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Dear friend, here are 5 things you should know:
1. Like it or not, we are ALL sinners: As the Scriptures say, “No one is righteous—not even one. No one is truly wise; no one is seeking God. All have turned away; all have become useless. No one does good, not a single one.” (Romans 3:10-12 NLT)
2. The punishment for sin is death: When Adam sinned, sin entered the world. Adam’s sin brought death, so death spread to everyone, for everyone sinned. (Romans 5:12 NLT)
3. Jesus is our only hope: But God showed his great love for us by sending Christ to die for us while we were still sinners. (Romans 5:8 NLT) For the wages of sin is death, but the free gift of God is eternal life through Christ Jesus our Lord. (Romans 6:23 NLT)
4. SALVATION is by GRACE through FAITH in JESUS: God saved you by his grace when you believed. And you can’t take credit for this; it is a gift from God. 9 Salvation is not a reward for the good things we have done, so none of us can boast about it. For we are God’s masterpiece. He has created us anew in Christ Jesus, so we can do the good things he planned for us long ago. (Ephesians 2:8-10 NLT)
5. Accept Jesus and receive eternal life: If you openly declare that Jesus is Lord and believe in your heart that God raised him from the dead, you will be saved. (Romans 10:9 NLT) But to all who believed him and accepted him, he gave the right to become children of God. (John 1:12 NLT) And this is what God has testified: He has given us eternal life, and this life is in his Son. Whoever has the Son has life; whoever does not have God’s Son does not have life. (1 John 5:11-12 NLT)
Read the Bible for yourself. Allow the Lord to speak to you through his Word. YOUR ETERNITY IS AT STAKE!
Sincerely,
Someone who cares about you
A Hindu book filled with mantras. The priest was using it to conduct ceremonies during my sister's wedding.
Therefore,as God's chosen people, holy and dearly loved,clothe yourself with compassion, kindness, humility, gentleness and patience. Bear with each other and forgive whatever grievances you may have against one another. Forgive as the Lord forgave you. And over all these virtues put on love, which binds them all together in perfect unity.(NIV)
Maitreya (Sanskrit), Metteyya (Pāli), or Jampa (Tibetan), is foretold as a future Buddha of this world in Buddhist eschatology. In some Buddhist literature, such as the Amitabha Sutra and the Lotus Sutra, he is referred to as Ajita Bodhisattva.
Maitreya is a bodhisattva who in the Buddhist tradition is to appear on Earth, achieve complete enlightenment, and teach the pure dharma. According to scriptures, Maitreya will be a successor of the historic Śākyamuni Buddha. The prophecy of the arrival of Maitreya references a time when the Dharma will have been forgotten on Jambudvipa. It is found in the canonical literature of all Buddhist sects (Theravāda, Mahāyāna, Vajrayāna), and is accepted by most Buddhists as a statement about an event that will take place when the Dharma will have been forgotten on Earth.
The name Maitreya (Metteyya in Pāli) is derived from the Sanskrit word maitrī (Pāli: mettā) meaning "loving-kindness", which is in turn derived from the noun mitra (Pāli: mitta) in the sense of "friend".
The earliest mention of Metteyya is in the Cakavatti (Sihanada) Sutta in the Digha Nikaya 26 of the Pali Canon. He occurs in no other sutta in the Pali Canon, and this casts doubt as to the sutta's authenticity. Most of the Buddha's sermons are presented as preached in answer to a question, or in some other appropriate context, but this one has a beginning and an ending in which the Buddha is talking to monks about something totally different. This leads Gombrich to conclude that either whole sutta is apocryphal, or it has at least been tampered with.
The Bodhisattva Maitreya (water bottle on left thigh), art of Mathura, 2nd century AD.
Maitreya is sometimes represented seated on a throne Western-style, and venerated both in Mahāyāna and non-Mahāyāna Buddhism. Some have speculated that inspiration for Maitreya may have come from the ancient Indo-Iranian deity Mithra. The primary comparison between the two characters appears to be the similarity of their names. According to a book entitled The Religion of the Iranian Peoples, "No one who has studied the Zoroastrian doctrine of the Saoshyants or the coming saviour-prophets can fail to see their resemblance to the future Maitreya.
