon the minds of the subjects that perceive it.

en.wikipedia.org/wiki/Immanuel_Kant

Kant believed that the concepts of space and time are integral to all human experience, as are our concepts of cause and effect. One important consequence of this view is that one never hasdirect experience of things, the so-called noumenalworld, and that what we do experience is thephenomenal world as conveyed by our senses.

Kant aimed to resolve disputes between empirical andrationalist approaches. The former asserted that all knowledge comes through experience; the latter maintained that reason and innate ideas were prior. Kant argued that experience is purely subjective without first being processed by pure reason. He also said that using reason without applying it to experience only leads to theoretical illusions.

The notion of the "thing in itself" was much discussed by those who came after Kant. It was argued that since the "thing in itself" was unknowable its existence could not simply be assumed. Rather than arbitrarily switching to an account that was ungrounded in anything supposed to be the "real," as did the German Idealists, another group arose to ask how our (presumably reliable) accounts of a coherent and rule-abiding universe were actually grounded. This new kind of philosophy became known as Phenomenology, and its founder was Edmund Husserl.

Kant, however, contests this: he claims that elementary mathematics, like arithmetic, is synthetic a priori, in that its statements provide new knowledge, but knowledge that is not derived from experience. This becomes part of his over-all argument for transcendental idealism. That is, he argues that the possibility of experience depends on certain necessary conditions — which he calls a priori forms — and that these conditions structure and hold true of the world of experience. In so doing, his main claims in the "Transcendental Aesthetic" are that mathematic judgments are synthetic a priori and in addition, that Space and Time are not derived from experience but rather are its preconditions.

Kant asserts that experience is based both upon the perception of external objects and a priori knowledge.[39] The external world, he writes, provides those things that we sense. It is our mind, though, that processes this information about the world and gives it order, allowing us to comprehend it. Our mind supplies the conditions of space and time to experience objects. According to the "transcendental unity of apperception", the concepts of the mind (Understanding) and the perceptions or intuitions that garner information from phenomena (Sensibility) are synthesized by comprehension. Without the concepts, intuitions are nondescript; without the intuitions, concepts are meaningless — thus the famous statement, "Thoughts without content are empty, intuitions without concepts are blind."

Judgments are, for Kant, the preconditions of any thought. Man thinks via judgments, so all possible judgments must be listed and the perceptions connected within them put aside, so as to make it possible to examine the moments when the understanding is engaged in constructing judgments.

Kant ran into a problem with his theory that the mind plays a part in producing objective knowledge. Intuitions and categories are entirely disparate, so how can they interact? Kant's solution is the schema: a priori principles by which the transcendental imagination connects concepts with intuitions through time. All the principles are temporally bound, for if a concept is purely a priori, as the categories are, then they must apply for all times. Hence there are principles such as substance is that which endures through time, and the cause must always be prior to the effect

Transcendental idealism is a doctrine founded by German philosopher Immanuel Kant in the 18th century. Kant's doctrine maintains that human experience of things is similar to the way they appear to us — implying a fundamentally subject-based component, rather than being an activity that directly (and therefore without any obvious causal link) comprehends the things as they are in and of themselves.

Xenophanes of Colophon in 530 BC anticipated Kant's epistemology in his reflections on certainty. "And as for certain truth, no man has seen it, nor will there ever be a man who knows about the gods and about all the things I mention.

Briefly, Schopenhauer described transcendental idealism as a "distinction between the phenomenon and the thing in itself, and a recognition that only the phenomenon is accessible to us because "we do not know either ourselves or things as they are in themselves, but merely as they appear."[4] Some of Schopenhauer's comments on the definition of the word "transcendental" are as follows:

Transcendental is the philosophy that makes us aware of the fact that the first and essential laws of this world that are presented to us are rooted in our brain and are therefore known a priori. It is called transcendental because it goes beyond the whole given phantasmagoria to the origin thereof. Therefore, as I have said, only the Critique of Pure Reason and generally the critical (that is to say, Kantian) philosophy are transcendental.

Realism can also be promoted in an unqualified sense, in which case it asserts the mind-independent existence of a visible world, as opposed to skepticism and solipsism. Philosophers who profess realism state that truth consists in the mind's correspondence to reality.[1]

Realists tend to believe that whatever we believe now is only an approximation of reality and that every new observation brings us closer to understanding reality.[2] In its Kantian sense, realism is contrasted with idealism. In a contemporary sense, realism is contrasted with anti-realism, primarily in the philosophy of science.

Naïve realism[edit]

Naïve realism, also known as direct realism, is a philosophy of mind rooted in a common sense theory of perception that claims that the senses provide us with direct awareness of the external world. In contrast, some forms of idealism assert that no world exists apart from mind-dependent ideas and some forms of skepticism say we cannot trust our senses. The realist view is that objects are composed of matter, occupy space and have properties, such as size, shape, texture, smell, taste and colour, that are usually perceived correctly. We perceive them as they really are. Objects obey the laws of physics and retain all their properties whether or not there is anyone to observe them

Stuckists claim that conceptual art is justified by the work of Marcel Duchamp, but that Duchamp's work is "anti-art by intent and effect". The Stuckists feel that "Duchamp's work was a protest against the stale, unthinking artistic establishment of his day", while "the great (but wholly unintentional) irony of postmodernism is that it is a direct equivalent of the conformist, unoriginal establishment that Duchamp attacked in the first place"

Obscurantism (French: obscurantisme, from the Latin obscurans, "darkening") is the practice of deliberately preventing the facts or the full details of some matter from becoming known. There are two common historical and intellectual denotations to Obscurantism: (1) deliberately restricting knowledge—opposition to the spread of knowledge, a policy of withholding knowledge from the public; and, (2) deliberate obscurity—an abstruse style (as in literature and art) characterized by deliberate vagueness.

The metaphysical mystery book M. I. VERRAS authored was named a masterpiece. THE HIDDEN FACE. by Author M. I. Verras (new real profile for pictures)

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Amazon, EBay, Barnes&Noble, Walmart, and more.

#7 by Fetch_69

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Untitled by Maya

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Visit this location at Echoes, Metaphysics of frequencies in Second Life

Metaphysical Summation by Zone Patcher

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grunt www.flickr.com/photos/psychoactivartz/2328034584/sizes/o/

### by Vlad Sidorak

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The trapdoor is a hidden path to the rooftop. No one has noticed that door. by Author M. I. Verras (new real profile for pictures)

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The metaphysical mystery novel "THE HIDDEN FACE" by M. I. VERRAS shocked the world with its plot and podcasters named it the "EXISTENTIAL MASTERPIECE."

Sold on Amazon, EBay, Barnes&Noble, Walmart, Bookshop, and more. Published by Palmetto Publishing.

Metaphysical Mannequin by Nᴉɹʌɐuɐ SQ

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Adjustable for all philosophical fashions.

Previously used for both scientific realism and anti-realism trends; also used in a nominalist show; and the previous owner was a causalist designer.

Such is the fate of all green eggs by Malcolm

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For We're Here! and Metaphysical Leper Colony

O is for Ostentatious Octopus Ostracizing a Crab by Ruth Raymond

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It's the 15th day of February Alphabet Fun, and the We're Here! gang is visiting the group Metaphysical Leper Colony. The group lists hermits as admissible subjects, and this of course, is a hermit crab.

