View allAll Photos Tagged tantam
Future Is Actually Behind You.
Questões não segmentadas do individualista incorporando investimentos desinvestidos pensamentos corporativos absurdos retornando metamorfoses progressivas rudimentares,
conditions temporaires composant la coquille interne de la vie perçue esprit irrésistible inclinaisons infinies nombreuses interfaces considérations infinies,
dwysedd annirradwy yn cynnwys cyfrannau ffurflenni cynhwysfawr sy'n cyfathrebu undylliadau braenog yn treiddio canfyddiadau,
ubegrænsede konglomerationer idiosyncrasies lejede væsener blind tænker forskellige synspunkter ufuldkommenheder,
buy puncta possibilities reddens tantam expressions substantivum conceptiones organizations locutus sum tangi locus Senonensis,
Nag-analisar nga pag-ilis sa mga minuto nga pagpa-alarma ang mga propesyon sa pangatarungan nga mga panghitabo sa gawas nga wala mahibal-an nga mga kinaadman sa intelektwal,
感受性を刺激する臓器拡張物理的範囲顕著な効果アプリケーションが結果を出すように見える漠然とした感情不安の驚き始まり.
Steve.D.Hammond.
Des cho a , người ctrai e yêu : )
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- A này , e đao lắm . Bíc được cái sự thật đó , lòng e càng đao hơn .
- A nói a thương ngkhác rồi , là nói dối thôi phải khong a . : ) A có bíc là a có lỗi với e nlắm khong a : )
- E géc những khi e cứ nghĩ mình là người quan trọng , rồi a lại đạp đỗ e trở thành người dưng : )
- Thôi thì mọi chuyện cũng đã lỡ rồi , vì a đã có hphúc mới rồi . Dù k có tcảm dới nta , nhưnt e mong nta sẽ khiến a hphúc và qên đi e .
- E sẽ chờ a , sẽ cố gắng chờ a mà . Sẽ xua đi hếc mọi bàn tay đễ chờ nắm lấy bàn tay a thôi .
- Lúc vui buồn hãy nhớ đến e , người đã từnt đc a yêuthương .
- E sẽ nhớ mãi nhữnt kỉ niệm của đôi ta .
- A hãy hphúc với ngsau , e sẽ khong là ngt3 phá hoại a đâu : )
- Trong thâm tâm a , e bíc a vẫn còn thươnt e . Hihi .
- Hạnhphúcmãimãi nhé người e yêu .
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- Cámơn a đã cho e cảm thấy thật sự hphúc . E chờ a <3 TấnTâm ^^
Śrī Govardhana-vāsa-prārthanā-daśakam
Śrīla Raghunātha dāsa Gosvāmī
nija-pati-bhuja-daṇḍa-cchatra-bhāvaṁ prapadya
prati-hata-mada-dhṛṣṭoddaṇḍa-devendra-garva
atula-pṛthula-śaila-śreṇi-bhūpa! priyaṁ me
nija-nikaṭa-nivāsaṁ dehi govardhana! tvam (1)
You became like an umbrella on the handle of your Lord’s arm, thus obliterating the pride of Devarāja Indra, who had become impudent, intoxicated by his own majesty. You are without comparison, the great king of mountains. O Govardhana, please give me residence by your side.
pramada-madana-līlāḥ kandare-kandare te
racayati nava-yūnor dvandvam asminn amandam
iti kila kalanārthaṁ lagnakas tad-dvayor me
nija-nikaṭa-nivāsaṁ dehi govardhana! tvam (2)
The youthful Divine Couple perform delightful amorous pastimes within each and every one of your caves. Thus, since you facilitate the witnessing of Their līlās, O Govardhana, please give me residence by your side.
anupama-maṇi-vedī-ratna-siṁhāsanorvī-
ruhajhara-dara-sānu-droṇi-saṅgheṣu raṅgaiḥ
saha bala-sakhibhiḥ saṅkhelayan sva-priyaṁ me
nija-nikaṭa-nivāsaṁ dehi govardhana! tvam (3)
Upon your incomparable gem-studded platforms and jeweled thrones, in your broad open spaces, in the shade of your trees, by your waterfalls and streams, upon your crests, and in your valleys, your dear Śrī Kṛṣṇa, accompanied by Balarāma and all the sakhās, enjoys playful sports. O Govardhana, please give me residence by your side.
rasa-nidhi-nava-yūnoḥ sākṣiṇīṁ dāna-keler
dyuti-parimala-viddhāṁ śyāma-vedīṁ prakāśya
rasika-vara-kulānāṁ modam āsphālayan me
nija-nikaṭa-nivāsaṁ dehi govardhana! tvam (4)
Upon witnessing the dāna-keli-līlā (playful tax pastime) of the Youthful Couple, who are a treasure-house of rasa, you manifested a fragrant, lustrous, black raised platform [in order to facilitate that sweet līlā]. Thus you increase the joy of exalted rasika devotees. O Govardhana, please give me residence by your side.