Paul Williams claims that some Zoroastrian ideas like Saoshyant influenced the beliefs about Maitreya, such as "expectations of a heavenly helper, the need to opt for positive righteousness, the future millennium, and universal salvation". Possible objections are that these characteristics are not unique to Zoroastrianism, nor are they necessarily characteristic of the belief in Maitreya.
It is also possible that Maitreya Buddha originated with the Hindu Kalki, and that its similarities with the Iranian Mithra have to do with their common Indo-Iranian origin.
In the Greco-Buddhist art of Gandhara, in the first centuries CE in northern India, Maitreya was the most popular figure to be represented, together with the Buddha Śākyamuni. In China, in the 4th–6th Centuries "Buddhist artisans used the names Shakyamuni and Maitreya interchangeably... indicating both that the distinction between the two had not yet been drawn and that their respective iconographies had not yet been firmly set"[3] An example is the stone sculpture found in the Qingzhou cache dedicated to Maitreya in 529 CE as recorded in the inscription (currently in the Qingzhou Museum, Shandong). The cult of Maitreya apparently developed around the same time of that of Amitābha, as early as the 3rd century CE.
Gandhara
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Gandhara is the name given to an ancient region or province invaded in 326 B.C. by Alexander the Great, who took Charsadda (ancient Puskalavati) near present-day Peshawar (ancient Purusapura) and then marched eastward across the Indus into the Punjab as far as the Beas river (ancient Vipasa). Gandhara constituted the undulating plains, irrigated by the Kabul River from the Khyber Pass area, the contemporary boundary between Pakistan and Afganistan, down to the Indus River and southward towards the Murree hills and Taxila (ancient Taksasila), near Pakistan"s present capital, Islamabad. Its art, however, during the first centuries of the Christian era, had adopted a substantially larger area, together with the upper stretches of the Kabul River, the valley of Kabul itself, and ancient Kapisa, as well as Swat and Buner towards the north.
A great deal of Gandhara sculptures has survived dating from the first to probably as late as the sixth or even the seventh century but in a remarkably homogeneous style. Most of the arts were almost always in a blue-gray mica schist, though sometimes in a green phyllite or in stucco, or very rarely in terracotta. Because of the appeal of its Western classical aesthetic for the British rulers of India, schooled to admire all things Greek and Roman, a great deal found its way into private hands or the shelter of museums.
Gandhara sculpture primarily comprised Buddhist monastic establishments. These monasteries provided a never-ending gallery for sculptured reliefs of the Buddha and Bodhisattvas. The Gandhara stupas were comparatively magnified and more intricate, but the most remarkable feature, which distinguished the Gandhara stupas from the pervious styles were hugely tiered umbrellas at its peak, almost soaring over the total structure. The abundance of Gandharan sculpture was an art, which originated with foreign artisans.
In the excavation among the varied miscellany of small bronze figures, though not often like Alexandrian imports, four or five Buddhist bronzes are very late in date. These further illustrate the aura of the Gandhara art. Relics of mural paintings though have been discovered, yet the only substantial body of painting, in Bamiyan, is moderately late, and much of it belongs to an Iranian or central Asian rather than an Indian context. Non-narrative themes and architectural ornament were omnipresent at that time. Mythical figures and animals such as atlantes, tritons, dragons, and sea serpents derive from the same source, although there is the occasional high-backed, stylized creature associated with the Central Asian animal style. Moldings and cornices are decorated mostly with acanthus, laurel, and vine, though sometimes with motifs of Indian, and occasionally ultimately western Asian, origin: stepped merlons, lion heads, vedikas, and lotus petals. It is worth noting that architectural elements such as pillars, gable ends, and domes as represented in the reliefs tend to follow the Indian forms
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Gandhara became roughly a Holy Land of Buddhism and excluding a handful of Hindu images, sculpture took the form either of Buddhist sect objects, Buddha and Bodhisattvas, or of architectural embellishment for Buddhist monasteries. The more metaphorical kinds are demonstrated by small votive stupas, and bases teeming with stucco images and figurines that have lasted at Jaulian and Mora Moradu, outpost monasteries in the hills around Taxila. Hadda, near the present town of Jalalabad, has created some groups in stucco of an almost rococo while more latest works of art in baked clay, with strong Hellenistic influence, have been revealed there, in what sums up as tiny chapels. It is not known exactly why stucco, an imported Alexandrian modus operandi, was used. It is true that grey schist is not found near Taxila, however other stones are available, and in opposition to the ease of operating with stucco, predominantly the artistic effects which can be achieved, must be set with its impermanence- fresh deposits frequently had to be applied. Excluding possibly at Taxila, its use emerges to have been a late expansion.
