View allAll Photos Tagged omnipotence
Omnipotence - the dark clouds with the power to pour violent rain on this earth...that's power. As is Jesus!
Requirement 2: Large Depth of Field
A comprehended God is no God.
— St John Chrysostom
Typeface: Roswell
Merchandise available: www.redbubble.com/shop/ap/141293645
GYE NYAME "Except God"
Also translates as "Unless God", "Be but for God", or "Only God".
A proverb states, "I fear nothing in the universe, except God."
The most popular adinkra symbol, representing the supremacy and omnipotence of God.
Name: Maximatosis, age no DNA has ever been collected and his age is therefore unknown also due to his ability to manipulate his own DNA doh!
About: Max is a bitter twisted megalomaniacal (we think it means a psychopathological condition characterized by delusional fantasies of wealth, power, or omnipotence and or an obsession with grandiose or extravagant things or actions...ha ha) mutant half man half rabbit species from a far off planet in the same solar system as Frog. Back on his home planet an alien strain of the Myxomatosis virus wiped out most of the population of his world and now Max is on a mission to replenish it using animals and plants from ours.
Interests: As he is totally fascinated by animal genetics he is also a collector of endangered species. If they aren’t endangered, he will soon make them so.
Interesting Fact: He can jump very high and can telepathically control animals to do his bidding. Consequently he is a fearsome adversary, especially for Frog. Catchphrase “Hee hee hee there can only be 1”. He hates being called a Rodent. Rabbits are in fact not rodents but belong to their own order called lagomorphs. The evolutionary split between rabbits and other living mammals on earth probably occurred about thirty million years ago.
Thorn wonders if this is how serial killers feel when they haven't killed for a long time. It was an itch, an uncontrollable thought - all he could envisage was the omnipotence of the flames. He had lit fires since that day but nowhere near the magnitude or might of that fire.He is driving, prepared with matches and gasoline.He doesn't care where - but he is going to make this Summer burn.
What's society ever done for me? Fuck all, that's what. So now I'm not doing anything for them. Fuck 'em, they can burn!
Some further resources
Not meaning to disturb anybody, but to further get into the mind of a serial killer like Thorn, perhaps try Serial Killer Central - for all your needs apparently!
مَن كَانَ يُرِيدُ ٱلْعِزَّةَ فَلِلَّهِ ٱلْعِزَّةُ جَمِيعًا ۚ إِلَيْهِ يَصْعَدُ ٱلْكَلِمُ ٱلطَّيِّبُ وَٱلْعَمَلُ ٱلصَّـٰلِحُ يَرْفَعُهُۥ ۚ
Whoever desires for himself honor, (should know) then for Allah (alone) is all the Honor.
To Him ascends the good words, and righteous deeds raises it.
Surah Fatir, Verse 10
Tafseer e Jilani:
Man kana yureed ul izzata: The one who wants honour, endless, after which never comes humiliation ever, then he should turn towards Allah and makes his focus His One-ness.
Fa lillahe izzatu: For only Allah is the True Owner of Honour, which includes control, eternal majesty and all kingdoms…
Jami-an: overt (zahiri) and inner (batini). And the one who desires that Allah bestow upon him honour and control and absolute kingdoms and abundance that remains forever, then he should, in his initial stages toward Allah, praise Him by way of His Perfect Names and Exalted Attributes till his remembrance reaches the stages of their reflection in him.
This (the reflection) is the last effort and then he becomes a reflector of Allah’s Being, wanting to unveil the Veils of His Omnipotence, till he becomes present before Him, able to unveil Him and witness the Signs of His Names and Attributes on the surface of the Universe without the distortion created by others.
And overall (in summary), the one who seeks honour should be occupied in the Remembrance by Allah in the early stages because
Ilayhi yasadu alkalm at tayyabu: towards Him ascend good words which are the Prefect Names of Allah and His Exalted Attributes, increasing in frequency from the tongues of The Sincere and The Ones who Reflect in Allah’s Blessings and His Bounty…
Wal al amal as saleh: and (they should be occupied) in good deeds joined with ikhlas, sincerity and tabbatul, devotion to Him (also ascending towards Him)…
Yarfa’uhu: (which will be why) He then raises that deed founded upon sincerity and those good words allowing them to reach towards the stages of Closeness with Allah. So for the one whose sincerity in his deed is perfect, then the ranks of his words, which are raised towards Allah Subhanahu, are the highest and the most supreme to Him.
green-unity-Akom ntoa
center blue and red-omnipotence of God-Gye nyame
aqua-strength-Aban
the colors are artistic license as I explore the concepts: symbols as language/color as language/pattern as language/stitches as language/my perception and viewer perception as language.
Surrealism is based on belief of superior reality of certain forms in the omnipotence of dream; and dis oriented play of thoughts.
symbolism of inhuman forms plays pure reflections of mankind today.
Absurd. Ignorance. Deconstructions.
view it better at our blog!
Minnie Evans, Born Long Creek, NC 1892
died Wilmington, NC 1987
Airlie Oak, 1954, oil paint on wood, 14 × 18 × 2 in.
Minnie Evans lived most of her life in North Carolina. At seventeen, she found work as a gatekeeper in the lush gardens of a coastal estate, Airlie-on-Sound, which became a public park in 1949. Evans felt inspired by God to celebrate his resplendent creations with art. In free moments, she drew or painted floral scenes with goddess-like figures in their midst. In Airlie Oak, Evans honored an immense 400-year-old tree at Airlie; a live oak over twenty-feet-wide at the base. She created this bas-relief from bits of dried paint, made malleable with turpentine and added cumulatively over time, as she explained: "I just kept on doing that until I got this big old tree."
"I have no imagination. I never plan a drawing, they just happen. In a dream it was shown to me what I have to do, of paintings. The whole entire horizon all the way across the whole earth was out together like this with pictures. All over my yard, up all the sides of trees and everywhere were pictures." — Minnie Evans quoted in Nina Howell Starr, "The Lost World of Minnie Evans," The Bennington Review vol. 111, no. 2 (Summer 1969): 41.
The paintings and drawings of Minnie Evans depict scenes from the artist's private dream world. But even to the artist herself, this dream world was not entirely comprehensible. Evans was born in 1890, the only child of Joseph and Ella Kelley, farmers who lived in rural Pender County, North Carolina, near Wilmington. Evans' parents moved to Wilmington during her early childhood, and she attended school there through the sixth grade. She married Julius Evans of Wilmington and had three sons.
Evans traced her background to a maternal ancestor who was brought to the United States from Trinidad as a slave. There are elements in Evans' art that invite comparison to Caribbean folk art forms, though the artist only once traveled outside her native North Carolina. The bright colors and floral motifs that appear in her paintings were most likely inspired by trees and flowers, especially azaleas, at Airlie Gardens in Wilmington, where Evans worked as the gatekeeper for many years.