hari-dayitam apūrvaṁ rādhikā-kuṇḍam ātma-
priya-sakham iha kaṇṭhe narmaṇāliṅgya guptaḥ
nava-yuva-yuga-khelās tatra paśyan raho me
nija-nikaṭa-nivāsaṁ dehi govardhana! tvam (5)
Unprecedented Rādhā-kuṇḍa is most dear to Śrī Hari and is also your dear friend. Playfully embracing Rādhā-kuṇḍa to your neck, you remain hidden there while watching the ever-youthful Divine Couple enjoy sportive pastimes in that secret place. O Govardhana, please give me residence by your side.
sthala-jala-tala-śaṣpair bhūruhac-chāyayā ca
prati-padam anukālaṁ hanta samvardhayan gāḥ
tri-jagati nija-gotraṁ sārthakaṁ khyāpayan me
nija-nikaṭa-nivāsaṁ dehi govardhana! tvam (6)
With your fields, ponds, roots, grass, and the shade of your trees, you nourish the cows at every moment. In this way, you make your name10 successful and known throughout the three worlds. O Govardhana, please give me residence by your side.
sura-pati-kṛta-dīrgha-drohato goṣṭha-rakṣāṁ
tava nava-gṛha-rūpasyāntare kurvataiva
agha-baka-ripuṇoccair dattamāna! drutaṁ me
nija-nikaṭa-nivāsaṁ dehi govardhana! tvam (7)
Śrī Kṛṣṇa, the enemy of Aghāsura and Bakāsura, showed you great honor, turning you into a new home by holding you aloft, thus protecting the vrajavāsīs from the deep hostility of Indra. Without delay, O Govardhana, please give me residence by your side.
giri-nṛpa! haridāsa-śreṇī-varyeti nāmā-
mṛtam idam uditaṁ śrī-rādhikā-vaktra-candrāt
vraja-nava-tilakatve kḷpta vedaiḥ sphuṭaṁ me
nija-nikaṭa-nivāsaṁ dehi govardhana! tvam (8)
O Girirāja! Your sweet title haridāsa-varya (best of the servants of Śrī Hari) issued from the moon-like face of Śrīmatī Rādhikā.11 The Vedas have clearly determined you to be the fresh tilaka of Vraja. O Govardhana, please give me residence by your side.
nija-jana-yuta-rādhā-kṛṣṇa-maitrī-rasākta
vraja-nara-paśu-pakṣi-vrāta-saukhyaika-dātaḥ
agaṇita-karuṇatvān mām urī-kṛtya tāntaṁ
nija-nikaṭa-nivāsaṁ dehi govardhana! tvam (9)
You are absorbed in the mellow of friendship with Śrī Śrī Rādhā Kṛṣṇa and Their intimate associates. It is you alone who bestow happiness upon the men, women, animals, and birds of Vraja. Out of your unbounded kindness, accept me, who am full of distress. O Govardhana, please give me residence by your side.
nirupadhi-karuṇena śrī śacī-nandanena
tvayi kapaṭi-śaṭho ’pi tvat-priyeṇārpito ’smi
iti khalu mama yogyāyogyatāṁ tām agṛhṇan
nija-nikaṭa-nivāsaṁ dehi govardhana! tvam (10)
The causelessly merciful Śrī Śacīnandana, who is most dear to you, has offered me to you. Therefore, although I am deceitful and wicked, do not consider my qualification or lack thereof. O Govardhana, please give me residence by your side.
rasada-daśakam asya śrīla-govardhanasya
kṣiti-dhara-kula-bhartur yaḥ prayatnād adhīte
sa sapadi sukhade ’smin vāsam āsādya sākṣāc-
chubhada-yugala-sevā-ratnam āpnoti tūrṇam (11)
One who with careful intent recites these ten verses about Govardhana, lord of the dynasty of mountains, which bestow rasa, will at once attain joyful residence by his side and the auspicious jewel of direct service to the Divine Couple.
10 Go means ‘cows’ and vardhana means ‘to nourish.’
11 See Śrīmad-Bhāgavatam (10.21.18).
Thank you for viewing. If you like please fav and leave a nice comment. Hope to see you here again. Have a wonderful day 😊
Gangamatas Gaudiya Matha / The Bhakti Yoga Centre, Walthamstow, London 🇬🇧
11th November, 2018
Modena.
Palazzo Musei.
