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EVERYTHING IS LIFE, by muralist Marc-Olivier Lamothe, adorns the Bon-Pasteur Park chalet with a naive, brightly colored universe, a delightful blend of geometric shapes, natural elements, and living creatures. The artist imagined his mural as an ode to nature and imagination. Each façade presents a landscape with multiple scenes, sometimes referring to birdsong, sometimes to the blooming of flowers and the omnipresence of our sun. It even allows for the discovery of a new species: the sunflower-eye! A fun invitation for everyone to observe the beauty of the nature that surrounds us.
Bon-Pasteur Park, 70 Boul. du Bon-Pasteur, Laval, Québec.
The painter from Umbria who created this unique devotional work can probably be identified as Fiorenzo di Lorenzo. Flanked by Saints Christopher and Sebastian, the Madonna sits enthroned with the Infant Jesus in a palace-like room. The floor is covered with marble, and both the canopy above the throne and the back wall are hung with precious gold brocade. The lavish use of gold leaf, which has also been worked and decorated in different ways, contributes to the particular charm of this painting and also symbolises the omnipresence of God.
This stunning image captures the ethereal beauty of Jinding (金顶, Golden Summit) at Mount Emei (峨眉山), Sichuan, China, in the early morning light of March. One of China’s most revered Buddhist sites, Jinding is renowned for its “Four Wonders” – the awe-inspiring sunrise, the mystical sea of clouds, the rare “Buddhist halo,” and the divine light that graces the mountaintop.
The architecture and sculpture in this frame are deeply symbolic of Buddhist heritage. The three prominent structures seen in the photograph from left to right are:
🏯 Puxian Hall (普贤殿) – A temple dedicated to Samantabhadra Bodhisattva, who embodies wisdom and virtue.
🏯 The Grand Hall of the Great Sage (大雄宝殿) – A significant Buddhist shrine, central to worship at Jinding.
The Ten-faced Puxian Stupa (十方普贤菩萨) – A magnificent 48-meter-tall golden statue of Samantabhadra Bodhisattva, seated on a pedestal of four sacred elephants, representing omnipresence and enlightenment.
Set against the backdrop of a clear blue sky with delicate clouds, the golden hues of the temple and the towering statue gleam under the soft morning sunlight. This moment encapsulates the serenity, grandeur, and spiritual energy that make Mount Emei a UNESCO World Heritage Site and a place of pilgrimage for Buddhists worldwide.
UAXACTUN
Uaxactun is a little-known Mayan archaeological site, located in Petén in Guatemala, about twenty kilometers north of Tikal. An “end of the world” atmosphere.
Much of the history of Uaxactún is inseparable from that of Tikal. The reason lies in their extreme proximity. It seems that it was Uaxactún who first saw the light of day, almost four millennia ago. Then, men settled on the current site of Tikal and developed a city there. During the preclassical era (800 BC to 200 AD), the two cities coexisted peacefully. The reason for this peace was their mutual subordination to a third city-state, El Mirador, located about sixty kilometers away. This domination of El Mirador over the region held back the expansionist desires of the two neighboring cities for a long time. But, towards the end of the 1st century AD, the mighty El Mirador was brought down. The two cities of Tikal and Uaxactún were then able to give free rein to their appetite for conquest. At the same time, they embarked on important architectural work. Temples, acropolises and altars were created. Too close, the two cities ended up being bothered by the presence of a rival power in their neighborhood. In 378, the conflict ended with the definitive defeat of Uaxactún, now a vassal of Tikal.
Uaxactún is nothing like Tikal except for the omnipresence of the lush forest. Indeed, there are no astonishing pyramids here. Uaxactún is a modest site made up of six groups of structures scattered on either side of the old airstrip built at the time when the city was the subject of a major excavation program. Uaxactun has platforms decorated with large stucco masks. The best known of these platforms is a structure each side of which has a staircase flanked by sixteen masks representing lords or monsters Witz (the god of the mountain in the Mayan religion). This pyramid was an astronomical observatory: its east side faces three small temples aligned so as to be able to observe the sunrise at the solstices and equinoxes.
