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Calculations and information compiled from : www.simplyshrug.com/index.php?option=com_content&view...
To learn more about the roots and implications of the pseudo-scientific overpopulation mythology, watch Webster Griffin Tarpley's excellent analysis : The Elite's Plan for Global Extermination (55mins)
She told me her character is called Myth but I couldn't work out where the character came from.
Supanova Expo, Sydney Olympic Park, Sydney, Australia (Saturday 18 June 2016)
"Myth" she will be on exhibit at BCEU this year.
Faceup by me
Reroot by Blythe Laboratory
Outfit by Hello miss.quito
Laocoön, cast room Ashmolean Museum
Laocoön, the son of Acoetes, is a figure in Greek and Roman mythology and the Epic Cycle. He was a Trojan priest who was attacked, with his two sons, by giant serpents sent by the gods.
Tour auf den Kleinen Mythen im Schweizer Kanton Schwyz. Von Brunni SZ-Alptal über die Alp Zwüschet Mythen (1356 m.ü.M.) zum Wanderpass und Aussichtspunkt Zwüschet Mythen (1438 m.ü.M.). Über den Kleinen Mythen Vorgipfel (1763 m.ü.M.) zum Gipfelkreuz des Hauptgipfels (1811 m.ü.M.). Auf dem Gipfel gibt es gigantische Aussichten auf die Alpenhauptkette, den Vierwaldstätter See, den Lauerzer, Zuger See und natürlich auf den Großen Mythen.
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Chapel of Sokar-Osiris.
There are two different scenes depicted on the vaulted chapel of Sokar-Osiris. On the northern wall, is depicted goddess Isis and Horus mourn the dead god Osiris who is lying on a bed. The bed has lion ornament in the front. The four sons of Horus are represented under the bed. This scene describes one of the episodes of the myth when Osiris was murdered by his brother Seth.
Temple of Seti I at Abydos
DJ Myth Live July 15th 6-8 PM SLT Club Krush
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All Adults are Welcome and Encouraged to Come Wiggle!
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This is my display case with Myth Cloth action figures. I've personally made everything, from the main structure to the lights, from the custom labels to the marble stairways.
NEWYORK Jan 29 (Reuters) - While Marty Weinstein made a decision to quit smoking, a buddy's advice was taken by him and tried electronic cigarettes in the place of government -approved nicotine substitute goods.I reviewed for 24 years. Tried every stop smoking approach in the world but still was
Medical myths illustrator
- source : www.dailymail.co.uk/health/article-503764/Researchers-pou... (modified)
- for : jusci.net/node/887
Sarcophagus' frieze depicting the myth of Jason and Medea in Corinth. The bas-relief describes the events concerning the myth of Jason after the recovery of the Golden Fleece in Colchis and the killing of Pelias, uncle of Jason, and usurper of the kingdom of Iolcus. After these events, and after having been expelled from Iolcus, Jason and Medeia settled in Corinth where they are said to have lived happily for ten years. But then Jason, having grown weary of being married to a foreign sorceress, felt ready for a younger and more representative wife. He found her in Glauce, daughter of King Creon of Corinth.
The events described by the images carved on the sarcophagus start from this point of Jason’s tale. They are arranged in five episodes. In the first, Medeia's children (bearing the poisoned gifts) approach an enthroned Creusa, who is surrounded by male and female attendants in her bridal chamber. The beardless figure on the far left has often been identified as Jason. In the second scene Jason is portrayed as a handsome hunter with a hunt companion. In the third, Creusa’s death is represented; Creon looks on, distraught, as his daughter's head bursts into flames. Next, Medeia watches her children holding a sword at her hand. Finally on the far right, Medeia alights from a chariot drawn by winged serpents with one dead child over her shoulder and the other visible on the floor of the chariot.
This is a well-known iconographic model and all the Medeia’s sarcophagi differ from each other only in small details.
