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Trong nhiều nền văn hoá cổ đại, kể cả Babylon, Ai Cập và Hy Lạp, có một vị thần tên “Thần mang nước” hay “Thần đổ nước”. Nước đã cưu mang và duy trì sự sống, do đó quyền lực làm cho nước đổ xuống tứ thiên đường nắm trong số quyền năng được con người cổ đại tôn kính nhất. Theo thần thoại Hy Lạp thì Zeus là “Thần mang nước”. Trong cương vị chúa tể của các vị thần, một trong những nhiệm vụ quan trọng nhất của ông là tạo ra bão. Chòm sao Aquarius là biểu tượng cho “Thần mang nước Zeus”. Một thần thoại khác lại nói đến Deucalion, người sống sót duy nhất trong trận Đại hồng thủy và “Thời đại đồ sắt” trong thần thoại Hy Lạp. Ở thời đại này con người cũng tàn bạo như thú dữ giết chóc lẫn nhau, bất kể cha con. Lời giáo huấn của thần thánh ko có giá trị gì với họ. Thất vọng, Zeus tạo ra trận lụt lớn trên trái đất, giết chết mọi người trừ Deucalion và vợ Pyrrha (Trong chuyến thăm trái đất cuối cùng, Zeus thấy cặp vợ chồng này dù sống trong túp lều đơn sơ ko có đủ thức ăn, vật dụng vẫn cung cấp đầy đủ thức ăn chỗ ở cho mình nên ông mới cho họ sống qua trận lụt) đồng thời giúp họ tạo ra chủng tộc người mới mạnh hơn và có đạo đức. Deucalion chính là “Người mang nước” đặc trưng bằng chòm sao Aquarius.
To commemorate the Rosetta Stone I bought a tea towel for Shalene. Ptolemy V would have been so proud to have his little notice drying our dishes.
According to Wikipedia it says:
"In the reign of the new king, who was Lord of the diadems, great in glory, the stabilizer of Egypt, and also pious in matters relating to the gods, Superior to his adversaries, rectifier of the life of men, Lord of the thirty-year periods like Hephaestus the Great, King like the Sun, the Great King of the Upper and Lower Lands, offspring of the Parent-loving Gods, whom Hephaestus has approved, to whom the Sun has given victory, living image of Zeus, Son of the Sun, Ptolemy the ever-living, beloved by Ptah;
In the ninth year, when Aëtus, son of Aëtus, was priest of Alexander and of the Savior Gods and the Brother Gods and the Benefactor Gods and the Parent-loving Gods and the God Manifest and Gracious; Pyrrha, the daughter of Philinius, being athlophorus for Bernice Euergetis; Areia, the daughter of Diogenes, being canephorus for Arsinoë Philadelphus; Irene, the daughter of Ptolemy, being priestess of Arsinoë Philopator: on the fourth of the month Xanicus, or according to the Egyptians the eighteenth of Mecheir.
THE DECREE: The high priests and prophets, and those who enter the inner shrine in order to robe the gods, and those who wear the hawks wing, and the sacred scribes, and all the other priests who have assembled at Memphis before the king, from the various temples throughout the country, for the feast of his receiving the kingdom, even that of Ptolemy the ever-living, beloved by Ptah, the God Manifest and Gracious, which he received from his Father, being assembled in the temple in Memphis this day, declared:
Since King Ptolemy, the ever-living, beloved by Ptah, the God Manifest and Gracious, the son of King Ptolemy and Queen Arsinoë, the Parent-loving Gods, has done many benefactions to the temples and to those who dwell in them and also to all those subjects to his rule, being from the beginning a god born of a god and a goddess—like Horus, the son of Isis and Osirus, who came to the help of his Father Osirus—being benevolently disposed toward the gods, has concentrated to the temples revenues both of silver and of grain, and has generously undergone many expenses in order to lead Egypt to prosperity and to establish the temples... the gods have rewarded him with health, victory, power, and all other good things, his sovereignty to continue to him and his children forever."
Oh yeah.
This is one of a pair of sculptures designed by Lorado Taft, and carved from limestone by Walter Zimmerman, in 1933. Originally made for a "Century of Progress" exhibition in Chicago, they now stand (or sit) at the east entrance to the Main Library at the University of Illinois.
