View allAll Photos Tagged priest
A shinto priest at Furogu Shrine in Okawa City, Fukuoka, Japan. This is one of the three main shrines of the Chikugo Region of southern Fukuoka Prefecture.
福岡県大川市の風浪宮の神主です。筑後川の３大神社の一つです。お守りを買った後、この写真はお神主のポーズです。
Detail from the left wall of the passage.
The deceased sails under a canopy in a papyrus boat towed from the bank; he is greeted by
a priest holding a long roll who stands before two buildings. One of them has a central door and is topped by two small chapels "khem", with two palms; the other has a front pierced by two windows and is surmounted by four fine columns. Then come two Muu dancers currently performing their characteristic dance.
(text from Osirisnet)
18th dynasty, Sheik Abd el-Qurna, Thebes. Tomb of Rekhmire TT100
woodblock print by Matahei (early 18th century); printed from re-carved blocks probably early 20th century; from my collection.
A devil as an itinerant priest in the Otsu-e style. This design was pasted inside houses for protection. Oban tate-e (24.5 x 44.0 cm).
From the Mingeikan Folk Crafts Museum description of Otsu-e:
"The name otsu-e is derived from the place where these paintings were sold, in and around the post town of Otsu, which lay on the Tokaido Road running between Edo (present day Tokyo) and Kyoto. Stands were set along the road to sell these paintings as souvenirs to passing travelers. Created by anonymous artists, the paintings were sold in great numbers for little money.
Some of the first otsu-e were created during the Kanei Era (1624-44) following the early Edo persecution of Japanese Christians. The artwork provided an inexpensive source of Buddhist art that could be displayed in the homes of commoners who feared retribution from the authorities, and needed proof of their devotion to Japanese religious beliefs.
By the end of the Genroku Era (1688-1704), otsu-e had become so popular that their themes were expanded to include depictions of secular subjects, such as beautiful women, courtesans, heroes, animals and mythical goblins. "
Having seen the film recently, I was facinated with the motorbikes they had. A jet engine, how genius yet completely mental!!!
Anyways, thought I'd give it a go (this is build mark 1 of this bike as confident it can be improved).
C&C welcome as usual :)...
This naos contains the statue of the High Priest of Ptah, Ptahmose. He served under Tuthmose III.
18th dynasty, from Abydos.
CG 70038 - SR 4/11593
Hurghada Museum
Bronze statuette of an Egyptian priest
6th century BC
From a Roman villa in Kuşadası
Selçuk, TR, Ephesus-Museum
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Esses dias assisti a Burlesque ( pela milésima vez :p kk )
e procurei umas fotos para editar e encontrei essa ^^
Quis editar um homem, pq faz horas que só edito mulheres ...
Só pra sair da rotina :)
Eu testei uns efeitos novos e tentei um trat diferente que eu tava testando :D
Eu adorei *-------* Espero que gostem também ....
ps: Eu sei que o tom é azul, mas fazer o que :p kk
É umas das cores mais lindas ;) #fato
Bom, é isso ...
Comentem ;)
Marlène Dumas. 1953
Snow withe and the next generation 1988
Utrecht Centraal Museum .
LE LAID ET L'ABSURDE: "UNE RESERVE POUR ECLAIRES"
C'est un constat que l'on peut faire dans tous les musées d'Art Contemporain : en peinture, l'Absurde et le Laid sont devenus des modes d'expression artistiques non seulement légitimes mais préférentiels. C'est la particularité de la peinture contemporaine, en Occident et son originalité par rapport à la peinture des siècles antérieurs, en Europe et dans d'autres civilisations.
Cette situation se retrouve dans d'autres domaines de l'art occidental, en sculpture, en musique, dans certains spectacles de théâtre et de danse. On peut s'en convaincre par exemple en regardant (sur Youtube) la cérémonie d'inauguration du Tunnel du Saint Gothard, le 2 juin 2016. Une cérémonie tout à fait officielle, présidée par les chefs des gouvernements européens. Un spectacle, très instructif, à ne pas manquer : il est la démonstration d'un fait dont tout l'art contemporain officiel témoigne : les élites se pensent non seulement au dessus, mais contre les peuples. Elles dissimulent leur idéologie réelle, derrière les grandes affirmations démocratiques de façade, mais de moins en moins, et elles ont fait de l'art un terrain d'élection pour l'affirmation de leur différence et de leur supériorité prétendue.