Medeia myths and the power of the visual “consolatio”
(Source: Genevieve Gessert, “Myth as Consolatio: Medea on Roman Sarcophagi”)
The calamities that characterize Medeia's tale are certainly common to many in general terms - loss, betrayal, death but are so extreme in their details as to provide a vivid model that would be unquestionably worse than any death or loss. This juxtaposition would not only serve to commemorate the deceased in their moment of ideal death, but could also provide some solace for the mourner, performing the task of a visual consolation. As noted by several scholars, similar uses of mythological antitheses abound in funerary inscriptions of the second century AD. Medeia's story simply provides an unequivocal representation of the same sentiments in visual terms.
Imagine a mourner visiting the tomb of a deceased family member buried in a sarcophagus depicting the exploits of Medeia, such as the most complete example described by this sarcophagus. According to the argument presented here, the mythological narrative figures in the process of mourning by providing an image and a story on which to meditate in contemplating the death of a relative. For whereas Medeia overstayed her welcome on this earth and exited in the worst possible way, the deceased person in the sarcophagus went to the next world at the right time without a trail of destruction. The miseries of life, of marriage and children, are given vivid depiction in the episodes of the life of Medeia, and the deceased is certainly beyond all their vicissitudes now (and with any luck never experienced them in this fashion). Furthermore, the mourner is no Jason; the death of a single family member does not decimate the family as Medeia's departure did, and the state and society are still intact, whereas the state of Corinth in the bodies of Creusa and Creon were utterly destroyed.
In combination with the lid decoration, this particular sarcophagus also correlates meaningfully with “consolation” in the idea of the continuity of life and inevitability of death. The use of the narrow frieze of the sarcophagus lid for pictorial decoration was a uniquely Roman innovation, as Paul Zanker has observed, and often contained scenes or motifs intended to elucidate or qualify the casket iconography. Here the Corinthian episodes of Medeia's biography on the casket are paired with a lid depicting the seasons, a motif signifying the inevitable movement of time and the cycles of life: birth, growth, marriage, death. The potent symbolism and emotional effect provided by the mythological narrative clearly had some lasting meaning for the descendants of the deceased.
Roman Sarcophagus, 140-150 AD
Berlin, Altes Museum
The Myth of Meleager
The Meleager myth was extremely popular in funerary art. The themes of the vicissitudes of fortune and the inevitability of fate and the transience of life are all themes which make the Meleager myth appropriate for funerary art. Among the schemes and arrangements of scenes representing the Meleager myth on sarcophagi, the motif of the boar hunting was the most popular. This appreciation of the myth of the heroic hunter who slew the monstrous Calydonian boar accounts “the appeal that hunting figures had for the Romans, through their heroizing connotations”.
The boar comes out from the right corner. Two naked figures with their weapons attack from the rear the en-circled and trapped boar. The action culminates with the hero Meleager plunging his long spear into the boar. According to the latest versions of the Meleager myth, Atalanta is beside the hunter-hero. She is represented as the goddess Artemis with arc and quiver, and her hairstyle is typical of the Antoninian time. Behind Meleager two hunters and a horse head close the main scene.
The Artemis’ figure is carved in the left part of the sarcophagus. According to the myth, Oeneus, father of Meleager and lord of Calydon, once neglected to offer up a sacrifice to Artemis, whereupon the angry goddess sent the monstrous boar into the fields of Calydon, which were ravaged by the beast, while no one had the courage to hunt it.
The king Oeneus is represented near Artemis; he is armed with an axe, and is moving fast toward Meleager.
On the short right side of the rectangular sarcophagus, Meleager is resting, sited on a rock with his left harm laid on his long spear; he is looking to his left toward a tree where the dead body of the boar is hung.
Roman Sarcophagus
2nd quarter of the 3rd Cent. AD
Pisa, Antiquarium, Monumental Cemetery
नयी दिल्ली बढ़ती उम्र की वजह से चेहरे पर अकसर झुर्रियां पड़ जाती हैं। पर क्या आप इन झुर्रियों से छुटकारा पाने चाहती हैं। अगर आपका जवाब हां है, तो रेगूलर फेशियल आपकी स्किन को हेल्दी और खूबसूरत बनाए रखने के लिए बेहद प्रभावशाली साबित हो सकता है। काया स्किन क्लीनिक की प्रमुख संगीता वेलस्कर के मुता...
#Believe, #Dont, #Facials, #Good, #Myths, #Regular