Photo taken around 1985 or so
This is one of a pair of sculptures designed by Lorado Taft, and carved from limestone by Walter Zimmerman, in 1933. Originally made for a "Century of Progress" exhibition in Chicago, they now stand (or sit) at the east entrance to the Main Library at the University of Illinois.
Photo taken around 1985 or so
Petworth House, Petworth, West Sussex
National Trust
The Grand Staircase
The Creation of Pandora
Louis Laguerre (Paris 1663 - London 1721) 1718/20
Replaces a previous ceiling painting destroyed by a disastrous fire in 1714.
Pandora appears in the centre in a white dress surrounded by gods and goddesses offering her gifts.
Zeus/Jupiter hands Pandora the notorious sealed jar containing all the evils of the world and Hope. Juno/Hera has her peacock. Vulcan
/Hephaestus her creator, kneels beside her and offers her a gold coronet. Minerva/Athena is adjusting Pandora's dress, Bacchus/Dionysus presents a goblet of wine, which has just been filled by Ganymede who sits above him holding an ornate pitcher of wine; Ceres/Demeter presents an ear of corn, and a seated Silenus, attended by satyrs and nymphs are bearing her baskets of grapes. Beneath Pandora on two dark clouds are Hercules/Heracles with his club and Pan playing his pipes. Mars offers her his sword, and above him Venus, attended by the Graces, reclines on a cloud on which lies her blue mantle, and offers her cestus. Neptune offers coral from the sea and Cybele wearing a crown of towers is seated in a chariot drawn by lions holds a key in her left hand and raises her right hand in despair. Others in attendance are Apollo with his lyre attended by the Muses; Saturn with a sickle and hour-glass; Diana with her bow. Above Pandora, Flora crowns her with a garland of roses and Mercury/Hermes with his caduceus in his right hand, hovers in the air ready to take Pandora to Epimetheus the brother of Prometheus.
Pandora: the name of the first woman on earth. Prometheus created Man by moulding figures out of clay, Athena then breathed life into them. Because of the faults of mortal men Zeus determined to destroy them. He deprived men of fire but Prometheus stole it from Olympus by secretly taking it in the stalk of a fennel plant, and returned it to them. Zeus in revenge caused Vulcan to make the first woman, Pandora, who, by her charms and beauty would bring misery upon the human race. All the gods then bestowed her with gifts to assist her in bringing about the ruin of mankind. Zeus presented her with a sealed jar containing all the evils that were ever to plague mankind. The only good it contained was Hope who was at the bottom. Pandora was delivered by Mercury to Epimetheus who had been warned by his brother Prometheus not to accept gifts from the gods. Epimetheus married Pandora. Pandora having been told not open the jar, did so and released into the world a plague of evils - the last to leave was Hope. Pandora bore Epimetheus a daughter, Pyrrha, who married Deucalion and, with him, survived the Great Flood.
The upper part of the stele, with palmette, of Diogenes sone of Apollonides, from Pyrrha on Lesbos. The delicate workmanship of the palmette stands out thanks to the good state of preservation of the paint, especially the blue background of the stele. First half of the 4th c. B.C. From Eetioneia (Kastraki Drapetsonas).
Europe 2018 (day 5), August 19, 2018.
Firenze / Florence.
Galleria degli Uffizi / Uffizi Gallery.
Ritratti di Agnolo Doni e Maddalena Strozzi / Portraits of Agnolo Doni amd Maddalena Strozzi (c. 1504-1506) / Raffaello Sanzio (1483-1520); on the reverse is the Il consiglio degli dei di punire l'umanita con il Diluvio; la rinascita dell'umanita salle pietre gettate de Deucalione e Pirra / The coucil of the gods decides to punish humanity with the flood; the rebirth of humanity from stones thrown by Deucakion and Pyrrha (c. 1504-1506) / Maestro di Serumido (active c. 150-1530).
©2018 - Lewis Brian Day. All rights reserved.
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Cloche: Porch Light
Shirt: J. Crew
Vest: Old Navy
Pants: Express
Shoes: Doc Martens
Necklaces: exex, Pyrrha, selfmade
Images of items in their collection.