Architectural fundamentals of the Gandhara art, like pillars, gable ends and domes as showcased in the reliefs, were inclined to follow Indian outlines, but the pilaster with capital of Corinthian type, abounds and in one-palace scene Persepolitan columns go along with Roman coffered ceilings. The so-called Shrine of the Double-Headed Eagle at Sirkap, in actuality a stupa pedestal, well demonstrates this enlightening eclecticism- the double-headed bird on top of the chaitya arch is an insignia of Scythian origin, which appears as a Byzantine motif and materialises much later in South India as the ga1J.qa-bheru1J.qa in addition to atop European armorial bearings.
In Gandhara art the descriptive friezes were all but invariably Buddhist, and hence Indian in substance- one depicted a horse on wheels nearing a doorway, which might have represented the Trojan horse affair, but this is under scan. The Dioscuri, Castor and Pollux, familiar from the previous Greek-based coinage of the region, appeared once or twice as standing figurines, presumably because as a pair, they tallied an Indian mithuna couple. There were also female statuettes, corresponding to city goddesses. Though figures from Butkara, near Saidan Sharif in Swat, were noticeably more Indian in physical type, and Indian motifs were in abundance there. Sculpture was, in the main, Hellenistic or Roman, and the art of Gandhara was indeed "the easternmost appearance of the art of the Roman Empire, especially in its late and provincial manifestations". Furthermore, naturalistic portrait heads, one of the high-points of Roman sculpture, were all but missing in Gandhara, in spite of the episodic separated head, probably that of a donor, with a discernible feeling of uniqueness. Some constitutions and poses matched those from western Asia and the Roman world; like the manner in which a figure in a recurrently instanced scene from the Dipankara jataka had prostrated himself before the future Buddha, is reverberated in the pose of the defeated before the defeater on a Trojanic frieze on the Arch of Constantine and in later illustrations of the admiration of the divinised emperor. One singular recurrently occurring muscular male figure, hand on sword, witnessed in three-quarters view from the backside, has been adopted from western classical sculpture. On occasions standing figures, even the Buddha, deceived the elusive stylistic actions of the Roman sculptor, seeking to express majestas. The drapery was fundamentally Western- the folds and volume of dangling garments were carved with realness and gusto- but it was mainly the persistent endeavours at illusionism, though frequently obscured by unrefined carving, which earmarked the Gandhara sculpture as based on a western classical visual impact.
The distinguishing Gandhara sculpture, of which hundreds if not thousands of instances have outlived, is the standing or seated Buddha. This flawlessly reproduces the necessary nature of Gandhara art, in which a religious and an artistic constituent, drawn from widely varied cultures have been bonded. The iconography is purely Indian. The seated Buddha is mostly cross-legged in the established Indian manner. However, forthcoming generations, habituated to think of the Buddha as a monk, and unable to picture him ever possessing long hair or donning a turban, came to deduce the chigon as a "cranial protuberance", singular to Buddha. But Buddha is never depicted with a shaved head, as are the Sangha, the monks; his short hair is clothed either in waves or in taut curls over his whole head. The extended ears are merely due to the downward thrust of the heavy ear-rings worn by a prince or magnate; the distortion of the ear-lobes is especially visible in Buddha, who, in Gandhara, never wore ear-rings or ornaments of any kind. As Foucher puts it, the Gandhara Buddha is at a time a monk without shaving and a prince stripped off jewellery.