But I thought about the group name after I chose it for today's theme. Leprosy (Hansen's Disease) is no laughing matter, and it still exists in our world. There are hundreds of thousands of new diagnoses every year, and many who go undiagnosed. Leprosy is curable, not highly contagious, and most people have a natural immunity to it, but a lack of knowledge and understanding about the disease is one of the key challenges as we seek to defeat it entirely.

When I was a kid, as many of you know, I lived on a tiny island lighthouse (Race Rocks). Weirdly, the words "quarantine" and "leper colony" were commonplace for me, because we lived across from Albert Head, where the original Quarantine Station stood, and across from Bentinck Island -- a leper colony from 1924 to 1956. It is now a national defence site, where they test weapons.

Before Bentinck, the leper colony (also known as a lazaretto, leprosarium, or lazar house), was on D'Arcy Island. From 1891 to 1924, Chinese immigrants with leprosy were condemned to D'Arcy Island. It was basically a life sentence.

www.timescolonist.com/life/victoria-banished-chinese-lepe...

And in the U.S., a tiny number of cured Hansen’s disease patients still remain at Kalaupapa, a leprosarium established in 1866 on the Hawaiian island of Molokai.

www.history.com/news/leprosy-colonies-us-quarantine

Knowledge of the origin, knowledge of the path, knowledge of the all-transcending, ultimate goal: this is metaphysical tradition. by Traditional Quotes and Symbols

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TRADITON AND ANTITRADITION

291. Tradition means a handing over: the handing over of a supertemporal circle of principles here in time.

292. Tradition is the atemporal thrown into temporality.

293. Knowledge of the origin, knowledge of the path, knowledge of the all-transcending, ultimate goal: this is metaphysical tradition.

294. Tradition springs forth from the eternal, points at the eternal, and in the human modality of being represents the aspiration towards the eternal.

295. Metaphysical tradition is at the same time solar and polar: polar for though it appears in the earthly-human sphere, yet it is of heavenly origin and for this reason its origin is not subject to the whirlpool of existence (samsara), it is solar for the powers characteristic of my self-awareness which provide the rule of the auton are present in it.

296. There is only one primordial tradition for there is only one metaphysics, and there is only one metaphysics for there is only one being.

297. Tradition can never be identified simply with metaphysical doctrines or with symbology bearing a doctrinal value, and even less with the archaic documents that present these. Tradition is the total acceptance of a world and the total denial of another.

298. Metaphysically speaking, tradition is nothing other than »remembrance«, and the bearing of the connection with the origin. Modernity, however, is not only the lack of this »remembrance«, but at the same time the denial of this metaphysical »remembrance« and aims at the destruction of every kind of representation of remembrance.

<> Mandelbrot Fractal Meets Escher Tesselation <> "Hands-On" In a Dimensional Distortion Field <> The Uncertainty of How We Should Or Must View Dimensionality Itself <> Explored by Chic Bee

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A fractal distortion field involving painful symbolic tesselated fractal hands...

Maurice Cornelius Escher, draftsman extradinaire, raised the essential question of how does one really represent higher dimensions, three and four specifically, on a two dimensional plane. He made use of tessellation, the filling or tiling of a plane with various shaped patterns, as a visual tool to change the perceived dimensionality of space itself.

On the other hand - pun intended - Benoit Mandelbrot computer scientist discovered objects with non-integer, fractional dimensionality! And, we suddenly see tessellation playing a key role in visual representation of certain Mandelbrot sets. -

We may ask, what is the real question? "Hands On" symbolizes the uncertainty of how we view dimensionality. Is it reasonable to work in a Physics of only finite integer dimensionality? One wonders, One may ponder - Is there a way to apply these concepts to Cosmology as well? How about Elementary Particle Physics?

And, another layer of uncertainty suddenly or spontaneously appears!!... Definitely a question for brilliant French Metaphysical Philosophers of Science to address... Most likely, they already have...;))

Self similarity crops up in many current analyses of physical objects such as coastlines and of biological forms... The length of a coastline is a function of the amount or level of detail you permit in the measurement process. Similarly, the branching of a tree follows fractal rules and is self similar no matter which scale you use to view it....

Effects staged and choreogaphed by Picnik for iPhone Camera.

I hope everyone will find this as interesting as I do...

IMG_0169_2

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Un champ de distorsion fractal impliquant douloureuse symboliques tesselées mains fractale ...

Maurice Cornelis Escher, extradinaire dessinateur, a soulevé la question essentielle de savoir comment peut-on vraiment représenter les dimensions supérieures, trois et quatre précisément, sur un plan bidimensionnel. Il fait usage de la tessellation, le remplissage ou le carrelage d'un avion avec divers motifs en forme, comme un outil visuel pour changer la dimensionnalité de l'espace perçu lui-même.

D'autre part - jeu de mots - chercheur Benoit Mandelbrot a découvert l'ordinateur des objets avec des non-entier, dimensionnalité fractionnaire! Et, soudain nous voir jouer tessellation un rôle clé dans la représentation visuelle de certains ensembles de Mandelbrot. -

Nous pouvons nous demander, quelle est la vraie question? «Hands On» symbolise l'incertitude de notre façon de voir la dimensionnalité. Est-il raisonnable de travailler dans une physique de la dimensionnalité entiers seulement finie? On se demande, on peut s'interroger - Yat-il un moyen d'appliquer ces concepts à la cosmologie ainsi? Que diriez-Physique des particules élémentaires?

Et, une autre couche d'incertitude soudainement ou spontanément, apparaît !!... Certainement une question pour brillants philosophes français métaphysiques de la science à l'adresse ... Très probablement, ils ont déjà ...;))

Similitude des cultures auto dans de nombreuses analyses actuelles des objets physiques tels que les côtes et des formes biologiques ... La longueur d'un littoral est une fonction de la quantité ou le niveau de détail vous autorisez dans le processus de mesure. De même, le branchement d'un arbre suit des règles fractales et est auto-similaires, peu importe où vous utilisez l'échelle pour la voir ....

Effets mis en scène et choreogaphed par Picnik pour la caméra de l'iPhone.

J'espère que tout le monde va trouver ce aussi intéressant que je ne ...

IMG_0169_2

All About As Above, So Below – Illustrated...The Mysteries of Quantum Metaphysics...Reflecting in those puddle after the rain we should examined in the light of the Ageless Wisdom teachings, by Hughes Songe