"My whole life has been dreams . . . sometimes day visions . . . they would take advantage of me," Evans once said. She also recalled that in 1944 a fortune teller informed her that she was "wrapped completely in color," and that she had "something of all nations."
The dream world of Minnie Evans received its earliest visual manifestations on Good Friday 1935 when she completed two small pen-and-ink drawings on paper dominated by concentric circles and semi-circles against a background of unidentifiable linear motifs. Evans always placed a good deal of significance on these early drawings.
Evans' first paintings were done entirely in wax crayons and resemble an exercise employing every color in a gigantic box of Crayolas. The colors included greens shaded from light to deep, purples from mauve to pink, rose, and royal, and full ranges of reds, blues, and yellows with a sparing use of black and white. Evans' complex designs reveal an unaccountable presence of Caribbean, East Indian, Chinese, and Western elements in color and subject matter. Her own explanation of her work was that "this art that I have put out has come from the nations I suppose might have been destroyed before the flood. . . . No one knows anything about them, but God has given it to me to bring [them] back into the world."
The central motif in many of Evans' paintings is a human face surrounded by curvilinear and spiral plant and animal forms and eyes merging with foliate patterns. She equated eyes with the omniscience of God and the concept of the eye as the window of the soul. The figures in her designs are sometimes portraits of ancient wise men and women who peopled her visions,ancestral visitors from some spiritual order, or angels, demons, and chimerical creatures. Evans' paintings are essentially religious in inspiration, and represent a world in which God, man, and nature are synonymous; God is frequently represented as a winged figure with a wide multicolored collar and rainbow halo. He is surrounded by a proliferation of butterflies, eyes, trees, plants, and floral forms in a garden paradise of brilliant colors contained within a cartouche-like frame of curvilinear rhythms.
The paintings and colored drawings of Minnie Evans are surrealistic without intellectualism or self-consciousness. They are the works of a visionary who equated God with nature, color with His divine presence, and dreams and visions with reality. The world as revealed through Evans' psychic revelations is a sacred province of complex visionary forms, angels, demons, hybrid plants, animals, and the all-seeing eye of God.
"Something told me to draw or die," Evans stated. "It was shown to me what I should do." The fact that her paintings "just happened to her" confirms that they are manifestations of an order of things unknown except to the artist herself. The art of Minnie Evans is a refreshing phenomenon—a lost world revealed through a subconscious that even she did not understand. Evans stated, "When I get through with them [the paintings] I have to look at them like everybody else. They are just as strange to me as they are to anybody else."
Evans died in Wilmington, North Carolina, in 1987.
Most of Evans' paintings are similar yet no two are identical. Reflecting the many colors of the flowers of the botanical gardens where she worked, her paintings shimmer with the complexity of Byzantine mosaics. And like Byzantine mosaics, Evans' works embody a common religious intent and express the omnipotence of God.
americanart.si.edu/artist/minnie-evans-1466
__________________________________
SAAM’s collection of folk and self-taught art represents the powerful vision of America’s untrained and vernacular artists. Represented in the museum’s collection are pieces that draw on tradition — such as quilts — as well as artworks that reveal a more personal vision. The museum has reimagined its permanent collection galleries for art by untrained artists, which now display several dozen recent acquisitions and an expanded presentation of the beloved Throne of the Third Heaven of the Nations Millennium General Assembly by James Hampton.
americanart.si.edu/exhibitions/folk-art
Recently acquired works by Consuelo Gonzalez Amezcua, Emery Blagdon, David Butler, Ulysses Davis, Ralph Fasanella, Clementine Hunter, Dan Miller, Joe Minter, Eddy Mumma, J.B. Murray, Achilles Rizzoli, Melvin Way, Charlie Willeto, Clarence and Grace Woolsey, Purvis Young, and Albert Zahn join visitor favorites by Thornton Dial, Lonnie Holley, Martín Ramírez, and Jon Serl. A striking presence in the galleries is a display of more than sixty sculptures and paintings by Emery Blagdon that represents his constantly changing Healing Machine. It is the second-largest installation of his work on public view in the United States.
The new installation of the Throne includes Hampton’s personal journal, written primarily in an asemic, or unreadable script, and a chalkboard still showing some of Hampton’s sketched plans for the Throne. Both are on public view for the first time; the journal will be on display for a limited time.
he Smithsonian American Art Museum’s collection of folk and self-taught art represents the powerful vision of America’s untrained and vernacular artists. SAAM is one of the only major museums to clearly advocate for a diverse populist and uniquely American voice within the context of what is traditionally considered great art.
Themes
Artists who are deeply engaged with personal exploration often create works of profound complexity. Recurring themes include struggle and persistence, salvation and protection, and the reshaping of personal worlds through creative expression.
The Collection
SAAM was among the first major museums to champion and collect works by self-taught artists. This aspect of SAAM’s collection spans works that emanate from folk traditions, such as quilting and woodcarving, to highly innovative works of great personal vision. It began in 1970, after the astonishing Throne of The Third Heaven of The Nations’ Millennium General Assembly, made by James Hampton, came to light in a makeshift studio not far from the museum following the artist’s death. Several donors made it possible for this iconic work, understood as a seminal representation of African American cultural and artistic heritage, to become the cornerstone of a collection that aimed to tell an ever-expanding story of America through the art of its people.
Since it acquired Hampton’s “Throne,” the museum has been recognized internationally as a leader in championing the importance of works by artists who have no formal art training. In the early 1980s and 1990s, Chuck and Jan Rosenak donated many important works to the museum. SAAM’s largest single acquisition of works by self-taught artists came in 1986 with more than 500 works from the ground-breaking collection of Herbert Waide Hemphill Jr., which firmly established the museum’s ongoing commitment to this work. Important gifts from Bill Arnett, David L. Davies, the Kallir Family, Josh Feldstein, Margaret Parsons, Judy A. Saslow, Patricia S. Smith, Mike Wilkins and Sheila Duignan, and others followed. In 2016, Douglas O. Robson donated ninety-three works of art from the collection of his mother, Margaret Z. Robson.
Today, SAAM’s collection of folk and self-taught art features more than 400 artists and 1,300 works of art. The collection is one of the most visited and widely admired of its kind.
americanart.si.edu/art/highlights/folk
.....
The Thousand Headed form of Avalokiteshvara the Bodhisattva of compassion. The thousand heads, hands and feet are a representation of his omnipotence and omniscience. The Dalai Lama is the reincarnation of Avalokiteshvara.
The most common translation of Pantocrator is "Almighty" or "All-powerful". In this understanding, Pantokrator is a compound word formed from the Greek words for "all" and the noun "strength" (κρατος). This is often understood in terms of potential power; i.e., ability to do anything, omnipotence.