This steatite scarab has a flat underside with a vertically arranged design with a 'Maat' and longevity/omnipresence of Amun theme composed of four signs lacking syntactical context. The design of the back is simple with unbalanced body proportions and good workmanship. The piece is carefully made.
This scarab functioned as a supportive amulet and should secure life and justice. The piece could serve in this world and in the afterlife; as Amun's trigram, it should assure the support of the god. It would have originally been mounted or threaded.
Egyptian
H: 1/4 x W: 7/16 x L: 9/16 in. (0.6 x 1.1 x 1.45 cm)
medium: beige steatite with green-blue glaze
culture: Egyptian
dynasty: 18th Dynasty
Walters Art Museum, 1931, by bequest.
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A distinctive trait of Hush Loki's artistry is the omnipresence of a catchy hook in each of his compositions. Without overt self-promotion, his music speaks for itself, resonating with audiences who appreciate the authenticity of a well-crafted melody. What sets him apart is not a desire for acclaim, but a commitment to creating tunes that naturally captivate the ear.
Embracing a visual element that complements his sonic identity, Hush Loki dons a cool sci-fi face mask during performances. This choice, alongside his super cool wardrobe, adds a layer of intrigue to his persona, allowing listeners to connect with the music on multiple sensory levels.
A notable aspect of Hush Loki's creative process is his hands-on approach to production, as he meticulously produces all his music. This dedication to the entire artistic journey underscores his commitment to authenticity and personal expression within the realm of modern pop.
In a landscape often characterized by flamboyance, Hush Loki stands as a testament to the power of subtlety and genuine creativity. His humility shines through as he lets the music, style, and craftsmanship do the talking, inviting audiences into a world where coolness and authenticity effortlessly coexist.
Interior intimo meo et superior summo meo
— St Augustine of Hippo
English translation: You were more inward to me than my most inward part and higher than my highest.
Typeface: Jupiter Pro
Merchandise available: www.redbubble.com/shop/ap/155221270
UAXACTUN
Uaxactun is a little-known Mayan archaeological site, located in Petén in Guatemala, about twenty kilometers north of Tikal. An “end of the world” atmosphere.
Much of the history of Uaxactún is inseparable from that of Tikal. The reason lies in their extreme proximity. It seems that it was Uaxactún who first saw the light of day, almost four millennia ago. Then, men settled on the current site of Tikal and developed a city there. During the preclassical era (800 BC to 200 AD), the two cities coexisted peacefully. The reason for this peace was their mutual subordination to a third city-state, El Mirador, located about sixty kilometers away. This domination of El Mirador over the region held back the expansionist desires of the two neighboring cities for a long time. But, towards the end of the 1st century AD, the mighty El Mirador was brought down. The two cities of Tikal and Uaxactún were then able to give free rein to their appetite for conquest. At the same time, they embarked on important architectural work. Temples, acropolises and altars were created. Too close, the two cities ended up being bothered by the presence of a rival power in their neighborhood. In 378, the conflict ended with the definitive defeat of Uaxactún, now a vassal of Tikal.
Uaxactún is nothing like Tikal except for the omnipresence of the lush forest. Indeed, there are no astonishing pyramids here. Uaxactún is a modest site made up of six groups of structures scattered on either side of the old airstrip built at the time when the city was the subject of a major excavation program. Uaxactun has platforms decorated with large stucco masks. The best known of these platforms is a structure each side of which has a staircase flanked by sixteen masks representing lords or monsters Witz (the god of the mountain in the Mayan religion). This pyramid was an astronomical observatory: its east side faces three small temples aligned so as to be able to observe the sunrise at the solstices and equinoxes.
Interior intimo meo et superior summo meo
— St Augustine of Hippo
English translation: You were more inward to me than my most inward part and higher than my highest.
Typeface: Jupiter Pro
Merchandise available: www.redbubble.com/shop/ap/155220847
Interior intimo meo et superior summo meo
— St Augustine of Hippo
English translation: You were more inward to me than my most inward part and higher than my highest.
Typeface: Jupiter Pro
Merchandise available: www.redbubble.com/shop/ap/155221073
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