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Reflecting in those puddle after the rain we should examined in the light of the Ageless Wisdom teachings, we are reminded of the great occult maxim "As Above So Below" The mural shows the right eye, the left eye and the middle eye. This tower is the symbol for not only all three schools, but also the meaning and purpose of life itself. Vertical rods/constructs are considered archetypal symbols of the phallus. As the dual serpents address the concept of gender, the staff serves as an emissary of transference between body and mind, physically and spiritually. The rod could also be viewed as a conduit between the mundane and ethereal.. The puddle is male, the tower is female and the horizontal line is the child, the source of both the other building, for we all begin life as a child. The upper side, the feminine pathway, explores the human nature of emotions and feeling, both positive and negative, sexual energy and birthing, death, certain psychic energy, and everything that is not logical.As guided from within, outwards. “As above, so below” and vice versa, Solar Systems are born, die and come to birth anew in cycles of activity and rest, as does wo-man. There is a constant flaming out and dying down of activity in every department of nature, corresponding to the alternations of ebb and flow, day and night, summer and winter, life and death. In the beginning of a Day of Manifestation it is taught that a certain Great Being (designated in the Western World by the name of God, but by other names in other parts of the earth) limits Himself to a certain portion of space, in which He elects to create a Solar System for the evolution of added self-consciousness. He includes in His own Being hosts of glorious Hierarchies of, to us, immeasurable spiritual power and splendor. They are the fruitage of past manifestations of this same Being and also other Intelligences, in descending degrees of development down to such as have not reached a stage of consciousness as high as our present humanity, and therefore these latter will not be able to finish their evolution in this System. In God — this great collective Being — there are contained lesser beings of every grade of intelligence and stage of consciousness, from omniscience to an unconsciousness deeper than that of the deepest trance condition. During the period of manifestation with which we are concerned, these various grades of beings are working to acquire more experience than they possessed at the beginning of this period of existence. Those who, in previous manifestations, have attained to the highest degree of development, work on those who have not yet evolved any consciousness. They induce in them a stage of self-consciousness from which they can take up further work themselves. Those who had started their evolution in a former Day of Manifestation, but had not progressed far at the close, now take up their task again, just as we take up our daily work in the morning where we left off the previous night. All the different Beings, however, do not take up their evolution at the early stages of a new manifestation. Some must wait until those who precede them have made the conditions which are necessary for their further development. There are no instantaneous processes in nature. All is an exceedingly slow unfolding, a development which, though so exceedingly slow, is yet absolutely certain to attain ultimate perfection. Just as there are progressive stages in the human life — childhood, youth, manhood or womanhood, and old age — so in the macrocosm there are different stages corresponding to these various periods of the microcosmic life. A child cannot take up the duties of fatherhood or motherhood. Its undeveloped mental and physical condition render it incapable of doing such work. The same is true of the less evolved beings in the beginning of manifestation. They must wait until the higher evolved have made the proper conditions for them. The lower the grade of the intelligence of the evolving being, the more it is dependent upon outside help. At the Beginning, then, the highest Beings — those who are the farthest evolved — work upon those who have the greatest degree of unconsciousness. Later, they turn them over to some of the less evolved entities, who are then able to carry the work a little further. At last self-consciousness is awakened. The evolving life has become Woman-Man. The right eye is controlled by the left brain; it’s male knowledge. Although the right eye “sees” directly to the right brain, this is not what the Egyptians were communicating. It is not the “seeing” but rather the interrupting of the “seeing” information that was important here. It is the left brain that makes this interruption of what is seen; it controls the right side of the body, and vice versa. In the same manner, the Left Eye of Horus, controlled by the right brain, is female knowledge.What happens on one level of reality also happens on every other level; the microcosm and macrocosm behave alike. A revolution occurred during the 20th century in our understanding of the nature of the physical universe. This change is extremely important to religion, for it eliminates a basic conflict between science and religious belief. Prior to this change, our scientific beliefs were based on an approach that was initiated in the 17th century: "We live in a mechanical universe, and we are simply complex machines." This scientific notion that man was purely a mechanical system contradicts what is probably the core of religious belief, namely the idea that mind-like or spirit-like factors can make a difference in human behavior. The religious outlook assumes that a human being, acting on basis of conscious choices, is NOT equivalent to a mechanical system, whose every action is completely determined by direct interaction between tiny neighboring bits of matter. 20th century science, however, has shown that the earlier mechanical concept of reality to be incompatible with empirical facts. To cope with this failure of earlier ideas, physicist made a breakthrough change. Physical theory was converted from a theory about the physical world itself into a theory of WHAT ONE COULD KNOW about the physical world. Human experience was introduced into the theory and made fundamental. This was to be later known as the Copenhagen interpretation. It had drawbacks.For example, while it brought human knowledge into physical theory, it also renounced the possibility of understanding the underlying physical reality. It set our limits of understanding. It was the eminent mathematician John von Neumann and Nobel laureate Eugene Wigner to reincorporate physical reality. They did this by casting the new physics into a theory of the interaction between our conscious thoughts and our physical brains. This was known as von Neumann-Wigner formation of quantum theory, and rationally incorporated conscious thoughts into the basic dynamics. Physics was not yet ready to tackle the problem of interaction between our thoughts and our brain. It was some time before this was scientifically feasible for this kind of proof. Now however, there is a huge and rapidly growing field of experimental data on this question of the connection between minds and brains.

This shift in science is important significance to religion. It removes the basic contradiction between the older scientific claim that human beings are essentially mechanical robots, while religion maintains than man is not ruled by matter alone. The new physics now dynamically entangles our conscious thoughts with the quantum representation of the physical world. There is a plethora of competing theories arising from many disciplines to account for the psychophysical expressions of consciousness in function and structure. The only comprehensive theory must be one that is based in nondualism, and accounts for such self-organizing mindbody manifestations as spontaneous healing or self-recovery, or even the placebo effect. The mind-matter connection is intimately linked to any speculations we can make about alleged mind-over-matter phenomena. In fact all psi phenomena, including such nonlocality demonstrations as the “simple connections” of telepathy, ESP, or synchronicity in general are related to this problem of an underlying or connecting field through which information exchange is instantaneous and unimpeded.The leading contender for such a field, vacuum fluctuation or quantum foam, was proposed by David Bohm. Turbulent motion in this highly excited, subquantal field leads to the emergence from virtuality into actuality of quantum entities which just as quickly dissolve back into the subquantal sea. This same ocean of virtual or metaphysical “stuff” has the property of containing, storing, and transmitting information about the nature of matter and even thought. The observables of nonlocality and psi cry out for some form of interconnection between phenomenon separated in space and/or time. The concept most generally used in physics to account for spatial and temporal interconnection is that of a field. Fields themselves cannot be observed, and so can be considered meta- or beyond physical. Yet the influences propagating through them are observable, eventually. Mind, memory, and consciousness may be such phenomena. Is there one massive holographic field that actually exists in nature in the sense of Bohm’s holomovement? And if so, how does this relate to our consciousness and our relationship to the cosmos. And what is the mechanism by which this universal force interfaces within our organism? When we recognize that we really are that, that nature lies within our deepest structure and function, we come to understand that we are not separate from the whole of creation. We recognize that “I AM THAT I AM.” Everything including ourselves, is deeply connected in one holy movement. The quantum vacuum, the energy-field that characterizes the ground state of the universe, possibly furnishes the indicated ‘fifth field,’ the hidden variables of chaotic yet deterministic micromotion that bootstraps all energy/matter into existence. This plenum could transmit as-yet-unknown effects. This quantum foam, which Wheeler called superspace, consists of a pure massless charge-flux.

We argue, along with Laszlo that, “The conclusion to be derived from the considerations presented here is that the four-demnsional manifold Einstein described as spacetime is likely to be more than a geometrical abstraction. As the energetically superdense quantum vacuum, it may be a physically real field, limiting the velocity of light and other matter-particles and transmittingg a variety of effects, including, but not limited to, gravitation and electromangetism. We may well ask, then, whether the field would also transmit the kind of effects associated with psi.”