Another, more literal translation is "Ruler of All" or, less literally, "Sustainer of the World". In this understanding, Pantokrator is a compound word formed from the Greek for "all" and the verb meaning "To accomplish something" or "to sustain something" (κρατεω). This translation speaks more to God's actual power; i.e., God does everything (as opposed to God can do everything).
[From the Wiki entry: en.wikipedia.org/wiki/Christ_Pantocrator ]
Minnie Evans, Born Long Creek, NC 1892
died Wilmington, NC 1987
Airlie Oak, 1954, oil paint on wood, 14 × 18 × 2 in.
Minnie Evans lived most of her life in North Carolina. At seventeen, she found work as a gatekeeper in the lush gardens of a coastal estate, Airlie-on-Sound, which became a public park in 1949. Evans felt inspired by God to celebrate his resplendent creations with art. In free moments, she drew or painted floral scenes with goddess-like figures in their midst. In Airlie Oak, Evans honored an immense 400-year-old tree at Airlie; a live oak over twenty-feet-wide at the base. She created this bas-relief from bits of dried paint, made malleable with turpentine and added cumulatively over time, as she explained: "I just kept on doing that until I got this big old tree."
"I have no imagination. I never plan a drawing, they just happen. In a dream it was shown to me what I have to do, of paintings. The whole entire horizon all the way across the whole earth was out together like this with pictures. All over my yard, up all the sides of trees and everywhere were pictures." — Minnie Evans quoted in Nina Howell Starr, "The Lost World of Minnie Evans," The Bennington Review vol. 111, no. 2 (Summer 1969): 41.
The paintings and drawings of Minnie Evans depict scenes from the artist's private dream world. But even to the artist herself, this dream world was not entirely comprehensible. Evans was born in 1890, the only child of Joseph and Ella Kelley, farmers who lived in rural Pender County, North Carolina, near Wilmington. Evans' parents moved to Wilmington during her early childhood, and she attended school there through the sixth grade. She married Julius Evans of Wilmington and had three sons.
Evans traced her background to a maternal ancestor who was brought to the United States from Trinidad as a slave. There are elements in Evans' art that invite comparison to Caribbean folk art forms, though the artist only once traveled outside her native North Carolina. The bright colors and floral motifs that appear in her paintings were most likely inspired by trees and flowers, especially azaleas, at Airlie Gardens in Wilmington, where Evans worked as the gatekeeper for many years.
"My whole life has been dreams . . . sometimes day visions . . . they would take advantage of me," Evans once said. She also recalled that in 1944 a fortune teller informed her that she was "wrapped completely in color," and that she had "something of all nations."
The dream world of Minnie Evans received its earliest visual manifestations on Good Friday 1935 when she completed two small pen-and-ink drawings on paper dominated by concentric circles and semi-circles against a background of unidentifiable linear motifs. Evans always placed a good deal of significance on these early drawings.
Evans' first paintings were done entirely in wax crayons and resemble an exercise employing every color in a gigantic box of Crayolas. The colors included greens shaded from light to deep, purples from mauve to pink, rose, and royal, and full ranges of reds, blues, and yellows with a sparing use of black and white. Evans' complex designs reveal an unaccountable presence of Caribbean, East Indian, Chinese, and Western elements in color and subject matter. Her own explanation of her work was that "this art that I have put out has come from the nations I suppose might have been destroyed before the flood. . . . No one knows anything about them, but God has given it to me to bring [them] back into the world."
The central motif in many of Evans' paintings is a human face surrounded by curvilinear and spiral plant and animal forms and eyes merging with foliate patterns. She equated eyes with the omniscience of God and the concept of the eye as the window of the soul. The figures in her designs are sometimes portraits of ancient wise men and women who peopled her visions,ancestral visitors from some spiritual order, or angels, demons, and chimerical creatures. Evans' paintings are essentially religious in inspiration, and represent a world in which God, man, and nature are synonymous; God is frequently represented as a winged figure with a wide multicolored collar and rainbow halo. He is surrounded by a proliferation of butterflies, eyes, trees, plants, and floral forms in a garden paradise of brilliant colors contained within a cartouche-like frame of curvilinear rhythms.
The paintings and colored drawings of Minnie Evans are surrealistic without intellectualism or self-consciousness. They are the works of a visionary who equated God with nature, color with His divine presence, and dreams and visions with reality. The world as revealed through Evans' psychic revelations is a sacred province of complex visionary forms, angels, demons, hybrid plants, animals, and the all-seeing eye of God.
"Something told me to draw or die," Evans stated. "It was shown to me what I should do." The fact that her paintings "just happened to her" confirms that they are manifestations of an order of things unknown except to the artist herself. The art of Minnie Evans is a refreshing phenomenon—a lost world revealed through a subconscious that even she did not understand. Evans stated, "When I get through with them [the paintings] I have to look at them like everybody else. They are just as strange to me as they are to anybody else."
Evans died in Wilmington, North Carolina, in 1987.
Most of Evans' paintings are similar yet no two are identical. Reflecting the many colors of the flowers of the botanical gardens where she worked, her paintings shimmer with the complexity of Byzantine mosaics. And like Byzantine mosaics, Evans' works embody a common religious intent and express the omnipotence of God.
americanart.si.edu/artist/minnie-evans-1466
__________________________________
SAAM’s collection of folk and self-taught art represents the powerful vision of America’s untrained and vernacular artists. Represented in the museum’s collection are pieces that draw on tradition — such as quilts — as well as artworks that reveal a more personal vision. The museum has reimagined its permanent collection galleries for art by untrained artists, which now display several dozen recent acquisitions and an expanded presentation of the beloved Throne of the Third Heaven of the Nations Millennium General Assembly by James Hampton.
americanart.si.edu/exhibitions/folk-art
Recently acquired works by Consuelo Gonzalez Amezcua, Emery Blagdon, David Butler, Ulysses Davis, Ralph Fasanella, Clementine Hunter, Dan Miller, Joe Minter, Eddy Mumma, J.B. Murray, Achilles Rizzoli, Melvin Way, Charlie Willeto, Clarence and Grace Woolsey, Purvis Young, and Albert Zahn join visitor favorites by Thornton Dial, Lonnie Holley, Martín Ramírez, and Jon Serl. A striking presence in the galleries is a display of more than sixty sculptures and paintings by Emery Blagdon that represents his constantly changing Healing Machine. It is the second-largest installation of his work on public view in the United States.
The new installation of the Throne includes Hampton’s personal journal, written primarily in an asemic, or unreadable script, and a chalkboard still showing some of Hampton’s sketched plans for the Throne. Both are on public view for the first time; the journal will be on display for a limited time.
he Smithsonian American Art Museum’s collection of folk and self-taught art represents the powerful vision of America’s untrained and vernacular artists. SAAM is one of the only major museums to clearly advocate for a diverse populist and uniquely American voice within the context of what is traditionally considered great art.