The western classical factor rests in the style, in the handling of the robe, and in the physiognomy of Buddha. The cloak, which covers all but the appendages (though the right shoulder is often bared), is dealt like in Greek and Roman sculptures; the heavy folds are given a plastic flair of their own, and only in poorer or later works do they deteriorate into indented lines, fairly a return to standard Indian practice. The "western" treatment has caused Buddha"s garment to be misidentified for a toga; but a toga is semicircular, while, Buddha wore a basic, rectangular piece of cloth, i.e., the samghiifi, a monk"s upper garment. The head gradually swerves towards a hieratic stylisation, but at its best, it is naturalistic and almost positively based on the Greek Apollo, undoubtedly in Hellenistic or Roman copies.
Gandhara art also had developed at least two species of image, i.e. not part of the frieze, in which Buddha is the fundamental figure of an event in his life, distinguished by accompanying figures and a detailed mise-en-scene. Perhaps the most remarkable amongst these is the Visit to the Indrasala Cave, of which the supreme example is dated in the year 89, almost unquestionably of the Kanishka period. Indra and his harpist are depicted on their visit in it. The small statuettes of the visitors emerge below, an elephant describing Indra. The more general among these detailed images, of which approximately 30 instances are known, is presumably related with the Great Miracle of Sravasti. In one such example, one of the adjoining Bodhisattvas is distinguished as Avalokiteshwara by the tiny seated Buddha in his headgear. Other features of these images include the unreal species of tree above Buddha, the spiky lotus upon which he sits, and the effortlessly identifiable figurines of Indra and Brahma on both sides.
Another important aspect of the Gandhara art was the coins of the Graeco-Bactrians. The coins of the Graeco-Bactrians - on the Greek metrological standard, equals the finest Attic examples and of the Indo-Greek kings, which have until lately served as the only instances of Greek art found in the subcontinent. The legendary silver double decadrachmas of Amyntas, possibly a remembrance issue, are the biggest "Greek" coins ever minted, the largest cast in gold, is the exceptional decadrachma of the same king in the Bibliotheque Nationale, with the Dioscuri on the inverse. Otherwise, there was scanty evidence until recently of Greek or Hellenistic influences in Gandhara. A manifestation of Greek metropolitan planning is furnished by the rectilinear layouts of two cities of the 1st centuries B.C./A.D.--Sirkap at Taxila and Shaikhan Pheri at Charsadda. Remains of the temple at Jandial, also at Taxila and presumably dating back to 1st century B.C., also includes Greek characteristics- remarkably the huge base mouldings and the Ionic capitals of the colossal portico and antechamber columns. In contrast, the columns or pilasters on the immeasurable Gandhara friezes (when they are not in a Indian style), are consistently coronated by Indo-Corinthian capitals, the local version of the Corinthian capital- a certain sign of a comparatively later date.
The notable Begram hoard confirms articulately to the number and multiplicity of origin of the foreign artefacts imported into Gandhara. This further illustrates the foreign influence in the Gandhara art. Parallel hoards have been found in peninsular India, especially in Kolhapur in Maharashtra, but the imported wares are sternly from the Roman world. At Begram the ancient Kapisa, near Kabul, there are bronzes, possibly of Alexandrian manufacture, in close proximity with emblemata (plaster discs, certainly meant as moulds for local silversmiths), bearing reliefs in the purest classical vein, Chinese lacquers and Roman glass. The hoard was possibly sealed in mid-3rd century, when some of the subjects may have been approximately 200 years old "antiques", frequently themselves replicates of classical Greek objects. The plentiful ivories, consisting in the central of chest and throne facings, engraved in a number of varied relief techniques, were credibly developed somewhere between Mathura and coastal Andhra. Some are of unrivalled beauty. Even though a few secluded instances of early Indian ivory carving have outlived, including the legendary mirror handle from Pompeii, the Begram ivories are the only substantial collection known until moderately in present times of what must always have been a widespread craft. Other sites, particularly Taxila, have generated great many instances of such imports, some from India, some, like the appealing tiny bronze figure of Harpocrates, undoubtedly from Alexandria. Further cultural influences are authenticated by the Scytho Sarmatian jewellery, with its characteristic high-backed carnivores, and by a statue of St. Peter. But all this should not cloud the all-important truth that the immediately identifiable Gandhara style was the prevailing form of artistic manifestation throughout the expanse for several centuries, and the magnitude of its influence on the art of central Asia and China and as far as Japan, allows no doubt about its integrity and vitality.