Portrait of Agnolo Doni
c. 1504-1507
Oil on basswood panel
Raffaello Sanzio (Urbino 1483 – Rome 1520) and Maestro di Serumido
"The two paintings portray Agnolo Doni (1474-1539), a rich fabric merchant and prominent figure among the Florentine upper class, and his wife, noblewoman Maddalena Strozzi (1489-1540), who married on 31 January 1504. According to Giorgio Vasari (Le Vite, Edizione Giuntina 1568) the works were commissioned to Raphael by Agnolo: “Whilst he was living in Florence, Agnolo Doni, who was very careful with his money in other things but willing to spend it, although still with the greatest possible economy - on works of painting and sculpture, in which he much delighted, asked him [Raphael] to make portraits of himself and of his wife; these may be seen in the possession of Giovan Battista, his son, in the beautiful and most comfortable house of Agnolo, on Corso de’ Tintori, near the Canto degli Alberti, in Florence.” Agnolo also commissioned the round painting of the Holy Family, known as the Tondo Doni, to Michelangelo Buonarroti. Both portraits were painted en pendant and originally formed a diptych, held together by hinges that made it possible to look at the scenes painted on the backs. These are two episodes, one a consequence of the other, taken from Ovid’s Metamorphoses: The Flood, on the back of Agnolo’s portrait, and the following rebirth of humanity thanks to Deucalion and Pyrrha, on the back of the portrait of Maddalena. These stories, painted in monochrome, were the work of a colleague of the young Raphael, whose identity remains anonymous but who is thought to be the so-called Maestro di Serumido, a figure identified by Federico Zeri, who attributed a group of works in similar style to this same artist. The choice to paint the works in black and white reflects a taste for the Flemish styles that were popular in 15th- and 16th-century Florence, where the panels of diptychs and triptychs would traditionally have monochrome decorations on the back. The two scenes are to be interpreted as allegories that seem to wish fertility to the marriage. Ovid narrates how the gods allowed Deucalion and Pyrrha, an elderly couple without children to save themselves from the flood and to restore life to mankind after it. On the order of Zeus, the pair threw stones over their shoulders, and once they touched the oil, the stones became people – the ones thrown by Deucalion became men and the ones thrown by Pyrrha, women. These references strengthen the theory, put forward by the majority of critics, that the portraits were commissioned for the marriage of the young couple, dating them to somewhere between 1504 and 1506, the year in which the furniture for the Donis’ marriage chamber was completed by Francesco del Tasso and Morto da Feltre.
The first of the portraits by Raphael was that of Maddalena: radiographic analysis has shown that he made changes to background, initially conceived to be an interior, so that it overlooked a landscape through a side opening, while the portrait of Agnolo was directly inserted into the landscape, creating visual continuity with that of his bride. These two masterpieces mark an essential stage not only in Raphael’s art, but also in the tradition of Florentine portraiture which, by developing solutions previously formulated by Verrocchio in the Woman with Flowers, and by Leonardo in the Mona Lisa, come to a new natural style of half-bust presentation. The links to the Mona Lisa are so close as to lead one to think that Raphael was himself able to study it in Florence, at least towards the end of 1504. Raphael distances himself from Leonardo’s model by preferring to use a solid, clear approach to space, lowering the horizon behind the figures and bringing them strongly to the foreground, according to models influenced by his own teacher, Pietro Perugino and by the Flemish painters of the late 15th century, such as Hans Memling. The fascinating use of the sfumato technique, as seen on the Mona Lisa has been replaced by an absolutely clear use of shape and colour, by a descriptive language that pauses on the detailed portrayal of the faces, fabrics and jewels. Maddalena’s pendant is particularly significant, formed by a gold, unicorn-shaped mount and three precious stones (ruby, emerald and sapphire), and by a pearl, an element that alludes to virginal purity and marital fidelity.
In Vasari’s period, the portraits were still in the family home in Corso Tintori, where they were seen by Raffaello Borghini (1584) and Giovanni Cinelli (1667). From this date, there is not much information about them. They most definitely remained with the Doni family if, in 1826, Leopold II Grand Duke of Tuscany was able to buy them from the heirs and add them to the collection of paintings he was creating in the Palatine Gallery in Palazzo Pitti. Since 5 June 2018, the Doni portraits have been displayed in the Uffizi Galleries alongside Michelangelo’s Tondo Doni, hung on new supports that allow the stories on their reverse sides to be admired."
The Uffizi Gallery
RWBY Gathering
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