Themes
Artists who are deeply engaged with personal exploration often create works of profound complexity. Recurring themes include struggle and persistence, salvation and protection, and the reshaping of personal worlds through creative expression.
The Collection
SAAM was among the first major museums to champion and collect works by self-taught artists. This aspect of SAAM’s collection spans works that emanate from folk traditions, such as quilting and woodcarving, to highly innovative works of great personal vision. It began in 1970, after the astonishing Throne of The Third Heaven of The Nations’ Millennium General Assembly, made by James Hampton, came to light in a makeshift studio not far from the museum following the artist’s death. Several donors made it possible for this iconic work, understood as a seminal representation of African American cultural and artistic heritage, to become the cornerstone of a collection that aimed to tell an ever-expanding story of America through the art of its people.
Since it acquired Hampton’s “Throne,” the museum has been recognized internationally as a leader in championing the importance of works by artists who have no formal art training. In the early 1980s and 1990s, Chuck and Jan Rosenak donated many important works to the museum. SAAM’s largest single acquisition of works by self-taught artists came in 1986 with more than 500 works from the ground-breaking collection of Herbert Waide Hemphill Jr., which firmly established the museum’s ongoing commitment to this work. Important gifts from Bill Arnett, David L. Davies, the Kallir Family, Josh Feldstein, Margaret Parsons, Judy A. Saslow, Patricia S. Smith, Mike Wilkins and Sheila Duignan, and others followed. In 2016, Douglas O. Robson donated ninety-three works of art from the collection of his mother, Margaret Z. Robson.
Today, SAAM’s collection of folk and self-taught art features more than 400 artists and 1,300 works of art. The collection is one of the most visited and widely admired of its kind.
americanart.si.edu/art/highlights/folk
.....
Lord Hanuman Idol (Murti) in Blessing Mode
Worshiping lord hanuman provides strength, valor, courage, the ability to fly. Hanuman can accomplish all acts that human beings cannot. He represents the qualities of omniscience, omnipotence and omnipresence.
Lord Hanuman, Rama’s eternal servant, the embodiment of devotion,whose body is as strong as thunder, whose mind is as sharp as lightening, who holds in his arms the mountain of herbs and a mace, who crushes malefic demons under his feet, who solves problems, takes away worry, inspires strength, gives hope and confidence,and who helps the devotee make his journey to the Godhead.
Lord Hanuman is an incarnation of Lord Shiva.Son of Kesri and Anjana, he is also called Maruti.He is vayu putra or son of the god of wind usually referred as Bajrang Bali or the strong one. Hanuman or the monkey god lived during the ages of Rama. He is considered to be the ultimate devotee.
Dimensions: 4.75 inches (H) x 2.75 inches (W)
Make: Made in heavy shining brass.
Weight: 800 gms
Feilai Feng (飞来峰), the "Peak that flew here", is a small rocky outcrop wihin the Lingyin Temple complex. The rocks feature hundreds of carvings, many of the Buddha, some contained within caves.
The peak is made from limestone, and stands out from the surrounding landscape. Legend has it that the peak was originally from India, but flew one night to Hangzhou as a demonstration of the omnipotence of Buddhist law.
We finally redeemed our birthday present : a day-treatment at the Japanese Thermal Bath House up in the Blue Mountains.
Unbeknownst to Alex and i, what we thought was an hour drive was actually two and a half hours! we were destined for the very tip of the mountain perhaps? Some place where, even the all-knowing and all-powerfull GPS does not have jurisdiction nor the omnipotence to locate...
So as per usual we were late...just a little:o) and oh, ummm... 'it's better late than sorry' right?
i feel sorry for any future offspring, they'll have the combined tardiness of Latinos and Filipinos : the MañAna System...
en.easternlightning.org/testimonies/path-of-belief-in-God...
Embarking on the Path of Belief in God
By Rongguang, Heilongjiang Province
Mar 3, 2015
19
In 1991, by the grace of God, I began to follow Almighty God because of an illness. At that time I didn’t know anything about believing in God, but the amazing thing is that, when reading the words expressed by Almighty God, I enjoyed it. I felt that His words were so good, and when I sang or prayed I was frequently moved by the Holy Spirit to the point of weeping. That sweetness in my heart, that enjoyment was as if a joyous event had come upon me. Particularly when I was in gatherings with brothers and sisters, the Holy Spirit would do such great work, and through singing hymns, reading God’s words, and fellowshiping on the truth, I felt so bright and at ease in my heart. I felt as if I had transcended the flesh and I was living in the third heaven, that everything belonging to the world had been cast to the winds. I was very joyful and happy. So at that time I believed that believing in God was just enjoying His grace and blessings.
As more and more of God’s words were being released (at the time they were being continuously sent to the churches, passage after passage), I also knew more and more. When I saw “firstborn sons” mentioned in His words and I learned that God bestows great blessings on His firstborn sons, I sought to become one, hoping that in the future I could reign with God. Later on, I saw His words as follows: “The days will come to an end; all things in the world will come to nothing, and all things will be born anew. Remember this! Remember this! There can be no ambiguity! Heaven and earth shall pass away but My words shall not pass away!” (“Chapter 15” of Utterances of Christ in the Beginning in The Word Appears in the Flesh). I felt even more urgency, and thought: I started believing in God so late; will I be unable to gain this blessing? I need to put more effort into it. So when the church arranged for me to perform a duty, I was very proactive. I wasn’t afraid of hardship. I decided to forsake everything to follow God so that I would be able to gain the blessing of being a firstborn son. In truth, God had never said definitively in His words that we could be firstborn sons. It was just because we were ambitious and had extravagant desires, we believed that because God had called us His sons and that He now uplifted us, that we would certainly become the firstborn. This was how I believed that I had, naturally, become a firstborn son. Later I saw words of God that had just been released that frequently mentioned “service-doers,” and there were more and more mentions of the judgment of service-doers. I didn’t take that to heart, but just thought happily: Luckily I am following Almighty God, otherwise I would become a service-doer. This is how, when I read about God’s blessings and promises for firstborn sons, I believed that a portion of that would be mine. When I read His words of comfort and exhortation for His firstborn, I also felt that they were addressed to me. I felt even more delighted particularly when I saw the following: “The great disasters will certainly not befall upon My sons, My beloved. I will look after My sons in every moment and in every second. You certainly will not endure that pain and suffering; rather, it is for the sake of the perfection of My sons and the fulfillment of My word in them, so that you may recognize My omnipotence, further grow in life, shoulder burdens for Me sooner, and devote your entire selves for the completion of My management plan. You should be glad and happy and rejoice because of this. I will hand over everything to you, allowing you to take control. I will place it in your hands. If a son inherits his father’s entire estate, how much more so with you, My firstborn sons? You are truly blessed. Instead of suffering from the great disasters, you will enjoy everlasting blessings. What glory! What glory!” (“Chapter 68” of Utterances of Christ in the Beginning in The Word Appears in the Flesh). I thought: Am I dreaming? Such incredible manna from heaven has landed upon me? I couldn’t completely dare to believe it, but I was afraid my brothers and sisters would say that my faith was too small, so I didn’t dare to not believe it.
