Prince Purple Rain youtu.be/YMljQyyfgY8

Perth, Western Australia. May 2015.

Early morning on the Swan River, Pert, Western Australia. My feelings of being virtuous by being out if bed are put to shame by the rowing club, who have already completed their exercise and training. One of the boat crews are preparing to pack up.

What's the trouble-shooter for the morning so maligned

the order of upgrade is also a recipe for rewind

playing-back the same feelings of discontent

that are given by our beautiful society's torment

a commercial need for greed overrides the better judgement

of frugal kitchens and minimalist lifestyle's arrangement

this pattern of life raises the bar for pressured syllabus

swerving in and out of dreams of conscientious incubus;

that terror of waking fear preserved with an unwavering tear,

quavering the very limbus touch of palms on the face of a forbidden frontier

the looking glass that maps our progress with unfaithful representation

that draws a line under the very ages of mishapprehensive bifurcation

our emotions fall like London Bridge down miscible memory lanes

upon which we've never (under)stood and never will those pains

away, further and further, until they are truly missed

for now the 'charm' of modern contiguous living will have to subsist

as our payback awaits it's download as we construe offline feelings

those helpless disconnected grieving's contrive in hapless reelings

making themselves known through failures of science

the unwritten law of need is the contention of appliance

our home consul of power, our fantasy, our plaything

what tenure is this if our every new move outdates the real thing?

it becomes the incapacity of the soul,

for the lust of vitrailled windows looses sight of a deeper inner vision to extol

we gave peace a chance but chose war instead...don't fight, it's true!

we forgave sinners but sinned in it's wake...don't lie, it's true!

we comforted the sick then injected ourselves...don't do it, it'll be too late!

we gave generously then stole virtuously...don't cry, it's too late!

we volunteered our help then stowed off...don't hide, CCTV captured it!

we did our bit then spat it out...don't turn away, for your heart will recapture it!

by anglia24

10h00: 18/04/2008

©2008anglia24

location : Rakuhoku Renge-ji temple Kyoto city,Kyoto prefecture,Japan

京都　洛北 蓮華寺

Rakuhoku Renge-ji temple :

This temple belongs to the Tendai sect of Buddhism cowned with the mountain name of Kinyozan.

Shigenao imaeda( 今枝重直),a retainer of the Maeda Clan in Kaga,present Ishikawa pref.,entered the priesthood around period from 1661 to 1673. He built a residence here and spent his later years associating with such people as Jozan Ishikawa 石川丈山and Tanyu Kano狩野探幽.His groundson Chikayoshi今枝民部近義,who admire the virtuous Shigenao, transfered a temple from Hachijo-Shiokoji(元西八条塩小路附近)to this place in order to pray for the repose of his grandfather.　He made it as a sub-temple of the Enryakuji Jitsuzobo Temple延暦寺実蔵坊.

The principal statue enshrined in main hall is of Shakamuni Tothagata.Unique Rengeji temple-style tone lanterns with hexagonal shades and a monument commemorating Shigenao inscribed Tehsho-style calligraphy written by Jozan Ishikawa on top and passage composed by Jun-an Kinoshita are found on the grounds beautifully covered with moss.

The garden woth crane stone and turtle islands in the lake,an excellent example from Edo period(1603-1867)　　-Kyoto city

以下パンフレットより抜粋

蓮華寺は、元西八条塩小路附近（今の京都駅附近）にあった浄土教系の古寺で、応仁の乱後荒廃していたのを１６６２年（寛文2年）加賀前田家の老臣今枝民部近義が祖父今枝重直の菩提の為に、この地に移し再興したものである。(蓮華寺造営記、帰命山寺記）

再興の際に、石川丈山、狩野探幽、木下順庵、黄檗の隠元禅師木庵禅師等の著名文化人が協力している。（諸堂の様式碑文、什物等）

尚、本堂、鐘楼堂、井戸屋形、庭園は創建当時のままであり、小規模であるあがいずれも文人の残した貴重な文化遺産である。

ƒ/11.0 11.0 mm 1/100sec ISO1000

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Mesh Head: Lelutka Siwa

Mesh Body: eBody Reborn Waifu

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The beech leaves are coming out. Tried to match with this photo my contemplative mood.

These are times where perseverance is more important than ever. This is easier with a purpose. It creates meaning, as reflecting on life creates meaning. Life is inherently meaningful, it does not matter which purpose one follow, as long as one follows it and this purpose is in accordance with a virtuous live.

Living a creative and compassionate life is meaningful. Enjoyment of beauty, art and nature is meaningful. Perseverance in the face of suffering is meaningful.

Living in awareness is meaningful. Going with the flow is meaningful.

The saying I have chosen belongs to the 6th-century Chinese sage Lao Tzu, Tao Te Ching.

location : Rakuhoku Renge-ji temple Kyoto city,Kyoto prefecture,Japan

京都　洛北 蓮華寺

Rakuhoku Renge-ji temple :

This temple belongs to the Tendai sect of Buddhism cowned with the mountain name of Kinyozan.