Waves of this purely informational (scalar) force could create a potential gradient where quantal motion triggers scalar waves in the vacuum, and these propagate by alternately compressing and rarefying its virtual-particle gas. Scalars are neither ‘light’ nor ‘matter’, but longitudinally propoagating fluctuations below the energy-threshold of particle pair-creation.This produces a self-generating cosmological feedback cycle which translates into interference patterns created by the motion of charged particles modifying the local topology of the vacuum. The modified vacuum field modifies in turn the motion of the particles, (Laszlo, 1993, 1994).Fourier show that any three-dimensional pattern can be analyzed into a set of regular, periodic oscillations that differ only in frequency, amplitude, and phase. Specific waveforms can be exact representations of spatiotemporal objects--thus we have a “Holographic Universe.” Analysis shows that the signals transmitted through the vacuum field are precisely of the psi variety, because information in that field is holographic, and because the propagation of the holographic interference patterns is quasi-instantaneous. Therefore, this virttual field might provide a metaphysical foundation for a broad range of psi phenomena and psychophysical interaction, including self-organization and healing. The quantum vaccum is a highly anomlous universal energy realm of pure potential. It is both the source and destination of all matter in the universe, and thus of any form of consciousness which may emerge through its autopoeitic process. The human brain, with its pronounced and constant state of chaos, could receive and amplify such signals, expressed both consciously and unconsciously in our biophsyical self and our ephemeral thoughts and intuitions.The von-Neumann-Wigner formulation provides the basic logical principles that govern the interaction between thoughts and the brain. It provides prima facie evidence that human thoughts are linked to nature by nonlocal connections. What a person chooses to do in one region seems immediately to effect what is true elsewhere in the universe. This nonlocal aspect can be understood by conceiving the universe to be not a collection of tiny bits of matter, but rather a growing compendium of "bits of information." This profound shift about the nature of reality has not yet sunk in culturally. It will happen by the promotion of understanding of the radical shifts wrought by quantum theory. Most quantum physicists are interested more in applications of quantum theory than in its deep implications. Most now agree that a conception of physical reality is informational in character, not material. Our conscious thoughts ought eventually to be understood within science and that when properly understood, our thoughts will be seen to DO something; they will be efficacious. From what most quantum physicists now understand, certain ontological claims can now be made. 1. The "physical world," as understood in quantum theory, is a store of information, and this information is NOT imbedded in hordes of tiny particles (as they were in classical theory). The information is stored in a mathematically described structure that specifies propensities for certain events to occur. This events (paradigms) include the acquision of information by human agents.2. Conscious events should eventually be understood in science, and these events should be efficacious. They should have a real effect on our actions. The von Neumann-Wigner formulation of quantum theory achieves these ends. It has never been seriously broached in science, not because it was considered unimportant, but because it was deemed too difficult. Pertinent data seemed insufficient and restrictive. This has changed because science has changed.The six sided star in the structural support of the tower incorporates the Duality, Male and Female (Unity), the Blade (upward pointing triangle) and Chalice. The blade represents the Physical, and the Chalice represents the Spiritual realm. It is sometimes referenced as the fire and water triangle as well. Moloch, Chiun and Remphan are all names for the star god, Saturn, whose symbol is a six pointed star formed by two triangles. Saturn was the supreme god of the Chaldeans. The hexagram is referred to the talisman of Saturn. The hexagram was brought to the Jewish people by Solomon when he turned to witchcraft and idolatry after his marriage to Pharaoh’s daughter. It became known as the Seal of Solomon in Egyptian magic and witchcraft. The six pointed star was adopted as the family crest or shield by the Rothschild family during the 19th century,he helped to finance Eiffel. Heavily associated with alchemy, Leo, the Lion, the Double Lion, Routi, refers directly to the Sun as being a source of knowledge. Leo, is one of the constellations of the Zodiac. The Zodiac, is a direct reference to the Sun. The Sun’s position at midday during the time of the Egyptians coincided with the midsummer solstice. Leo was a constellation of the summer.

The theme of Illumination, Knowledge, or Secrets being kept “under the Lion’s Paw” is a recurring motif.There are lions on the first floor belly. The spiral effect the descending forces of the tower, that indicates an expansion of knowledge, and the undulating dance of cosmic forces. Such dualities include:

Asleep/Awake Illness/Health Separation/Unity Male/Female

Left/Right Binding/Loosing Wax/Wane Water/Fire Sun/Moon

Yin/Yang Light/Dark Good/Evil Upper/Lower. If you take it a step further, you notice the dual intertwined snakes form a double helix DNA strand; Serpent DNA specifically. If the serpent is a biological anthropomorphism of DNA, then we can attribute the Ouroboros to cycles of DNA change.Let us examine this slide which I feel holds many secrets. First you have the sun and moon in opposite positions which proves the world has been put on a purposeful pole shift done at the hands of man.

In the East where the sun is supposed to rise you now have the moon or crescent where there is a Brother with a sword with an eagle or falcon upon it where he is shielding his eyes from the light because it is either too bright or he cannot see because he is blinded by the darkness.

In the West where the sun is supposed to set, you now have the sun with a brother who can see clearly what is going on as he holds the staff and serpent.

In the middle is the LORD OR LORDS and KING OF KINGS who represent the union of both and has risen above the Abyss on the wings of destiny. The Phoenix or Rex Mundi who represents not only the union of East and West, but also AS ABOVE SO BELOW.

So what does it mean?

The microcosm is oneself, and the macrocosm is the universe. The macrocosm is as the microcosm, and vice versa; within each lies the other, and through understanding one you can understand the other. The primary idea behind this is that the “above” refers to what is visible in the sky. The below, refers to Earth. This creates an equality as it explains how the Earth is a microcosm of the configuration of the planets in the solar system. It draws the connection that the Earth is affected by planetary orbits. This concept also affects various levels of reality: physical, emotional, and mental What happens on any level happens on every other.

The concept has not only been a practice, but an attempt to replicate and do a better job then YHWH himself. This is why alchemy and astrology play such an important role in the Illuminati.

In Alchemy, there is a process which Mercury and Lead can supposedly turned to Gold. The Gold isn’t the main goal. It’s to understand the process of how mercury or lead changes into gold. Man wants to replicate and modify what is on the Earth into their standards.

The same goes for Astrology. The elite not only observe all of the astrological signs, but use them to construct the architecture of this tower.

There will come a time when it will have been in vain that Egyptians have honored the Godhead with heartfelt piety and service; and all our holy worship will be fruitless and ineffectual. The Elohim will return from earth to heaven; Egypt will be forsaken, and the land which was once the home of religion will be left desolate, bereft of the presence of its deities.

They will no longer love this world around us, this incomparable work of YHWH, this glorious structure which HE has built, this sum of good made up of many diverse forms, this instrument whereby the will of YHWH operates in that which he has made, ungrudgingly favoring man’s welfare.

Darkness will be preferred to light, and death will be thought more profitable than life; no one will raise his eyes to heaven; the pious will be deemed insane, the impious wise; the madman will be thought a brave man, and the wicked will be esteemed as good.

As for the soul, and the belief that it is immortal by nature, or may hope to attain to immortality, as I have taught you; all this they will mock, and even persuade themselves that it is false. No word of reverence or piety, no utterance worthy of heaven, will be heard or believed.

And so the Elohiym will depart from mankind – a grievous thing and only evil angels will remain, who will mingle with men, and drive the poor wretches into all manner of reckless crime, into wars, and robberies, and frauds, and all things hostile to the nature of the soul.

Then will the earth tremble, and the sea bear no ships; heaven will not support the stars in their orbits, all voices of the Elohiym will be forced into silence; the fruits of the Earth will rot; the soil will turn barren, and the very air will sicken with sullen stagnation; all things will be disordered and awry, all good will disappear.