Image Source: The Church of Almighty God
Terms of Use: en.easternlightning.org/disclaimer.html
Strong In Faith
"He did not waver at the promise of God through unbelief, but was strengthened in faith, giving glory to God," [Romans 4:20]
Christian, take good care of your faith; for recollect faith is the only way whereby you can obtain blessings. If we want blessings from God, nothing can fetch them down but faith. Prayer cannot draw down answers from God’s throne except it be the earnest prayer of the man who believes. Faith is the angelic messenger between the soul and the Lord Jesus in glory. Let that angel be withdrawn, we can neither send up prayer, nor receive the answers. Faith is the telegraphic wire which links earth and heaven—on which God’s messages of love fly so fast, that before we call he answers, and while we are yet speaking he hears us. But if that telegraphic wire of faith be snapped, how can we receive the promise? Am I in trouble?—I can obtain help for trouble by faith. Am I beaten about by the enemy?—my soul on her dear Refuge leans by faith. But take faith away—in vain I call to God. There is no road betwixt my soul and heaven. In the deepest wintertime faith is a road on which the horses of prayer may travel—aye, and all the better for the biting frost; but blockade the road, and how can we communicate with the Great King? Faith links me with divinity. Faith clothes me with the power of God. Faith engages on my side the omnipotence of Jehovah. Faith ensures every attribute of God in my defence. It helps me to defy the hosts of hell. It makes me march triumphant over the necks of my enemies. But without faith how can I receive anything of the Lord? Do not let him who doubts—who doubts is like a wave of the Sea—expect that he will receive anything from God [Jas.1:6-7]! O, then, Christian, watch well your faith; for with it you can win all things, however poor you are, but without it you can obtain nothing. “If you can believe, all things are possible to him that believes.” [Mrk.9:23] Hallelujah, God bless
Minnie Evans, Born Long Creek, NC 1892
died Wilmington, NC 1987
Design Made at Airlie Gardens, 1967, oil and mixed media on canvas mounted on paperboard, 19 7⁄8 x 23 7⁄8 in.
Minnie Evans lived most of her life in North Carolina. At seventeen, she found work as a gatekeeper in the lush gardens of a coastal estate, Airlie-on-Sound, which became a public park in 1949. Evans felt inspired by God to celebrate his resplendent creations with art. In free moments, she drew or painted floral scenes with goddess-like figures in their midst.
"I have no imagination. I never plan a drawing, they just happen. In a dream it was shown to me what I have to do, of paintings. The whole entire horizon all the way across the whole earth was out together like this with pictures. All over my yard, up all the sides of trees and everywhere were pictures." — Minnie Evans quoted in Nina Howell Starr, "The Lost World of Minnie Evans," The Bennington Review vol. 111, no. 2 (Summer 1969): 41.
The paintings and drawings of Minnie Evans depict scenes from the artist's private dream world. But even to the artist herself, this dream world was not entirely comprehensible. Evans was born in 1890, the only child of Joseph and Ella Kelley, farmers who lived in rural Pender County, North Carolina, near Wilmington. Evans' parents moved to Wilmington during her early childhood, and she attended school there through the sixth grade. She married Julius Evans of Wilmington and had three sons.
Evans traced her background to a maternal ancestor who was brought to the United States from Trinidad as a slave. There are elements in Evans' art that invite comparison to Caribbean folk art forms, though the artist only once traveled outside her native North Carolina. The bright colors and floral motifs that appear in her paintings were most likely inspired by trees and flowers, especially azaleas, at Airlie Gardens in Wilmington, where Evans worked as the gatekeeper for many years.
"My whole life has been dreams . . . sometimes day visions . . . they would take advantage of me," Evans once said. She also recalled that in 1944 a fortune teller informed her that she was "wrapped completely in color," and that she had "something of all nations."
The dream world of Minnie Evans received its earliest visual manifestations on Good Friday 1935 when she completed two small pen-and-ink drawings on paper dominated by concentric circles and semi-circles against a background of unidentifiable linear motifs. Evans always placed a good deal of significance on these early drawings.
Evans' first paintings were done entirely in wax crayons and resemble an exercise employing every color in a gigantic box of Crayolas. The colors included greens shaded from light to deep, purples from mauve to pink, rose, and royal, and full ranges of reds, blues, and yellows with a sparing use of black and white. Evans' complex designs reveal an unaccountable presence of Caribbean, East Indian, Chinese, and Western elements in color and subject matter. Her own explanation of her work was that "this art that I have put out has come from the nations I suppose might have been destroyed before the flood. . . . No one knows anything about them, but God has given it to me to bring [them] back into the world."
The central motif in many of Evans' paintings is a human face surrounded by curvilinear and spiral plant and animal forms and eyes merging with foliate patterns. She equated eyes with the omniscience of God and the concept of the eye as the window of the soul. The figures in her designs are sometimes portraits of ancient wise men and women who peopled her visions,ancestral visitors from some spiritual order, or angels, demons, and chimerical creatures. Evans' paintings are essentially religious in inspiration, and represent a world in which God, man, and nature are synonymous; God is frequently represented as a winged figure with a wide multicolored collar and rainbow halo. He is surrounded by a proliferation of butterflies, eyes, trees, plants, and floral forms in a garden paradise of brilliant colors contained within a cartouche-like frame of curvilinear rhythms.
The paintings and colored drawings of Minnie Evans are surrealistic without intellectualism or self-consciousness. They are the works of a visionary who equated God with nature, color with His divine presence, and dreams and visions with reality. The world as revealed through Evans' psychic revelations is a sacred province of complex visionary forms, angels, demons, hybrid plants, animals, and the all-seeing eye of God.
"Something told me to draw or die," Evans stated. "It was shown to me what I should do." The fact that her paintings "just happened to her" confirms that they are manifestations of an order of things unknown except to the artist herself. The art of Minnie Evans is a refreshing phenomenon—a lost world revealed through a subconscious that even she did not understand. Evans stated, "When I get through with them [the paintings] I have to look at them like everybody else. They are just as strange to me as they are to anybody else."
Evans died in Wilmington, North Carolina, in 1987.