In the Gandhara art early Buddhist iconography drew heavily on traditional sources, incorporating Hindu gods and goddesses into a Buddhist pantheon and adapting old folk tales to Buddhist religious purposes. Kubera and Harm are probably the best-known examples of this process.
Five dated idols from Gandhara art though exist, however the hitch remains that the era is never distinguished. The dates are in figures under 100 or else in 300s. Moreover one of the higher numbers are debatable, besides, the image upon which it is engraved is not in the conventional Andhra style. The two low-number-dated idols are the most sophisticated and the least injured. Their pattern is classical Gandhara. The most undemanding rendition of their dates relates them to Kanishka and 78 A.D. is assumed as the commencement of his era. They both fall in the second half of the 2nd century A.D. and equally later, if a later date is necessitated for the beginning of Kanishka`s time. This calculation nearly parallels numismatics and archaeological evidences. The application of other eras, like the Vikrama (base date- 58 B.C.) and the Saka (base date- 78 A.D.), would place them much later. The badly battered figurines portray standing Buddhas, without a head of its own, but both on original figured plinths. They come to view as depicting the classical Gandhara style; decision regarding where to place these two dated Buddhas, both standing, must remain knotty till more evidence comes out as to how late the classical Gandhara panache had continued.
Methodical study of the Gandhara art, and specifically about its origins and expansion, is befuddled with numerous problems, not at least of which is the inordinately complex history and culture of the province. It is one of the great ethnical crossroads of the world simultaneously being in the path of all the intrusions of India for over three millennia. Bussagli has rightly remarked, `More than any other Indian region, Gandhara was a participant in the political and cultural events that concerned the rest of the Asian continent`.
However, Systematic study of the art of Gandhara, and particularly of its origins and development, is bedeviled by many problems, not the least of which is the extraordinarily complex history and culture of the region.
In spite of the labours of many scholars over the past hundred and fifty years, the answers to some of the most important questions, such as the number of centuries spanned by the art of Gandhara, still await, fresh archaeological, inscriptional, or numismatic evidence.
Surely He has borne our griefs, and carried our sorrows: yet we did esteem Him stricken, smitten of God, and afflicted. But He was wounded for our transgressions, He was bruised for our iniquities: the chastisement of our peace was upon Him; and with His stripes we are healed.
Isaiah 53:4-5
I Timothy 4:8 NKJV " For bodily exercise profits a little, but Godliness is profitable for all things, having promise of the life that now is and of that which is to come."----------------------------------- The world emphasizes beauty, ability, and success. The world says fame, fortune, and power define greatness. Unless God is the backbone supporting our thoughts, we can be easily lured into taking on the philosophy of the world rather than the standards in the word of God. Constantly striving for influence, power, and money while ignoring the only example of greatness we have in Jesus! [ Matthew 20:28] " Just as the son of man did not come to be served, but to serve, and to give His life as a ransom for many."------ A true leader places his or her needs last, as Jesus demonstrated in His life and death. If we embrace a life of Godliness we have some examples to live by.. (1) Never considering ourselves above others : { Romans 12:3} ( if we are proud, we cannot exercise our faith and gifts to benefit others. And if we consider ourselves worthless, we withhold what God intended to deliver to others through us.) (2) we should not be prideful : { James 4:10} ( when we submit ourselves to the Lord, He works through us to achieve His will. His glory allows us to accomplish things that are not possible through our own wisdom and strength.) (3) Help the weak by caring, Rather than criticizing : { I Thessalonians 5:14} ( The Lord ministers to us in different ways, depending on what we need at the time. When we help others, we need to ask the Lord to make us instruments of His love, mercy, and grace.) (4) Be ready to give all to promote salvation of the lost : { Mark 8:35} ( Jesus want's us to choose to follow Him rather than live a life of sin and self-satisfaction. We can gain nothing on earth that will ever compare to what we gain with Christ.)-- Every believer should have a servant's heart, and be willing to serve whenever the opportunity presents itself.. " For you, brethren, have been called to liberty; only do not use liberty as an opportunity for the flesh, but through love serve one another." [ Galatians 5:13]-------- God blesses us so that we might bless others. That is what the Christian life is all about.