1st left -
Madonna col Bambino e i santi Pellegrino, Carlo Borromeo e Nicola di Bari
Pesari Giovanni Battista (Sassuolo, 1604 - Modena, notizie fino al 1637)
Olio su tela, 270 x 230 cm
www.flickr.com/photos/bramhall/50828599841/in/dateposted/
Provenance: Modena, chiesa di San Paolo; Modena, Accademia di Belle Arti, ante 1802; Modena, Palazzo dei Musei (inventariato in R.C.G.E. nel 1884)
Giovan Battista Pesari è un artista riscoperto solo in tempi recenti, e questa pala d’altare costituisce il suo capolavoro. Fu al servizio del duca Francesco I d’Este, quando collaborò alle copie di una famosa coppia di ritratti del Guercino, ma per il resto si conoscono poche sue opere, dato che morì giovane a Modena a seguito di un episodio violento. Qui si dimostra capace di una nobiltà espressiva basata su un’interpretazione luminosa e serena dei grandi modelli emiliani, da Guido Reni, allo stesso Guercino, al suo rivale in città Ludovico Lana.
2nd left -
La Madonna presenta il Bambino al beato Felice da Cantalice
Barbieri Giovan Francesco detto Guercino (Cento, 1591 - Bologna, 1666)
www.flickr.com/photos/bramhall/50827850403/in/dateposted/...: sec. sec. XVII (1641 - 1641)
Olio su tela, 279 x 180 cm
Provenance: Castelnuovo di Garfagnana (LU), chiesa di San Pietro, 1641; Modena, chiesa dei Cappuccini, post 1644; Parigi, Musée Napoleon, 1796; Modena, Palazzo Ducale, 1815; Modena, Palazzo dei Musei, 1894 (inventariato in R.C.G.E. nel 1924).
Felice Porri fu un frate cappuccino vissuto in alto Lazio nel Cinquecento, che si distinse nelle attività caritatevoli divenendo una figura emblematica del suo Ordine. Non a caso quest’opera fu commissionata dal cappuccino Giambattista da Modena (ex duca Alfonso III d’Este), per il convento a Castelnuovo di Garfagnana dove trascorse gli ultimi anni di vita. Ma suo figlio, il duca Francesco I, amico ed estimatore del Guercino nonché scaltro collezionista, trattenne l’opera a Modena.
3rd left -
The Martyrdom of St. Peter.
Guercino.
www.flickr.com/photos/bramhall/28672138255/in/album-72157...
Orazio Cabassi commissioned this painting around 1618-19 for the Chiesa di S. Bernardino in Carpi. It entered the ducal collections in 1751. It was looted by the Napoleonic army and displayed at the Louvre. In 1815 it was returned to the Galleria Estense.
This is a masterpiece from Guercino’s early work, just a few years before his stay in Rome. Saint Peter is not pictured in the traditional upside-down crucifixion format, but at the start of his passion. In the handling of subject, diagonal composition and vivid use of colour, this painting serves as a testament to the incredibly original mode of expression attained by the young painter. The innate propensity towards naturalism (learnt from Venetian painting, and in particular from the Bassano family artists) is lit with a dramatic use of chiaroscuro which has often led to speculation that Guercino might have been already aware of Caravaggio’s painting.
4th left
Gesù crocifisso
Reni Guido (Bologna, 1575 - 1642)
www.flickr.com/photos/bramhall/50828688397/in/dateposted/
Chronology: sec. sec. XVII (1639 - 1639)
Olio su tela, 261 x 174 cm
Subscriptions: Iscrizione nella cimasa dell'ancona già nell'oratorio del Santissimo Sacramento e delle Cinque Piaghe, Reggio Emilia Cattedrale, Cappella Estense. " REDEMPTUS REDEMPTOREM ADORA HIERONYMUS RESTA EREXIT ANNO MDCXXXIX ".
Provenance: Reggio Emilia, chiesa di Santo Stefano, Oratorio delle cinque Piaghe, 1639; Modena, Palazzo Ducale, appartamenti di Ercole III, 15 maggio 1783; Modena, Palazzo Ducale, Galleria Estense, 1884 (Registro Cronologico Generale di Entrata); Modena, Palazzo dei Musei, Galleria Estense, 1894; Modena, Istituto di Belle Arti, Piano Superiore, Sala delle Statue (inventariato in R.C.G.E. nel 1924).
Guido Reni lavorò a lungo sulla figura del Cristo crocifisso con lo sguardo rivolto al cielo, stabilendo un’iconografia – spesso adottata nel solo dettaglio della testa – che ebbe enorme fortuna. In questa versione l’artista giunse a un esito eccezionale: la figura dolente e idealizzata si staglia nella luce argentea offrendo una visione in cui “par bella la morte istessa”, come scrisse Luigi Lanzi nella fondamentale "Storia pittorica della Italia". L’opera fu tra le preferite dal duca Ercole III, che la requisì per il proprio appartamento privato.
5th left -
St. Roch in Prison.
Guido Reni.
www.flickr.com/photos/bramhall/28672137775/in/album-72157...