Most of Evans' paintings are similar yet no two are identical. Reflecting the many colors of the flowers of the botanical gardens where she worked, her paintings shimmer with the complexity of Byzantine mosaics. And like Byzantine mosaics, Evans' works embody a common religious intent and express the omnipotence of God.
americanart.si.edu/artist/minnie-evans-1466
__________________________________
SAAM’s collection of folk and self-taught art represents the powerful vision of America’s untrained and vernacular artists. Represented in the museum’s collection are pieces that draw on tradition — such as quilts — as well as artworks that reveal a more personal vision. The museum has reimagined its permanent collection galleries for art by untrained artists, which now display several dozen recent acquisitions and an expanded presentation of the beloved Throne of the Third Heaven of the Nations Millennium General Assembly by James Hampton.
americanart.si.edu/exhibitions/folk-art
Recently acquired works by Consuelo Gonzalez Amezcua, Emery Blagdon, David Butler, Ulysses Davis, Ralph Fasanella, Clementine Hunter, Dan Miller, Joe Minter, Eddy Mumma, J.B. Murray, Achilles Rizzoli, Melvin Way, Charlie Willeto, Clarence and Grace Woolsey, Purvis Young, and Albert Zahn join visitor favorites by Thornton Dial, Lonnie Holley, Martín Ramírez, and Jon Serl. A striking presence in the galleries is a display of more than sixty sculptures and paintings by Emery Blagdon that represents his constantly changing Healing Machine. It is the second-largest installation of his work on public view in the United States.
The new installation of the Throne includes Hampton’s personal journal, written primarily in an asemic, or unreadable script, and a chalkboard still showing some of Hampton’s sketched plans for the Throne. Both are on public view for the first time; the journal will be on display for a limited time.
he Smithsonian American Art Museum’s collection of folk and self-taught art represents the powerful vision of America’s untrained and vernacular artists. SAAM is one of the only major museums to clearly advocate for a diverse populist and uniquely American voice within the context of what is traditionally considered great art.
Themes
Artists who are deeply engaged with personal exploration often create works of profound complexity. Recurring themes include struggle and persistence, salvation and protection, and the reshaping of personal worlds through creative expression.
The Collection
SAAM was among the first major museums to champion and collect works by self-taught artists. This aspect of SAAM’s collection spans works that emanate from folk traditions, such as quilting and woodcarving, to highly innovative works of great personal vision. It began in 1970, after the astonishing Throne of The Third Heaven of The Nations’ Millennium General Assembly, made by James Hampton, came to light in a makeshift studio not far from the museum following the artist’s death. Several donors made it possible for this iconic work, understood as a seminal representation of African American cultural and artistic heritage, to become the cornerstone of a collection that aimed to tell an ever-expanding story of America through the art of its people.
Since it acquired Hampton’s “Throne,” the museum has been recognized internationally as a leader in championing the importance of works by artists who have no formal art training. In the early 1980s and 1990s, Chuck and Jan Rosenak donated many important works to the museum. SAAM’s largest single acquisition of works by self-taught artists came in 1986 with more than 500 works from the ground-breaking collection of Herbert Waide Hemphill Jr., which firmly established the museum’s ongoing commitment to this work. Important gifts from Bill Arnett, David L. Davies, the Kallir Family, Josh Feldstein, Margaret Parsons, Judy A. Saslow, Patricia S. Smith, Mike Wilkins and Sheila Duignan, and others followed. In 2016, Douglas O. Robson donated ninety-three works of art from the collection of his mother, Margaret Z. Robson.
Today, SAAM’s collection of folk and self-taught art features more than 400 artists and 1,300 works of art. The collection is one of the most visited and widely admired of its kind.
americanart.si.edu/art/highlights/folk
.....
"And to be completely honest, you were the only person I ever met who got the big picture. Who really understood it."
A comprehended God is no God.
— St John Chrysostom
Typeface: Roswell
Merchandise available: www.redbubble.com/shop/ap/141292686
1. Imagoism Thursday: Second chance, 2. withered, 3. needful hands
Created with fd's Flickr Toys.
Three - THE NUMBER OF DIVINE PERFECTION. The Trinity consists of Father, Son, and Holy Spirit. There are three qualities of the universe: Time, Space, and Matter. To exist (except for God), all three are required. Each quality consists of three elements. Therefore, we live in a trinity of trinities. In the number three we have the first geometric figure. Two straight lines cannot enclose any space or form a planar figure. Three lines are necessary to form a planar figure and three dimensions are required to form a solid. A triangle is the simplest planar figure and a cube is the simplest three-dimensional solid. So as two could represent a square, three could represent a cube or solid contents. Three therefore represents that which is solid, real, substantial, complete and entire.
All things that are especially complete and entire are stamped with the number three.
Gods attributes are three - omniscience, omnipresence and omnipotence.
The three divisions of time - past, present and future.
The three persons in grammar - me, myself and I.
The sum of all human ability is threefold - thought, word and deed.
The three kingdoms of matter - animal, vegetable or mineral.
Minnie Evans, Born Long Creek, NC 1892
died Wilmington, NC 1987
Design Made at Airlie Gardens, 1967, oil and mixed media on canvas mounted on paperboard, 19 7⁄8 x 23 7⁄8 in.
Minnie Evans lived most of her life in North Carolina. At seventeen, she found work as a gatekeeper in the lush gardens of a coastal estate, Airlie-on-Sound, which became a public park in 1949. Evans felt inspired by God to celebrate his resplendent creations with art. In free moments, she drew or painted floral scenes with goddess-like figures in their midst.
"I have no imagination. I never plan a drawing, they just happen. In a dream it was shown to me what I have to do, of paintings. The whole entire horizon all the way across the whole earth was out together like this with pictures. All over my yard, up all the sides of trees and everywhere were pictures." — Minnie Evans quoted in Nina Howell Starr, "The Lost World of Minnie Evans," The Bennington Review vol. 111, no. 2 (Summer 1969): 41.
The paintings and drawings of Minnie Evans depict scenes from the artist's private dream world. But even to the artist herself, this dream world was not entirely comprehensible. Evans was born in 1890, the only child of Joseph and Ella Kelley, farmers who lived in rural Pender County, North Carolina, near Wilmington. Evans' parents moved to Wilmington during her early childhood, and she attended school there through the sixth grade. She married Julius Evans of Wilmington and had three sons.
Evans traced her background to a maternal ancestor who was brought to the United States from Trinidad as a slave. There are elements in Evans' art that invite comparison to Caribbean folk art forms, though the artist only once traveled outside her native North Carolina. The bright colors and floral motifs that appear in her paintings were most likely inspired by trees and flowers, especially azaleas, at Airlie Gardens in Wilmington, where Evans worked as the gatekeeper for many years.
"My whole life has been dreams . . . sometimes day visions . . . they would take advantage of me," Evans once said. She also recalled that in 1944 a fortune teller informed her that she was "wrapped completely in color," and that she had "something of all nations."
The dream world of Minnie Evans received its earliest visual manifestations on Good Friday 1935 when she completed two small pen-and-ink drawings on paper dominated by concentric circles and semi-circles against a background of unidentifiable linear motifs. Evans always placed a good deal of significance on these early drawings.