Shigenao imaeda( 今枝重直),a retainer of the Maeda Clan in Kaga,present Ishikawa pref.,entered the priesthood around period from 1661 to 1673. He built a residence here and spent his later years associating with such people as Jozan Ishikawa 石川丈山and Tanyu Kano狩野探幽.His groundson Chikayoshi今枝民部近義,who admire the virtuous Shigenao, transfered a temple from Hachijo-Shiokoji(元西八条塩小路附近)to this place in order to pray for the repose of his grandfather.　He made it as a sub-temple of the Enryakuji Jitsuzobo Temple延暦寺実蔵坊.

The principal statue enshrined in main hall is of Shakamuni Tothagata.Unique Rengeji temple-style tone lanterns with hexagonal shades and a monument commemorating Shigenao inscribed Tehsho-style calligraphy written by Jozan Ishikawa on top and passage composed by Jun-an Kinoshita are found on the grounds beautifully covered with moss.

The garden woth crane stone and turtle islands in the lake,an excellent example from Edo period(1603-1867)　　-Kyoto city

以下パンフレットより抜粋

蓮華寺は、元西八条塩小路附近（今の京都駅附近）にあった浄土教系の古寺で、応仁の乱後荒廃していたのを１６６２年（寛文2年）加賀前田家の老臣今枝民部近義が祖父今枝重直の菩提の為に、この地に移し再興したものである。(蓮華寺造営記、帰命山寺記）

再興の際に、石川丈山、狩野探幽、木下順庵、黄檗の隠元禅師木庵禅師等の著名文化人が協力している。（諸堂の様式碑文、什物等）

尚、本堂、鐘楼堂、井戸屋形、庭園は創建当時のままであり、小規模であるあがいずれも文人の残した貴重な文化遺産である。

---------------------------------------------------------------------------------

額縁庭園- 構図と露出を決めてからピントを合わせシャッターを切るまでにいつも3分くらいかかります。

その間の快い緊張感がとても好きです。

ƒ/8.0 14.0 mm 1/80sec ISO800

Excerpt from thebuddhistgarden.com/places-of-interest-%E5%AF%BA%E9%99%...:

The Hall of Sudhana (Hall of Shan Cai) is a multifunctional hall named after a giant relief sculpture. The lifelike figures depicted in this huge sculpture number fifty-three in total. There is also a fascinating story behind it.

The Pilgrimage in Pursuit of Enlightenment Guided by 53 Mentors depict the entire process of a practitioner attaining Buddhahood. The practitioner in this story is none other than the attendant of Avalokiteshvara Bodhisattva, Sudhana Boy.

According to the Avatamsaka Sutra, Sudhana Boy made extensive offerings to past Buddhas, cultivating profound virtues and always rejoicing in purity. He accumulated immense merit and blessings. Sudhana Boy was born in the city of Awakening in India, and at the time of his birth, seven great treasures naturally appeared in his household. Additionally, at the moment of his birth, five hundred precious vessels materialized, leading his parents to name him "Sudhana."

As Sudhana grew up, he was influenced by the teachings and inspiration of Manjushri Bodhisattva. Sudhana embarked on a challenging journey to seek the Dharma. He tirelessly traveled southward, visiting various virtuous individuals. His visits included Bodhisattvas, monks, nuns, Upasakas, Upasikas, etc., totaling fifty-three virtuous individuals. This is the famous "Pilgrimage in Pursuit of Enlightenment Guided by 53 Mentors".

Sudhana's journey of visits and study exemplifies the path to Buddhahood. It teaches us the importance of perseverance and an open-minded approach to learning Buddhism in a humble way.

The Pilgrimage in Pursuit of Enlightenment Guided by 53 Mentors is a representative work of Mahayana Buddhism. Like every practitioner, Sudhana's heart was childlike. During his spiritual journey, he approached, observed, contemplated, and made choices in relation to each accomplished individual. He chose to learn from their virtues and kept his distance from their flaws.

Among his 53 mentors, the twenty-seventh was Avalokiteshvara Bodhisattva, who cared deeply for him. After acquiring the Dharma, Sudhana returned to the side of Avalokiteshvara Bodhisattva and assisted in the Bodhisattva's compassionate mission to guide sentient beings.

This is the story of the Hall of Sudhana and the Pilgrimage in Pursuit of Enlightenment Guided by 53 Mentors at Wutai Shan Buddhist Garden.

善財寶殿是一個多功能廳，它因為一幅巨幅浮雕而得名。整個五十三參浮雕作品長26.2公尺（合86英尺），高6.4公尺 （合21英尺），供奉於五台山大殿一樓多功能廳，是一幅巨型雕工精美的藝術大作。這幅巨雕上面的人物栩栩如生，一共有53位。其中53個人物的立體雕像都是獨立的立像，每個人物雕像約1.08公尺。這裡面還有一個非常有趣的故事。