This work was completed between 1617 and 1618 for the Chiesa di San Rocco in Carpi, province of Modena. It was added to the ducal collection in 1751, appropriated by the French at the turn of the century and returned in 1815.
It was produced during the most prolific period of the artist’s career in which he also painted the so-called Labours of Hercules (now in the Louvre Museum, Paris) for the Duke of Mantua. Earning well-deserved fame following his Roman ventures, Reni returned to Bologna to a leading role in the Bolognese art of his time and, incidentally, in the Classicist tradition of times to come. The Saint’s figure embodies the artist’s Christian-inspired vein of naturalism: solemn and majestic he stands out in the perfectly balanced space. Yet each element of colour and composition, calculated confidently and with great care, is ultimately elevated by the cold light to an abstract world of musical grace.
6th left -
Assunzione della Vergine
Carracci Ludovico (Bologna, 1555 - 1619)
www.flickr.com/photos/bramhall/50827850273/in/dateposted/
Chronology: sec. sec. XVII (ca. 1607 - 1607)
Olio su tela, 260 x 162 cm
Subscriptions: [nel basamento del sarcofago] TANTAM INTEGRITATEM MERITO INCORRUPTIBILITAS SEQUITUR [in basso a destra] LUDO(VICUS) CARACIUS BONO(NIENSIS) F(ECIT).
Provenance: Modena, chiesa dell’Assunta, 1607; Modena, Palazzo Ducale, 1783; Modena, Palazzo dei Musei, 1894 (inventariato in R.C.G.E. nel 1924)
Alla fine della sua vita Maria fu assunta in cielo, stando a una lunghissima tradizione poi divenuta dogma della Chiesa cattolica. La luminosa armonia di questa pala, dietro ai festosi angeli musicanti e al paesaggio marino con arcobaleno, racchiude riferimenti dottrinali al mistero dell’Immacolata Concezione. Vi allude l’iscrizione che si legge sul sarcofago, tratta da un testo medievale del cosiddetto Pseudo-Agostino, per cui l’incorruttibilità del corpo di Maria è una necessaria conseguenza della sua verginità.
7th left -
San Francesco d'Assisi in preghiera con due angeli
Gessi Giovan Francesco (Bologna, 1588 – 1649)
www.flickr.com/photos/bramhall/50828688692/in/dateposted/
Chronology: sec. sec. XVII (1631 - ca. 1635)
Olio su tela, 187 x 124 cm
Provenance: Dalle collezioni estensi a Modena.
Dopo la terribile epidemia di peste del 1630, Guido Reni dipinse uno dei suoi capolavori più noti, ovvero lo stendardo per la chiesa bolognese di San Domenico con la Madonna, il Bambino e diverse figure di santi (Bologna, Pinacoteca Nazionale). Una di queste, il san Francesco orante, fu replicata dallo stesso Reni come dipinto isolato e poi anche da suoi seguaci in diverse altre versioni autonome. Questa, di particolare pregio, nel Settecento era considerata autografa ma si deve probabilmente a Giovan Francesco Gessi.
Le centurion de Capernaüm (Cum autem introisset Capharnaum, accessit ad eum centurio rogans eum et dicens: "Domine, puer meus iacet in domo paralyticus et male torquetur". Et ait illi: "Ego veniam et curabo eum". Et respondens centurio ait: "Domine, non sum dignus, ut intres sub tectum meum, sed tantum dic verbo, et sanabitur puer meus. Nam et ego homo sum sub potestate, habens sub me milites, et dico huic: "Vade", et vadit; et alii: "Veni", et venit; et servo meo: "Fac hoc", et facit". Audiens autem Iesus, miratus est et sequentibus se dixit: "Amen dico vobis: Apud nullum inveni tantam fidem in Israel! Dico autem vobis quod multi ab oriente et occidente venient et recumbent cum Abraham et Isaac et Iacob in regno caelorum; filii autem regni eicientur in tenebras exteriores: ibi erit fletus et stridor dentium". Et dixit Iesus centurioni: "Vade; sicut credidisti, fiat tibi". Et sanatus est puer in hora illa. Matthieu 8, 5-13)
This is our newest graduate Rosebell Omondi, who passed her Viva for her project "The perception, understanding and experience of psychotherapy and counselling by migrant Africans living In Europe."
(L-R) Dr Charlotte MacGregor, Professor Digby Tantam, Rosebell Omondi MProf, Professor Emmy van Deurzen, Sasha Smith, Dr Niklas Serning, Dr Rosemary Lodge.
FETP Fellow: Fernanda Bruzadelli Paulino Costa
Program: FETP Brazil
Photo description: Assom Có, estudiante de la primera cohorte del FETP de Guinea Bissau, durante la investigación de los casos de microcefalia en el Centro de Salud Tantam-Cossé, región de Bafatá, Octubre de 2016. En el fondo la enfermera local se prepara para medir la circunferencia de la cabeza de los niños.