Dans toutes les sociétés, de tous les temps, l'Art est un domaine hautement réservé, plus ou moins étroitement, défini par les élites politiques et idéologiques : le chef et le sorcier, le roi et le prêtre, l'empereur et le pontife. Dans nos modernes "sociétés démocratiques" l'art est contrôlé par le petit milieu fermé, discret, et même secret, sectaire, qui entoure les élites gouvernantes publiques et qui tire les ficelles des marionnettes politiques.
Décider que l'Absurde, l'Incompréhensible et le Laid sont des moyens légitimes d'expression artistique, des moyens recommandés, et même imposés pour faire une carrière artistique officielle, est une rupture majeure de civilisation, un renversement complet des valeurs, et va à l'encontre de toute l' histoire universelle depuis 5.000 ans.
Cette évolution concerne l'art d'une petite élite très fermée. Elle ne concerne pas l'art commercial à destination populaire ou l'art des rues, la photographie, ni bien sûr la publicité.
Contrairement à ce qu'affirment certaines notices "explicatives" des musées, les artistes contemporains, ne sont aucunement "libérés", "en rupture", "en révolte" ....ils sont au contraire tout à fait "conformes", ils sont les"grands prêtres" de l'idéologie dominante. Aussi respectueux des désirs des puissants que pouvait l'être Rubens en son temps.
La seule différence est celle ci : à l'époque de Rubens les élites (les Princes et l'Eglise) avaient pour but de créer un art qui tienne un discours compréhensible pour les peuples. L'art religieux de la Contre-Réforme, comme l'art gothique, comme tous les arts anciens, était destiné à plaire aux peuples, devait recueillir leur adhésion, provoquer leur admiration. C'était pour les élites un moyen de communication et de formation des peuples. En langage universitaire on écrira comme Jean Bialostocki que "l'art était inter social".
Depuis la seconde guerre mondiale, plus ostensiblement, les élites contemporaines ont fait le choix exactement inverse : l'art officiel sera leur domaine réservé, un signe d'appartenance à leur secte, et d'exclusion des peuples. C'est l'art de l'oeil qui domine la pyramide maçonnique. Ce symbole d'antidémocratie totale que tout américain manipule à chaque fois qu'il utilise le billet de un dollar. L'antidote discrète, ésotérique, de la très exotérique Statue de la Liberté. L'art des Guidestones.
Ce choix des élites occidentales est la conséquence de deux facteurs : l'idéologie démocratique qui contraint les élites à se dissimuler au lieu de s'afficher comme le faisaient les aristocraties du passé, et le fait que l'art contemporain n'a plus besoin d'être "inter-social" car d'autres moyens de communication que l'art officiel existent pour remplir cette fonction.
Pour endoctriner les peuples, ou pour leurs plaisirs, les élites contrôlent d'autres moyens de communication que l'art officiel : l'éducation, la publicité, les grands médias ( presse, cinéma,télévision), les arts commerciaux locaux et les arts des rues (peintures murales, tags, graffitis).
Les élites laissent en effet fonctionner des soupapes de sécurité, comme l’art des rues, les graffitis et les tags vandales. Les graffitis vandales ont au niveau populaire exactement la même fonction que l'art officiel au niveau des élites : ils sont des signes d'appartenance et d'exclusion qui sont concédés aux petites gens, leur zone réservée d'affirmation de leurs différences et de leurs oppositions. Eux aussi ont ainsi le droit de faire du laid et de l'absurde.
Tout ce dispositif libère le secteur de l'art officiel, et c'est ainsi que l'Art contemporain peut être une "réserve pour éclairés".
La phrase d'André Malraux " On ne peut pas faire un art qui parle aux masses quand on n'a rien à leur dire", n'est pas fausse, mais elle doit se compléter ainsi : " Quand on ne veut rien dire aux masses, quand on veut rester entre élites, on fait un art qui ne parle pas aux masses".
On pourrait penser que cela n'a finalement pas d'importance et qu'il suffit de tourner le dos. Ce que font d'ailleurs plus des deux tiers de la population occidentale. Il y a bien des réserves pour les tribus d'Indiens d'Amérique et pour les rhinocéros. Pourquoi pas pour les Éclairés et leur art ?