“Whoever does the Will of God is my brother and sister…” Mark 3:31-35
“Then HIS mother and HIS brothers came to HIM, but they could not reach HIM for the crowd. And HE was told, "Your mother and your brothers are standing outside, desiring to see you." But HE said to them, "My mother and my brothers are those who hear the word of God and do it." Luke 8:19-21
MEDITATION
“Imagine yourself sitting with Jesus when word comes that His relatives want to see Him. As He speaks, Jesus gestures toward you with a warm smile: “Here is my brother and sister and mother.” How would that make you feel?
“This isn’t just your imagination. It’s true! Through God’s free gift, you have been brought into a family relationship with Him.
“…To be a brother or sister of Jesus is both a fact about who you already are and a calling toward who you will become as you “take on the family resemblance” more and more. If you have been baptized, you have been “born again” as a son or daughter of God (John 3:4). And as this family member whom Jesus looks at with love, you are also called to love God and do His Will more and more each day.
“…How can you do God’s Will today? By doing the simple tasks that God gives you each day. By calling to mind Jesus’ presence with you as you work. By asking Him for the Grace to perform those deeds with a Loving, Cheerful heart, and offering them to the Lord. These shifts in attitude can change your experience, turning drudgery into Joyful service. Whether they feel pleasant or trying, these decisions to do God’s Will in company with Jesus will bring you even more deeply into your Father’s Loving Embrace.”
PRAYER
“Here I am, Lord. I come to do Your Will.”
#prayer from today’s #meditation reflection @ www.DailyScripture.Net or APP at Daily Scripture Servants of the Word
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Filename - “Whoever does the will of God…” - Mark 3, 2023
Following the Son...
Blessings,
Sharon 🌻
God’s Beauty In Nature is calling us into a deeper relationship with Him...
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Bloggers are welcome to use my artwork with, “Image from Art4TheGlryOfGod by Sharon under Creative Commons license”, and a link back to the images you use, and please let me know in the comment section below, thank you...
Art4TheGlryOfGod Photography by Sharon
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Faith, Hope & Love in daily Art meditations...
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My workstation: 2 computers + a smart phone running 6 operating systems, set up for cross-platform software development, Scripture file format processing, web site mastering, home schooling, Bible translation, communication, etc. With all that screen space, I still use pencil and paper (like that work flow diagram in the picture) and some paper books. This is what I look at for 40-50 hours per week, but now maybe you see why most of my pictures are of something or someone else. :-)
The Bible contains the mind of God,
the state of man,
the way of salvation,
the doom of sinners,
and the happiness of believers.
Its doctrines are holy,
its precepts are binding,
its histories are true,
and its decisions are immutable.
Read it to be wise,
believe it to be safe,
and practice it to be holy.
It contains light to direct you,
food to support you,
and comfort to cheer you.
It is the traveler’s map,
the pilgrim’s staff,
the pilot’s compass,
the soldier’s sword
and the Christian’s charter.
Here too, Heaven is opened
and the gates of Hell disclosed.
Christ is its grand subject,
our good its design,
and the glory of God its end.
It should fill the memory,
rule the heart and guide the feet.
Read it slowly, frequently and prayerfully.
It is a mine of wealth,
a paradise of glory,
and a river of pleasure.