But when all this has befallen, then YHWH the Creator of all things will look on that which has come to pass, and will stop the disorder by the counterforce of his will, which is the good. HE will call back to the right path those who have gone astray; he will cleanse the world of evil, washing it away with floods, burning it out with the fiercest fire, and expelling it with war and pestilence.The double tetrahedron visible in the structural's forms of the tower can be referred to as the interdimensional vehicle for travel, the Merkaba. It also incorporates the Duality, Male and Female, the Blade (upward pointing triangle) and Chalice. The blade represents the Physical, and the Chalice represents the Spiritual realm. The Star of Solomon can also represent Jerusalem.The Square and Compass is the Blade and Chalice, God and Goddess in the act of Creation, and within the Star we find the Heavenly Luminaries or the Eyes or Spirits of God (the Planets). The symbols on the star represent the astrological portion of the symbol, Jupiter, Venus, the Moon, Mercury, Mars and Saturn, with the Sun being at the center. Zoroaster’ teachings mentioned earlier in the thread as Thoth or Hermes, would be responsible for the seven petal flower depicted at the center.

in5d.com/all-about-as-above-so-below-illustrated/

Otherworld...Messianic kingdom....Apocalyptic literature...World to come...a river had to be crossed to allow entrance to it and it is usually an old man that would transport the soul across the waters. by Hughes Songe

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The concept of an otherworld in historical Indo-European religion is reconstructed in comparative mythology. Its name is a calque of orbis alius (Latin for "other Earth/world"), a term used by Lucan in his description of the Celtic Otherworld.

Comparable religious, mythological or metaphysical concepts, such as a realm of supernatural beings and a realm of the dead, are found in cultures throughout the world. Spirits are thought to travel between worlds, or layers of existence in such traditions, usually along an axis such as a giant tree, a tent pole, a river, a rope or mountains.

Many Indo-European mythologies show evidence for a belief in some form of "Otherworld" and in many cases such as in Persian, Greek, Germanic,Celtic,Slavic and Indic mythologies a river had to be crossed to allow entrance to it and it is usually an old man that would transport the soul across the waters. In Greek and Indic mythology the waters of this river were thought to wash away sins or memories whereas Celtic and Germanic myths feature wisdom-imparting waters, suggesting that while the memories of the deceased are washed away a drinker of the waters would gain inspiration. The wayfarer will commonly encounter a dog either in the capacity of a guardian of the Otherworld or as the wanderer's guide.[3] Examples of this are the Greek Cerberus, the three-headed hound of Hades, and the Indic सर्वरा "sarvarā, one of the hounds of Yama, whose names may derive from an Indo-European *ḱerberos meaning "spotted".[3] In Indo-European mythologies the Otherworld is depicted in many ways, including peaceful meadows, islands and buildings making it hard to determine how the original Proto-Indo-European Otherworld was viewed. However the ruler of the dead was possibly Yemo, the divine twin of Manu the first man.

The Chinvat Bridge (Avestan Cinvatô Peretûm, "bridge of judgement" or "beam-shaped bridge") or the Bridge of the Requiter in Zoroastrianism is the sifting bridge which separates the world of the living from the world of the dead. All souls must cross the bridge upon death. The bridge is guarded by two four-eyed dogs. A related myth is that of Yama, the Hindu ruler of Hell who watches the gates of Hell with his two four-eyed dogs.

Many Celtic Immrams or "voyage stories" and other medieval texts provide evidence of a Celtic belief in an otherworld. One example which helps the reader understand the Celtic concept of the otherworld is The Voyage of Saint Brendan. Another Classic example of a Celtic "otherworld" is the Voyage of Bran. Because Celtic life largely was based upon nourishment from the sea and around the wet and foggy weather of Northern Europe the otherworld is often portrayed as an island to the west in Celtic oral tradition and even shown on some maps of Ireland during the medieval era. The otherworld in the idea of Celtic people became hard to distinguish and sometimes overlapped with the Christian idea of hell or heaven as this was often an analogy made to the Celtic idea of an otherworld or Scandinavian idea of a world tree. This is likely because of Roman and Scandinavian influences on Celtic cultures. An example of Scandinavian influence is apparent in the Voyage of Saint Brendan from the likeness of Lasconius the serpent to the Scandinavian Midgard Serpent. Red and white are the colors of animals in the Celtic Otherworld, and these colors still animate transcendent religious and political symbols today.

See also: Alfheim, Asgard, Vanaheim, and Norse cosmology

As was the case in the Celtic mythologies, in Germanic myths apples were particularly associated with the Otherworld. In the Scandinavian tradition mythological localities are featured, as in Irish mythology; however, unlike Irish mythology, an attempt was made to map the localities of the Otherworld rather than list locales associated with it.In the Edda many locations are named including the dwellings of the gods such as Odin's hall of Valhalla or Ullr's dwelling of Ydalar ("Yewdale"). The Gylfaginning and the later Norwegian poem the Draumkvaede feature travels into the Otherworld.

The Early Slavs believed in a mythical place where birds flew for the winter and souls went after death; this realm was often identified with paradise and it is called Vyraj. It was also said that spring arrived on Earth from Vyraj.The gates of Vyraj stopped mortals from entering. They were guarded by Veles, who sometimes took the animal form of a raróg, grasping in its claws the keys to the otherworlds. Vyraj was sometimes also connected to the deity known as Rod - it was apparently located far beyond the sea, at the end of the Milky Way.It was usually imagined as a garden, located in the crown of the cosmic tree. Whereas the branches were said to be nested by the birds, who were usually identified as human souls. When the Slavic populations were gradually turning to Christianity (e.g. during the Christianization of Kievan Rus' and the Baptism of Poland), a new version of this belief became widespread in which there were two of these realms - one analogous to the original myth, a heavenly place where birds departed, and the other an underworld for snakes and zmeys, often associated with the Christian idea of hell. This second variant bears many similarities to Nav, another representation of the Slavonic underworld. See also: Mount Olympus, Greek Underworld, Hades, and Fortunate Isles In Greco-Roman mythology the Gods were said to dwell on Mount Olympus whereas the dead usually went to the Underworld or Fortunate Isles after death

en.wikipedia.org/wiki/Otherworld

The world to come, age to come, or heaven on Earth are eschatological phrases reflecting the belief that the current world or current age is flawed or cursed[citation needed] and will be replaced in the future by a better world, age, or paradise. The concept is related to but differs from the concepts of heaven, the afterlife, and the Kingdom of God in that heaven is another place or state generally seen as above the world, the afterlife is generally an individual's life after death, and the Kingdom of God could be in the present (such as Realized eschatology) or the future. In Hindu eschatology the current age is the Kali Yuga, a period of decline. Kalki ('Destroyer of Filth') will appear to purge all evil, beginning a golden age of Satya Yuga. There have been a range of dates predicted, purportedly from different methods of calculation.Sri Potuluri Virabrahmendra Swami, for example, wrote 400 years ago in his Divya Maha Kala Gnana, or 'Divine Knowledge of the Time,' that Kalki would arrive when the moon, sun, Venus and Jupiter entered the same sign. This is not a rare occurrence and last happened in early 2012, passing without event.The time of arrival of Kalki has not been consistently asserted by astrologers. Resurrection of the dead, fresco from the Dura-Europos synagogue HaOlam HaBa, or "the world to come", is an important part of Jewish eschatology, although Judaism concentrates on the importance of HaOlam HaZeh ("this world"). The afterlife is known as Olam haBa, Gan Eden (the Heavenly Garden of Eden) and Gehinom. According to the Talmud, any non-Jew who lives according to the Seven Laws of Noah is regarded as a Ger toshav (righteous gentile), and is assured of a place in the world to come, the final reward of the righteous.