Le problème est que ce ne sont pas les rhinocéros qui gouvernent l'Occident; et que l'invention d'un art laid et absurde est révélateur de doctrines malsaines qui couvent sous les discours démocratiques affichées. Des doctrines dont les peuples font les frais.
Une société ne fonctionne durablement que lorsque les élites politiques et idéologiques et les peuples marchent ensemble, ou au moins en accord implicite. L'art, le Beau se définit en pratique par la conjonction de l'avis des peuples et de celui des élites, l'art d'une société doit être la synthèse des aspirations et des goûts des élites et des peuples. Si cette conjonction fait défaut il n'y a plus d'art, ou le témoignage d'une élite qui s'est coupée de ses racines. Il peut exister un art élitiste, à part, comme l'art humaniste né de la renaissance italienne, ou l'art des lettrés chinois. Ces arts n'intéressaient pas les peuples, mais ils ne les faisaient pas fuir. Ils admiraient même, de loin et sans tout comprendre. L'art du Palais de Versailles n'était pas un art contre les peuples. Pas plus que l'art des mandarins chinois. Il ne peut exister durablement un art qui défie le beau et le sens, un art contre les peuples.
THE UGLY AND THE ABSURD : "A RESERVE FOR THE ELITE"
This is an observation that can be made in all museums of Contemporary Art: in painting, the Absurd (Nonsense) and the Ugly have become artistic modes of expression not only legitimate but preferential. It is the peculiarity of contemporary painting in the West and its originality compared to the painting of earlier centuries in Europe and in other civilizations.
This situation can be found in other areas of Western art, in sculpture, in music, in certain theater and dance performances. For example, it can be convinced watching (on Youtube) the inauguration ceremony of the Tunnel Gotthard, June 2, 2016. A ceremony quite official, chaired by the heads of European governments. It is a very instructive spectacle, not to be missed: it is the demonstration of a fact that all official contemporary art testifies to: the elites think themselves not only above, but against the peoples. They conceal their real ideology, behind the great democratic affirmations of façade, but less and less, and they have made art the privileged place to affirming their difference and their supposed superiority
In all societies, of all times, Art is a highly reserved domain, more or less closely defined by the political and ideological elites: the chief and the sorcerer, the king and the priest, the emperor and the pontiff. In our modern "democratic societies" art is controlled by the small middle closed, discreet, even secretive, sectarian, that surrounds the governing public elites and pulls the strings of political puppets.
Decide that the Absurd, the Incomprehensible and the Laid are legitimate means of artistic expression, means recommended, and even imposed to make an official artistic career, is a major break in civilization, a complete reversal of values, and goes against all the whole universal history for 5,000 years.
This evolution concerns the art of a very closed elite. It does not concern commercial art at popular destinations or street art, photography, or of course advertising.
Contrary to what certain "explanatory instructions" of museums claim, contemporary artists are in no way "liberated", "in revolt" ... on the contrary they are quite "in conformity", they are the "high priests" of the dominant ideology. As respectful of the desires of the powerful as Rubens could be in his time. The only difference is that in Rubens' time the elites (the Princes and the Church) aimed at creating an art that held a discourse that could be understood by the people. The religious art of the Counter-Reformation, like Gothic art, like all the ancient arts, was destined to please the people, to obtain their adhesion, to provoke their admiration. It was for the elites a means of communication and formation of peoples. In the university language, Jean Bialostocki wrote that "art was inter-social".
Since World War II, more ostensibly, contemporary elites have made the exact opposite choice: the official art will be their reserved domain, a sign of belonging to their sect, and of exclusion of peoples. It is the art of the eye that dominates the masonic pyramid. This symbol of total anti-democracy that every American manipulates every time he uses the dollar bill. The discreet antidote, esoteric, of the very exoteric Statue of Liberty. The art of the Guidestones.
This choice of Western elites is the result of two factors: the democratic ideology that forces elites to hide themselves instead of appearing ostensibly as did the aristocracies of the past, and the fact that contemporary art no longer needs to be "inter social" because other means of communication than the official art exist to fulfill this function.
To indoctrinate peoples, and for their pleasures, the elites control other means of communication than official art: education, advertising, major media (press, cinema, television), commercial arts of local interest, and streets arts (murals, tags, graffitis).