Evans' first paintings were done entirely in wax crayons and resemble an exercise employing every color in a gigantic box of Crayolas. The colors included greens shaded from light to deep, purples from mauve to pink, rose, and royal, and full ranges of reds, blues, and yellows with a sparing use of black and white. Evans' complex designs reveal an unaccountable presence of Caribbean, East Indian, Chinese, and Western elements in color and subject matter. Her own explanation of her work was that "this art that I have put out has come from the nations I suppose might have been destroyed before the flood. . . . No one knows anything about them, but God has given it to me to bring [them] back into the world."
The central motif in many of Evans' paintings is a human face surrounded by curvilinear and spiral plant and animal forms and eyes merging with foliate patterns. She equated eyes with the omniscience of God and the concept of the eye as the window of the soul. The figures in her designs are sometimes portraits of ancient wise men and women who peopled her visions,ancestral visitors from some spiritual order, or angels, demons, and chimerical creatures. Evans' paintings are essentially religious in inspiration, and represent a world in which God, man, and nature are synonymous; God is frequently represented as a winged figure with a wide multicolored collar and rainbow halo. He is surrounded by a proliferation of butterflies, eyes, trees, plants, and floral forms in a garden paradise of brilliant colors contained within a cartouche-like frame of curvilinear rhythms.
The paintings and colored drawings of Minnie Evans are surrealistic without intellectualism or self-consciousness. They are the works of a visionary who equated God with nature, color with His divine presence, and dreams and visions with reality. The world as revealed through Evans' psychic revelations is a sacred province of complex visionary forms, angels, demons, hybrid plants, animals, and the all-seeing eye of God.
"Something told me to draw or die," Evans stated. "It was shown to me what I should do." The fact that her paintings "just happened to her" confirms that they are manifestations of an order of things unknown except to the artist herself. The art of Minnie Evans is a refreshing phenomenon—a lost world revealed through a subconscious that even she did not understand. Evans stated, "When I get through with them [the paintings] I have to look at them like everybody else. They are just as strange to me as they are to anybody else."
Evans died in Wilmington, North Carolina, in 1987.
Most of Evans' paintings are similar yet no two are identical. Reflecting the many colors of the flowers of the botanical gardens where she worked, her paintings shimmer with the complexity of Byzantine mosaics. And like Byzantine mosaics, Evans' works embody a common religious intent and express the omnipotence of God.
americanart.si.edu/artist/minnie-evans-1466
__________________________________
SAAM’s collection of folk and self-taught art represents the powerful vision of America’s untrained and vernacular artists. Represented in the museum’s collection are pieces that draw on tradition — such as quilts — as well as artworks that reveal a more personal vision. The museum has reimagined its permanent collection galleries for art by untrained artists, which now display several dozen recent acquisitions and an expanded presentation of the beloved Throne of the Third Heaven of the Nations Millennium General Assembly by James Hampton.
americanart.si.edu/exhibitions/folk-art
Recently acquired works by Consuelo Gonzalez Amezcua, Emery Blagdon, David Butler, Ulysses Davis, Ralph Fasanella, Clementine Hunter, Dan Miller, Joe Minter, Eddy Mumma, J.B. Murray, Achilles Rizzoli, Melvin Way, Charlie Willeto, Clarence and Grace Woolsey, Purvis Young, and Albert Zahn join visitor favorites by Thornton Dial, Lonnie Holley, Martín Ramírez, and Jon Serl. A striking presence in the galleries is a display of more than sixty sculptures and paintings by Emery Blagdon that represents his constantly changing Healing Machine. It is the second-largest installation of his work on public view in the United States.
The new installation of the Throne includes Hampton’s personal journal, written primarily in an asemic, or unreadable script, and a chalkboard still showing some of Hampton’s sketched plans for the Throne. Both are on public view for the first time; the journal will be on display for a limited time.
he Smithsonian American Art Museum’s collection of folk and self-taught art represents the powerful vision of America’s untrained and vernacular artists. SAAM is one of the only major museums to clearly advocate for a diverse populist and uniquely American voice within the context of what is traditionally considered great art.
Themes
Artists who are deeply engaged with personal exploration often create works of profound complexity. Recurring themes include struggle and persistence, salvation and protection, and the reshaping of personal worlds through creative expression.
The Collection
SAAM was among the first major museums to champion and collect works by self-taught artists. This aspect of SAAM’s collection spans works that emanate from folk traditions, such as quilting and woodcarving, to highly innovative works of great personal vision. It began in 1970, after the astonishing Throne of The Third Heaven of The Nations’ Millennium General Assembly, made by James Hampton, came to light in a makeshift studio not far from the museum following the artist’s death. Several donors made it possible for this iconic work, understood as a seminal representation of African American cultural and artistic heritage, to become the cornerstone of a collection that aimed to tell an ever-expanding story of America through the art of its people.
Since it acquired Hampton’s “Throne,” the museum has been recognized internationally as a leader in championing the importance of works by artists who have no formal art training. In the early 1980s and 1990s, Chuck and Jan Rosenak donated many important works to the museum. SAAM’s largest single acquisition of works by self-taught artists came in 1986 with more than 500 works from the ground-breaking collection of Herbert Waide Hemphill Jr., which firmly established the museum’s ongoing commitment to this work. Important gifts from Bill Arnett, David L. Davies, the Kallir Family, Josh Feldstein, Margaret Parsons, Judy A. Saslow, Patricia S. Smith, Mike Wilkins and Sheila Duignan, and others followed. In 2016, Douglas O. Robson donated ninety-three works of art from the collection of his mother, Margaret Z. Robson.
Today, SAAM’s collection of folk and self-taught art features more than 400 artists and 1,300 works of art. The collection is one of the most visited and widely admired of its kind.
americanart.si.edu/art/highlights/folk
.....
A comprehended God is no God.
— St John Chrysostom
Typeface: Roswell
Merchandise available: www.redbubble.com/shop/ap/141293272
A comprehended God is no God.
— St John Chrysostom
Typeface: Roswell
Merchandise available: www.redbubble.com/shop/ap/141293487
"The first woman's breast that heaved with life on this world yielded the daring which could contend with Omnipotence: the strength which could bear a thousand years of bondage, -- the vitality which could feed that vulture death through uncounted ages, -- the unexhausted life and uncorrupted excellence, sisters to immortality, which after millenniums of crimes, struggles, and woes, could conceive and bring forth a Messiah. The first woman was heaven-born: vast was the heart whence gushed the well-spring of the blood of nations; and grand the undegenerate head where rested the consort-crown of creation."
-Charlotte Brontë, Shirley
Acrylic, oil pen, and collage elements on found paper
9"x11.5"
Marc-Anthony Macon, 2023
$45, original
DM me to purchase
A comprehended God is no God.