Four Horsemen of the Apocalypse, an 1887 painting by Victor Vasnetsov. The Lamb of God is visible at the top.

Main article: Christian eschatology Under Christian eschatology, the phrase is found in the Nicene Creed (current Ecumenical version): "We look for the resurrection of the dead, and the life of the world to come." It is also found in the King James Version of the New Testament at Matthew 12:32, Mark 10:30, Luke 18:30, Hebrews 2:5, Hebrews 6:5. Other related expressions are "age to come" which is typically found in more recent translations, Kingdom of God, Messianic Age, Millennial Age, The New Earth and New Jerusalem, and dispensation of the fulness of times and possibly also eternal life. There have been a number of unsuccessful predictions (a partial list of unsuccessful predictions can be found at Predictions and claims for the Second Coming of Christ) of the date of the Christian End Times, despite Jesus' admonition at the end of the Olivet Discourse that only God the Father knows when the end times will begin (Mark 13:32–37).

In Zoroastrian eschatology, the world to come is the frashokereti, where the saoshyant will bring about a resurrection of the dead in the bodies they had before they died. This is followed by a last judgment. The yazatas Airyaman and Atar will melt the metal in the hills and mountains, and the molten metal will then flow across the earth like a river. All humankind—both the living and the resurrected dead—will be required to wade through that river, but for the righteous (ashavan) it will seem to be a river of warm milk, while the wicked will be burned. The river will then flow down to hell, where it will annihilate Angra Mainyu and the last vestiges of wickedness in the universe.

The New Testament frequently cites Jewish scripture to support the claim of the Early Christians that Jesus of Nazareth is the Messiah, and faith in Jesus as the Christos and his imminent expected Second Coming. The majority of these quotations and references are taken from the Book of Isaiah, but they range over the entire corpus of Jewish writings. People of the Jewish faith do not regard any of these as having been fulfilled by Jesus, and in some cases do not regard them as messianic prophecies at all. These either were not prophecies (the verses make no claim of predicting anything) or the verses do not explicitly refer to the Messiah.In Abrahamic religions, the Messianic Age is the future period of time on earth in which the messiah will reign and bring universal peace and brotherhood, without any evil. Many believe that there will be such an age; some refer to it as the consummate "kingdom of God" or the "world to come".

Apocalyptic literature is a genre of prophetical writing that developed in post-Exilic Jewish culture and was popular among millennialist early Christians. "Apocalypse" (ἀποκάλυψις) is a Greek word meaning "revelation", "an unveiling or unfolding of things not previously known and which could not be known apart from the unveiling". As a genre, apocalyptic literature details the authors' visions of the end times as revealed by an angel or other heavenly messenger. The apocalyptic literature of Judaism and Christianity embraces a considerable period, from the centuries following the Babylonian exile down to the close of the Middle Ages.Apocalyptic elements can be detected in the prophetical books of Joel and Zechariah, while Isaiah chapters 24–27 and 33 present well-developed apocalypses. The Book of Daniel offers a fully matured and classic example of this genre of literature.

The non-fulfillment of prophecies served to popularize the methods of apocalyptic in comparison with the non-fulfillment of the advent of the Messianic kingdom. Thus, though Jeremiah had promised that after seventy years Israelites should be restored to their own land, and then enjoy the blessings of the Messianic kingdom under the Messianic king,[6] this period passed by and things remained as of old.[7] Some[who?] believe that the Messianic kingdom was not necessarily predicted to occur at the end of the seventy years of the Babylonian exile, but at some unspecified time in the future. The only thing for certain that was predicted was the return of the Jews to their land, which occurred when Cyrus the Persian conquered Babylon in circa 539 BC. Thus, the fulfillment of the Messianic kingdom remained in the future for the Jews.

Haggai and Zechariah explained the delay by the failure of Judah to rebuild the temple, and so hope of the kingdom persisted, until in the first half of the 2nd century the delay is explained in the Books of Daniel and Enoch as due not to man's shortcomings but to the counsels of God.[8] Regarding the 70 years of exile predicted in Jeremiah 29:10, the Jews were first exiled in 605 BC in the reign of king Jehoiakim and were allowed to return to their land in c. 536 BC when King Cyrus conquered Babylon. This period was approximately 70 years, as prophesied by Jeremiah.[citation needed] But some people[who?] believe that the 70 years of Jeremiah were later interpreted by the angel in Daniel 9 as 70 weeks of years, of which 69½ have already expired, while Enoch 85 interprets the 70 years of Jeremiah as the 70 successive reigns of the 70 angelic patrons of the nations, which are to come to a close in his own generation.[8] The Book of Enoch, however, was not considered inspired Scripture by the Jews, so that any failed prophecy in it is of no consequence to the Jewish faith.

The Greek empire of the East was overthrown by Rome, and prompted a new interpretation of Daniel. The fourth and last empire was declared to be Roman by the Apocalypse of Baruch[8] chapters 36–40 and 4 Ezra 10:60–12:35. Again, these two books were not considered inspired Scripture by the Jews, and thus were not authoritative on matters of prophecy. In addition, earlier in Daniel chapter 7 and also in chapter 2, the fourth and final world empire is considered to be Rome since Babylon, Medo-Persia (Achaemenid Empire), Greece, and Rome were world empires which all clearly arrived in succession. Thus, it might be interpreted[by whom?] that Daniel was saying that Rome would be the last world power before the kingdom of God.

Such ideas as those of "the day of Yahweh" and the "new heavens and a new earth" were re-interpreted by the Jewish people with fresh nuances in conformity with their new settings. Thus the inner development of Jewish apocalyptic was conditioned by the historical experiences of the nation. But the prophecies found in Jewish scriptures, which have not changed over time, await their fulfillment.

Another source of apocalyptic thought was primitive mythological and cosmological traditions, in which the eye of the seer could see the secrets of the future. Thus the six days of the world's creation, followed by a seventh of rest, were regarded as at once a history of the past and a forecasting of the future. As the world was made in six days its history would be accomplished in six thousand years, since each day with God was as a thousand years and a thousand years as one day; and as the six days of creation were followed by one of rest, so the six thousand years of the world's history would be followed by a rest of a thousand years.

The object of this literature in general was to square the righteousness of God with the suffering condition of His righteous servants on earth. Early Old Testament prophecy taught the need of personal and national righteousness, and foretold the ultimate blessedness of the righteous nation on the present earth. Its views were not systematic and comprehensive in regard to the nations in general. Regarding the individual, it held that God’s service here was its own and adequate reward, and saw no need of postulating another world to set right the evils of this one.

But later, with the growing claims of the individual and the acknowledgment of these in the religious and intellectual life, both problems, and especially the latter, pressed themselves irresistibly on the notice of religious thinkers, and made it impossible for any conception of the divine rule and righteousness to gain acceptance, which did not render adequate satisfaction to the claims of both problems. To render such satisfaction was the task undertaken by apocalyptic, as well as to vindicate the righteousness of God alike in respect of the individual and of the nation. Later prophecy incorporated an idea of future vindication of present evils, often including the idea of an afterlife.

Apocalyptic prophets sketched in outline the history of the world and mankind, the origin of evil and its course, and the final consummation of all things. The righteous as a nation should yet possess the earth, either via an eternal Messianic kingdom on earth, or else in temporary blessedness here and eternal blessedness hereafter. Though the individual might perish amid the disorders of this world, apocalyptic prophets taught that the righteous person would not fail to attain through resurrection the recompense that was due in the Messianic kingdom or, alternatively, in heaven itself.