It is given you in life,
will be opened at the judgment,
and be remembered forever.
It involves the highest responsibility,
rewards the greatest labor,
and will condemn all who trifle with its sacred contents.
-JND-
One of the most common commands in the Bible is Do not Fear.
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Psalm 12:6;
"And the words of the LORD are flawless,
like silver refined in a furnace of clay,
purified seven times"
side note: this is rather dull but today was HECTIC ):
I participate in a weekly Scripture Challenge which can be found here:
www.splitcoaststampers.com/forums/showthread.php?t=408822
Each week we are given a keyword and are challenged to look up verses that contain the word, or some form of it.
This week I used one of my favorite paper lines - Basic Grey Urban Prairie...so colorful and yummy. It makes me feel happy all over!
John 16:33 NKJV " These things I have spoken to you, that in Me you may have peace. In the world you will have tribulation; but be of good cheer, I have overcome the world."---------------- Some would like us to believe that as soon as we become Christians that all of our problems will go away. Life will be sunshine and roses from that point forward. When, In fact, Nothing could be farther from the truth. Nowhere in the Bible does it say that life will be easy; and it sure does not say the Christian life will be easy. Scripture mentions trials, tribulations, and hardships many times. \\\ ( Romans 5:3-4) ( I Peter 1:6-7) ( James 1:2-4) /// There will always be stress, illness, hate, money problems, addictions, death, depression, relationship issues and so on... Becoming a Christian will not change the circumstances, But it will change the reaction. Look at some of the issues Paul faced in his life as a Christian. 39 lashings, beaten with rods three times, stoned once, shipwrecked three times, in peril, weariness, toil, sleeplessness, hunger, thirst, cold, nakedness... These things didn't happen before he was a Christian, They happened because he was a Christian. Paul knew the suffering would only make him stronger. He wrote in his letter to the Philippians " I can do all things through Christ who strengthens me." ( Philippians 4:13)--------- And in his letter to the Corinthians he wrote : " Therefore I take pleasure in infirmities, in reproaches, in needs, in persecutions, in distresses, for Christ's sake. For when I am weak, then I am strong." ( 2 Corinthians 12:10)--------- Strength that can withstand the blows of this life comes from only one source- The eternal, indwelling presence of God.. Trying to go through this life without trusting Jesus as your personal savior is like jumping out of an airplane with no parachute. It does not matter how fast you flap your arms, you will not be able to save yourself. Jesus is the parachute- trust him and let Him guide the way. It will be a scary ride at times, But know that you will have a safe place to land.. [ 2 Timothy 1:7] " For God has not given us a spirit of fear, but of power and of love and of a sound mind."-------- Nothing will ever bring more strength to your heart and soul than knowing the unconditional love of God ; It is yours today- If you choose it..
This piece is inspired from a book in the Bible that I love so much, Proverbs 3:5 - Trust in the LORD with all your heart and lean not on your own understanding.
Too often we love to trust our own opinions and not those of God because we prefer being in that position of power in our lives and we crave to be in control. We feel that God has no idea about our situations and therefore we fear to let Him take over our lives because we know that His ways are not our ways and we do not like that. Letting him do things His ways means that we have to step down and let Him take control. Now my question is- is that really a bad thing?
When was the last time you felt that you headed down in the right direction by simply trusting your own ideas and opinions? Our plans are absolutely uncertain and to place faith on ourselves is to be like that guy who built his house on sandy ground. God is ever constant and He doesn’t change. He is our Father and He knows what is best for us and so my prayer to you today is that you be able to step out of your comfort zone and trust in God to lead your life and to bring you to a place much better and greater than you are right now.
Loved working on this piece and I decided that it should be a two-part series so expect another one from the same theme. I hope you all are having a wonderful day. God Loves you and I do too and be kind to one another.
Many Blessings,
+ Jude // quaeriteverum.tumblr.com
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Photo by: djaeoutlaw (free for all collection)
I thought about this scripture from the Bible when I actually looked close at this shot. Very encouraging!