— St John Chrysostom
Typeface: Roswell
Merchandise available: www.redbubble.com/shop/ap/141292686
Final Day of the Divine Mercy Chaplet Novena
"Today bring to Me souls who have become lukewarm, and immerse them in the abyss of My mercy. These souls wound My Heart most painfully. My soul suffered the most dreadful loathing in the Garden of Olives because of lukewarm souls. They were the reason I cried out: 'Father, take this cup away from Me, if it be Your will.' For them, the last hope of salvation is to run to My mercy."
Most compassionate Jesus, You are Compassion Itself. I bring lukewarm souls into the abode of Your Most Compassionate Heart. In this fire of Your pure love, let these tepid souls, who, like corpses, filled You with such deep loathing, be once again set aflame. O Most Compassionate Jesus, exercise the omnipotence of Your mercy and draw them into the very ardor of Your love, and bestow upon them the gift of holy love, for nothing is beyond Your power.
Eternal Father, turn Your merciful gaze upon lukewarm souls who are nonetheless enfolded in the Most Compassionate Heart of Jesus. Father of Mercy, I beg You by the bitter Passion of Your Son and by His three-hour agony on the Cross: Let them, too, glorify the abyss of Your mercy. Amen.
"Hôm nay con hãy đem đến cho Cha những linh hồn nguội lạnh, rồi dìm họ xuống vực thẳm lòng thƣơng xót của Cha. Những linh hồn này đã gây nên thƣơng tích nhức nhối nhất cho Trái Tim Cha. Linh hồn Cha đã chịu nỗi ngao ngán cay cực trong vƣờn Cây Dầu cũng vì những linh hồn nguội lạnh này. Vì họ mà Cha đã phải kêu lên: “Lạy Cha, xin cất chén đắng này cho Con, nhƣng xin đừng theo ý Con mà theo ý Cha.” Đối với họ, hy vọng cuối cùng để đƣợc cứu độ là chạy đến với lòng thƣơng xót của Cha."
Lạy Chúa Giêsu đầy lòng thương xót, Chúa là Toàn Thương, con đem các linh hồn nguội lạnh vào nơi nương náu trong Trái Tim vô cùng từ ái Chúa. Trong ngọn lửa tình yêu tinh tuyền của Chúa, xin hãy làm cho các linh hồn nguội lạnh như những xác chết đã làm Chúa phải ngao ngán cay cực dường ấy, một lần nữa lại được bừng cháy ngọn lửa sốt mến. Lạy Chúa Giêsu đầy lân ái, xin thể hiện quyền toàn năng lòng thương xót, mà lôi kéo họ trở về trong tình yêu nồng nàn của Chúa, và ban cho họ tặng ân tình yêu thánh thiện, vì không có gì vượt quá quyền năng của Chúa.
Lạy Cha Hằng Hữu, xin đoái thương nhìn đến những linh hồn nguội lạnh, những người dù sao cũng được ấp ủ trong Trái Tim vô cùng lân tuất Chúa Giêsu. Lạy Cha hay thương, nhân vì cuộc Khổ Nạn cay đắng của Thánh Tử yêu dấu Cha, và ba giờ quằn quại của Người trên thập giá: xin cho họ cũng được tôn vinh lòng thương xót sâu thẳm của Cha. Amen.
Phông rửa tội và hình ảnh Lòng Chúa Thương Xót này được đặt tại Giáo xứ người Việt Nam Thánh Tâm ở Carrollton, Texas, thuộc Giáo phận Dallas. Bức ảnh này được chụp vào ngày Lễ Thêm Sức chị họ mình mà mẹ mình đỡ đầu. Xin hãy cầu nguyện cho chị ấy và gia đình mình.
This baptismal font and image of the Divine Mercy is at Sacred Heart Vietnamese Personal Parish in Carrollton, Texas, of the Diocese of Dallas. This was taken on the day of my cousin's confirmation, whom my mom sponsored. Please pray for her and my family.
A comprehended God is no God.
— St John Chrysostom
Typeface: Roswell
Merchandise available: www.redbubble.com/shop/ap/141292573
A comprehended God is no God.
— St John Chrysostom
Typeface: Roswell
Merchandise available: www.redbubble.com/shop/ap/141293272
Creepers exist everywhere. This represents their omnipotence and creepiness. Also, this is a comical reference to Parmaginio's Madonna with the Long Neck. 2011. Senior work. Acrylic and Papier mache.
I Will Strengthen You "Fear not, for I am with you; Be not dismayed, for I am your God. I will strengthen you, Yes, I will help you, I will uphold you with My righteous right hand." [Isaiah 41:10]
God has a strong reserve with which to discharge this engagement; for He is able to do all things, till we can drain dry the ocean of omnipotence, till we can break into pieces the towering mountains of almighty strength, we never need to fear. Do not think that the strength of man shall ever be able to overcome the power of God, would the earth’s huge pillars stand (1 Samuel v2:8), we have enough reason to abide firm in our faith. The same God who directs the earth in its orbit, who feeds the burning furnace of the sun, and trims the lamps of heaven, has promised to supply us with daily strength. While He is able to uphold the universe, dream not that He will prove unable to fulfil His own promises. Remember what He did in the days of old, in the former generations. Remember how He spoken and it was done; how He commanded, and it stood fast. Shall He that created the world grow weary? He hangs the world upon nothing (Job v26:7); shall He who do this be unable to support His children? Shall He be unfaithful to His word for want of power? Who is it that restrains the tempest? Do not He ride upon the wings of the wind (Psalm v18:10), and make the clouds His chariots (Psalm v104:3) , and hold the ocean in the hollow of His hand (Isaiah v40:12)? How can He fail us? When He has put such a faithful promise as this on record, will we for a moment indulge the thought that He has outpromised Himself, and gone beyond His power to fulfil? Oh, no! We can doubt any longer. You who are my God and my strength, I can believe that this promise shall be fulfilled, for the boundless reservoir of our grace can never be exhausted, and the overflowing storehouse of our strength can never be emptied by our friends or rifled by our enemies. “Now let the feeble all be strong, and make Jehovah’s arm their song.” Hallelujah, God bless
GYE NYAME - EXCEPT GOD
Symbol of the OMNIPOTENCE and the
OMNIPRESENCE OF GOD
From the Akan aphorism: Abode santann yi firi tete; obi nte ase a onim ne ahyease, na obi ntena ase nkosi ne awie, GYE NYAME.
Literal translation: This great panorama of creation dates back to time immemorial; no one lives who saw its beginning and no one will live to see its end, EXCEPT GOD.
The symbol reflects the Akan belief of a SUPREME BEING, the CREATOR who they refer to by various names - e.g., OBOADEE, NYAME, ONYANKOPON TWEREAMPON.