Some may distinguish between the messages of the prophets and the messages of proto-apocalyptic and apocalyptic literature by saying that the message of the prophets was primarily a preaching of repentance and righteousness needed for the nation to escape judgment; the message of the apocalyptic writers was of patience and trust for that deliverance and reward were sure to come. Neither the prophets nor the apocalyptic authors are without conflict between their messages, however, and there are significant similarities between prophecy and apocalyptic writings.

Apocalyptic literature shares with prophecy revelation through the use of visions and dreams, and these often combine reality and fantasy. In both cases, a heavenly interpreter is often provided to the receiver so that he may understand the many complexities of what he has seen. The oracles in Amos, Hosea, First Isaiah, and Jeremiah give a clear sense of how messages of imminent punishment develop into the later proto-apocalyptic literature, and eventually into the thoroughly apocalyptic literature of Daniel 7–12. The fully apocalyptic visions in Daniel 7–12, as well as those in the New Testament’s Revelation, can trace their roots to the pre-exilic latter biblical prophets; the sixth century BCE prophets Ezekiel, Isaiah 40–55 and 56–66, Haggai 2, and Zechariah 1–8 show a transition phase between prophecy and

Prophecy believes that this world is God's world and that in this world His goodness and truth will yet be vindicated. Hence the prophet prophesies of a definite future arising out of and organically connected with the present. The apocalyptic writer despairs of the present and directs his hopes to the future, to a new world standing in essential opposition to the present. This becomes a dualistic principle, which, though it can largely be accounted for by the interaction of certain inner tendencies and outward sorrowful experience on the part of Judaism, may ultimately be derived from Mazdean influences. This principle, which shows itself in the conception that the various nations are under angelic rulers, who are in a greater or less degree in rebellion against God, as in Daniel and Enoch, grows in strength with each succeeding age, till at last Satan is conceived as "the ruler of this world" or "the god of this age." The prophet stood in direct relations with his people; his prophecy was first spoken and afterwards written. The apocalyptic writer could obtain no hearing from his contemporaries, who held that, though God spoke in the past, "there was no more any prophet." This pessimism limited and defined the form in which religious enthusiasm should manifest itself, and prescribed as a condition of successful effort the adoption of pseudonymous authorship. The apocalyptic writer, therefore, professedly addressed his book to future generations. Generally directions as to the hiding and sealing of the book[ were given in the text in order to explain its publication so long after the date of its professed period. There was a sense in which such books were not wholly pseudonymous. Their writers were students of ancient prophecy and apocalyptical tradition, and though they might recast and reinterpret them, they could not regard them as their own inventions. Each fresh apocalypse would in the eyes of its writer be in some degree but a fresh edition of the traditions naturally attaching themselves to great names in Israel’s past, and thus the books named respectively Enoch, Noah, Ezra would to some slight extent be not pseudonymous. Apocalyptic writing took a wider view of the world's history than did prophecy. Whereas prophecy had to deal with governments of other nations, apocalyptic writings arose at a time when Israel had been subject for generations to the sway of one or other of the great world-powers. Hence to harmonize Israel's difficulties with belief in God's righteousness, apocalyptic writing had to encompass such events in the counsels of God, the rise, duration and the downfall of each empire in turn, until, finally the lordship of the world passed into the hands of Israel, or the final judgment arrived. These events belonged in the main to the past, but the writer represented them as still in the future, arranged under certain artificial categories of time definitely determined from the beginning in the counsels of God and revealed by Him to His servants, the prophets. Determinism thus became a leading characteristic of Jewish apocalyptic, and its conception of history became mechanical.

Characteristics of Old Testament apocalyptic literature[edit]

The revelations from heavenly messengers, about the end times, came in the form of angels, or from people who have been taken up to heaven and are returned to earth with messages. The descriptions not only tell of the end times, but also describe both past and present events and their significance, often in heavily coded language. When speaking of the end times, apocalyptic literature generally included chronologies of events that will occur and frequently places them in the near future, which gives a sense of urgency to the prophet’s broader message. Though the understanding of the present is bleak, the visions of the future are far more positive, and include divinely delivered victory and a complete reformation of absolutely everything. Many visions of these end times mirror creation mythologies, invoke the triumph of God over the primordial forces of chaos, and provide clear distinctions between light and dark, good and evil. In such revelations, humankind is typically divided into a small group that experiences salvation, while the wicked majority is destroyed. Since the apocalyptic genre developed during the Persian period, this dualism may have developed under the influence of Persian thought. The imagery in apocalyptic literature is not realistic or reflective of the physical world as it was, but is rather surreal and fantastic, invoking a sense of wonder at the complete newness of the new order to come. According to Jewish tradition, the Messianic Era will be one of global peace and harmony, an era free of strife and hardship, and one conducive to the furtherment of the knowledge of the Creator. The theme of the Messiah ushering in an era of global peace is encapsulated in two of the most famous scriptural passages from the Book of Isaiah: They shall beat their swords into plowshares and their spears into pruning hooks; nation will not lift sword against nation and they will no longer study warfare.— Isaiah 2:4 The wolf will live with the lamb, the leopard will lie down with the goat, the calf and the lion and the yearling together; and a little child will lead them. The cow will feed with the bear, their young will lie down together, and the lion will eat straw like the ox. The infant will play near the hole of the cobra, and the young child put his hand into the viper's nest. They will neither harm nor destroy on all my holy mountain, for the earth will be full of the knowledge of the Lord as the waters cover the sea.— Isaiah 11:6-9

In his Mishneh Torah, Maimonides describes the Messianic Era:"And at that time there will be no hunger or war, no jealousy or rivalry. For the good will be plentiful, and all delicacies available as dust. The entire occupation of the world will be only to know God... the people Israel will be of great wisdom; they will perceive the esoteric truths and comprehend their Creator's wisdom as is the capacity of man. As it is written (Isaiah 11:9): "For the earth shall be filled with the knowledge of God, as the waters cover the sea."

According to the Talmud,the Midrash, and the ancient Kabbalistic work, the Zohar, the Messiah must arrive before the year 6000 from the time of creation. In Orthodox Jewish belief, the Hebrew calendar dates to the time of creation, making this correspond to the year 2240 on the Gregorian calendar. The Midrash comments: "Six eons for going in and coming out, for war and peace. The seventh eon is entirely Shabbat and rest for life everlasting."

There is a kabbalistic tradition[ that maintains that each of the seven days of the week, which are based upon the seven days of creation, correspond to the seven millennia of creation. The tradition teaches that the seventh day of the week, the Sabbath day of rest, corresponds to the seventh millennium, the age of universal 'rest' - the Messianic Era. The seventh millennium perforce begins with the year 6000, and is the latest time the Messiah can come. Supporting and elaborating on this theme are numerous early and late Jewish scholars, including Rabbeinu Bachya, Abraham ibn Ezra,the Ramban,Isaac Abrabanel, the Ramchal,the Vilna Gaon,Aryeh Kaplan, and the Lubavitcher Rebbe.

This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2017) (Learn how and when to remove this template message)

Christian eschatology includes several views of the Messianic Age. According to realized eschatology, the Messianic Era, a time of universal peace and brotherhood on the earth, without crime, war and poverty, is already here. With the crucifixion of Jesus the Messianic Era had begun, but according to inaugurated eschatology it will only be initiated and fulfilled by the parousia of Christ.