Indeed, elites do indeed operate safety valves, such as street art, graffiti and vandal tags. The vandal graffiti has at the popular level exactly the same function as the official art at the level of the elites: they are signs of belonging and exclusion that are conceded to small people, their reserved area of affirmation of their differences and their oppositions. They too have the right to make ugly and absurd.
All this device frees the sector of the official art, and it is thus that Contemporary Art can be a "reserve for enlightened".
The sentence of André Malraux "You can not make an art that speaks to the masses when you have nothing to say to them" is not false, but must be complemented as follows: "When it does not mean anything to the masses, when we want to remain between the elite it is an art that does not speak to the masses. "
You might think that it doesn't matter at all and that you just have to turn your back. That is what more than two thirds of the western population are doing. There are many reservations for the tribes of American Indians and for the Rhinos. Why not for enlightened people and their art?
The problem is that it is not rhinos that govern the West; and that the invention of an ugly and absurd art is revealing of unhealthy doctrines that brood under the displayed democratic discourses. Doctrines of which peoples pay the results.
A society only function sustainably when the political and ideological elites, and peoples walk together, or at least in implicit agreement. Art, the beautiful is defined in practice by the conjunction of the opinion of the peoples and that of the elites, the art of a society must be the synthesis of the aspirations and the tastes of the elites and peoples. If this conjunction is lacking, there is no more art, only the testimony of an elite who has cut himself off from his roots. There may be an elitist art, apart, like the humanist art born from the Italian Renaissance, or the art of Chinese scholars.
These arts did not interest peoples, but they did not make them flee. They even admired, from afar and without understanding everything. The art of the Palace of Versailles was not an art against the peoples. No more than the art of Chinese mandarins. There can not be an enduring art that defies beauty and meaning, an art against peoples.
Priest on a bike in Pushkar - India
Why is he so happy? Who is the girl on the bike? Is she the reason he is happy or is he buying a new silk scarf for himself?
Shravanabelagola, Karnataka, India.
A Jain priest is walking up the hill called Vindyagiri. This is one of the sacred sites for Jainism. Jainism originated from India and is one of the world’s oldest religions. The first great Emperor of India, Chandragupta Maurya (340 BC – 298 BC), was a follower of Jainism and is believed to have died here. Today, only a small part of the population follows Jainism.
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Cut my week short due to bad weather , cant have regrets , also if honest my diabetic issues did not like camping !! This cove was amazing and i got two hunters full of sea water in the process big thanks to Tony for taking us here a great guy !!!
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Here is my first published work even though i did it as a freebie its great seeing your work on a web site !
www.thewhitehartvillageinn.com/index.html
Here is the flickr set
The Red Priest - An amazing mural to find in a very dark and gritty alley in downtown Phoenix, Arizona, this Red Man looks like an ancestral priest of a long-dead religion of the Americas.
Ethiopia is one of the oldest Christian states in the world. The Entoto Maryam Church is probably the oldest building in use in the vicinity of Addis Ababa; it was full of active worshippers taking part in a wedding celebration when I visited.
For the story, please visit: www.ursulasweeklywanders.com/travel/addis-ababa-in-the-cr...
Processed this with a custom preset I titled Roman Nose. I have a normal version, and a light version. It's been fun to develop this and I like the results it gives.
One of my fafourite evenings in Cornwall. After all that rain during the day, the weather god provided me with a spectacular sunset sky :-) first I was at porth nanven and took some quick shots. since it was getting a little crowded there I went to the nearby priest cove for the sunset instead.. I took loooootttts of pictures there. The sky was changing rapidly and breaking up eventually.
Here is one of my first shots there. The sturcture in the sky was great and the clouds were already starting to loosen up. I wanted to focus only on the great structures throughout the whole scene so I used BW and quite a lot dodge and burn :-)
BTW. the boulders you are seeing on the beach are dinosaur eggs.. at least they look that way *gg*
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Abba Garima Monastery is right outside the Sabean ruin known as the "Temple of the Sun and the Moon" (later converted to a church) in Yeha. The monastery's treasury on the second floor has an excellent collection of manuscripts as well as a smattering of Sabean artefacts discovered at the temple site. The keeper of the treasury here moved to the window to get better light for reading, and it was a fairly easy task to take this photo of him.