The Book of Revelation is commonly interpreted as referring to the "unveiling" or "revelation" of Jesus as the Messiah in the apocalypse or end of the world. It tells of a 1000-year period after the apocalypse in which Satan will be bound so that he cannot influence those living on the Earth, and Jesus Christ will reign on the Earth with resurrected saints. After that Satan will be defeated once and for all, the Earth and heaven will pass away, and people will face judgment by Jesus Christ to determine whether or not they will enter the new heaven and Earth that will be established. (Revelation 21) The Nicene Creed, professed by most Christians, expresses the belief that Christ ascended to Heaven, where he now sits at the Right hand of God and will return to earth at the Second Coming to establish the Kingdom of God of the World to Come.

This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2011) (Learn how and when to remove this template message) The Quran states that Isa ibn Maryam (Jesus, son of Mary) was the Messiah or "Prophet" sent to the Jews.[Quran 3:45] Muslims believe he is alive in Heaven, and will return to Earth to defeat the Masih ad-Dajjal, an anti-messiah comparable to the Christian Antichrist and the Jewish Armilus. A hadith in Abu Dawud (37:4310) says: Narrated Abu Hurayrah: The Prophet said: There is no prophet between me and him, that is, Jesus. He will descend (to the earth). When you see him, recognise him: a man of medium height, reddish hair, wearing two light yellow garments, looking as if drops were falling down from his head though it will not be wet. He will fight for the cause of Islam. He will break the cross, kill the swine, and put an end to war (in another tradition, there is the word Jizyah instead of Harb (war), meaning that he will abolish jizyah); God will perish all religions except Islam. He [Jesus] will destroy the Antichrist who will live on the earth for forty days and then he will die. The Muslims will pray behind him. Both Sunni and Shia Muslims agree Imam Mahdi will arrive first, and after him, Jesus. Jesus will proclaim that the true leader is al-Mahdi. A war, literally Jihad (Jihade Asghar) will be fought—the Dajjal (evil) against al-Mahdi and Jesus (good). This war will mark the approach of the coming of the Last Day. After Jesus slays al-Dajjāl at the Gate of Lud, he will bear witness and reveal that Islam is the true and final word from God to humanity as Yusuf Ali's translation reads:[Quran 4:159 (Translated by Yusuf Ali)] And there is none of the People of the Book but must believe in him before his death; and on the Day of Judgment He will be a witness against them.― (159) He will live for several years, marry, have children and will be buried in Medina. A hadith in Sahih Bukhari (Sahih al-Bukhari, 4:55:658) says: Allah's Apostle said "How will you be when the son of Mary descends amongst you and your Imam is from amongst you."Very few scholars outside of Orthodox Islam reject all the quotes (Hadith) attributed to Muhammad that mention the second return of Jesus, the Dajjal and Imam Mahdi, believing that they have no Quranic basis. However, Quran emphatically rejects the implication of termination of Jesus’ life when he was allegedly crucified. Yusuf Ali’s translation reads: That they said (in boast), "We killed Christ Jesus the son of Mary, the Messenger of Allah";― but they killed him not, nor crucified him, but so it was made to appear to them and those who differ therein are full of doubts, with no (certain) knowledge, but only conjecture to follow, for of a surety they killed him not. (157) Nay, Allah raised him up unto Himself; and Allah is Exalted in Power, Wise. (158)[Quran 4:157–158] So Peace is on me the day I was born, the day that I die and the day that I shall be raised up to life (again).[Quran 19:33] Many classical commentators such as Ibn Kathir, At-Tabari, al-Qurtubi, Suyuti, al-Undlusi (Bahr al-Muhit), Abu al-Fadl al-Alusi (Ruh al-Maani) clearly mention that verse 43:61 of the Qur'an refers to the descent of Jesus before the Day of Resurrection, indicating that Jesus would be the Sign that the Hour is close. And (Jesus) shall be a Sign (for the coming of) the Hour (of Judgment): therefore have no doubt about the (Hour)...[Quran 43:61] In Ahmadiyya Islam, the present age (the Messianic age) has been a witness to the wrath of God with the occurrence of the World Wars and the frequency of natural disasters. In Ahmadiyya, Ghulam Ahmad (d.1908) is seen as the promised Messiah whose Islamic teachings will establish spiritual reform and ultimately establish an age of peace upon earth. This age continues for around a thousand years as per Judeo-Christian prophecies; and is characterised by the assembling of mankind under one faith that is Islam as per Ahmadiyya belief. In the Bahá'í Faith, the "Messianic Age" refers to a 1000-year period beginning with the Declaration of Bahá'u'lláh in 1863. Bahá'ís believe the period of peace and prosperity is gradually unfolding and will culminate in the appearance of "The Most Great Peace".The prophet stood in direct relations with his people; his prophecy was first spoken and afterwards written. The apocalyptic writer could obtain no hearing from his contemporaries, who held that, though God spoke in the past, "there was no more any prophet." This pessimism limited and defined the form in which religious enthusiasm should manifest itself, and prescribed as a condition of successful effort the adoption of pseudonymous authorship. The apocalyptic writer, therefore, professedly addressed his book to future generations. Generally directions as to the hiding and sealing of the book were given in the text in order to explain its publication so long after the date of its professed period. There was a sense in which such books were not wholly pseudonymous. Their writers were students of ancient prophecy and apocalyptical tradition, and though they might recast and reinterpret them, they could not regard them as their own inventions. Each fresh apocalypse would in the eyes of its writer be in some degree but a fresh edition of the traditions naturally attaching themselves to great names in Israel’s past, and thus the books named respectively Enoch, Noah, Ezra would to some slight extent be not pseudonymous.

en.wikipedia.org/wiki/World_to_come

Metaphysics#2 by Bizzor

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adox 100@150, stand dev. 1+200-2hr. Adonal R09

Portrait Lunar New Year theme by Kayla Lee

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The five elements (metal, wood, water, fire, and earth) of Chinese metaphysics are closely related to certain colours, mainly due to the colours being made up of specific frequencies. Each colour is therefore believed to have different characteristics and be related to one of the five elements. This also depends on the element that complements each year – for example, water would be the complementary element for the year of the Rabbit in 2023. Five main groups of colours corresponding to the respective elements are namely – blue and black (water), yellow and beige (earth), white (metal), red (fire), and green (wood). The colours of the set and the model's outfit correspond to the five elements.

To summarise, azure blue, apple green, pearl white, fiery red and imperial yellow are the lucky colours that incorporate the wood, fire, water, metal and earth elements of feng shui. It is safe to say that wood and water elements (green and blue) may dominate all the art, fashion and decor trends going by feng shui. Green also symbolises the environment and ‘go green’ as a mantra has been adopted in a big way to encourage sustainable fashion, a cleaner way of living and thriving on this planet.

Metaphysical holidays by aelena

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inspired by the great de Chirico -

from an old paper photograph from around 2005 probably

Andalucìa, Metaphysical spaces /1 by Marco Cinalli

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Bolonia (Tarifa), Andalucìa.

Among the Metaphysicals by Clive Varley

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A thought upon Beautiful Pages ...John Donne

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"a watercolor by Carlo Siligato": here a detail of the metaphysical garden of Casa Cuseni."

“un acquarello di Carlo Siligato: qui un dettaglio del giardino metafisico di Casa Cuseni.”

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click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;

or…. Press the “L” button to zoom in the image;

clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;

oppure…. premi il tasto “L” per ingrandire l'immagine;