五十三參講述了一位修行者成佛的整個參學過程。這位修行者就是觀音菩薩的左脅侍－善財童子。

觀音菩薩有兩位侍者：一位是善財童子，一位是龍女。善財童子是《華嚴經入法界品》裡的主要人物。據《華嚴經》記載，善財童子在過去諸佛處，廣修供養。深種善根而常樂清淨，並且喜歡親近善知識，修習菩薩行，因而積聚了大量的福德因緣。善財童子生於印度覺城，因前生福報，初住母胎之時，家中自然顯現七大寶藏。出生之時，又有五百寶器出現，父母請人為他取名叫「善財」。

善財長大時，文殊菩薩正在覺城弘法。由於受到文殊菩薩的教導與啟發，善財歷盡艱辛，南下求法，歷訪各處的善知識。所參訪的對象，有菩薩、比丘、比丘尼、優婆塞、優婆夷、童子、童女、天女、婆羅門、國王、王妃、仙人、醫師等，共計有五十三位善知識。這就是著名的「五十三參」。

善財童子的參訪修學之路為佛教徒展示了一條通往成佛的途徑，由淺入深，由低到高，循序漸進，不可投機取巧。它啟示人們在學佛的歷程裡，要有吃苦耐勞的毅力和鑼而不捨的精神。虛心學習佛法，所學的對像不必固定為一師一處，甚至只要他有長處，即使是外道，也不妨虛心向他求教。這是一種開放、寬廣的求學胸懷，值得後人效法。因此，善財童子是學習佛法、實踐佛法的榜樣。

善財童子五十三參是大乘佛教的代表之作。善財童子就像每一個修行的人，他的內心猶如孩童，在自己修行的旅程上，向每一位成就者都親近、觀察、思維、抉擇，擇其善者而從，於其不善者遠離。

其中參拜第二十七位名師是觀音菩薩，觀音菩薩對他十分關心。善財得到佛法後，便回到觀音菩薩身邊，協助觀音菩薩教化眾生。

這就是五台山善財寶殿和五十三參的故事。

EagleKnight was inspired by above to start a group we hope you will contribute much to at

www.flickr.com/groups/867852@N23/pool/

______________

Find tonight's Featured Artists at

www.flickr.com/photos/kweav/

www.flickr.com/photos/skezix/

www.flickr.com/photos/happyjuristar4allseason

www.flickr.com/photos/danivargas/

_____________

Below I found at

www.brainyquote.com/quotes/authors/w/william_faulkner.html

William Faulkner, American Novelist Quotes

Birth Day: Sept. 25, 1897; Death Day: July 6, 1962

The best job that was ever offered to me was to become a landlord in a brothel. In my opinion it's the perfect milieu for an artist to work in.

The end of wisdom is to dream high enough to lose the dream in the seeking of it.

The last sound on the worthless earth will be two human beings trying to launch a homemade spaceship and already quarreling about where they are going next.

The man who removes a mountain begins by carrying away small stones.

The past is not dead. In fact, it's not even past.

We have to start teaching ourselves not to be afraid.

_______________

Saturday, August 23, 2008

Feastday of St. Rose of Lima, virgin

en.wikipedia.org/wiki/Saint_Rose_of_Lima

A reflection on today's Sacred Scripture:

Ezekiel 43:1-7ab

Psalm 85:9ab and 10, 11-12, 13-14

Matthew 23:1-12

St. Therese of the Child Jesus taught us that it is in the way we perform and encounter the little things in life, our day to day duties, that we demonstrate our love of Christ.

Today the Church celebrates the feast of St. Rose of Lima, a Third Order Dominican. The Divine Office describes simply that "she led a virtuous life at home and made great progress in a life of penance and contemplation, dying on August 24, 1617."

Though at times we experience great upheavals in our lives, most of our days and nights are routine, filled with the obligations of caring for families through our work, prayer and community service. It is within these confines that each of us is called to sainthood. It is here that Christ is with us. Let us be open to looking for Him here with our love.

St. Rose of Lima, pray for us.

- Joan of Jesus, OCDS | email: jmurphy@utica.edu

_______________-

If you need a laugh...

THREE WOMEN, TWO YOUNGER, AND ONE SENIOR CITIZEN WERE SITTING NAKED IN A SAUNA.

SUDDENLY THERE WAS A BEEPING SOUND. THE YOUNG WOMAN PRESSED HER FOREARM AND THE BEEP STOPPED.THE OTHERS LOOKED AT HER QUESTIONINGLY. ''THAT WAS MY PAGER,' SHE SAID. 'I HAVE A MICROCHIP UNDER THE SKIN OF MY ARM.'

A FEW MINUTES LATER, A PHONE RANG. THE SECOND YOUNG WOMAN LIFTED HER PALM TO HER EAR. WHEN SHE FINISHED,SHE EXPLAINED, 'THAT WAS MY MOBILE PHONE, I HAVE A MICROCHIP IN MY HAND.'

THE OLDER WOMAN FELT VERY LOW-TECH. NOT TO BE OUT DONE, SHE DECIDED SHE HAD TO DO SOMETHING JUST AS IMPRESSIVE.

SHE STEPPED OUT OF THE SAUNA AND WENT TO THE BATHROOM...SHE RETURNED WITH A PIECE OF TOILET PAPER HANGING FROM HER REAR END.

THE OTHERS RAISED THEIR EYEBROWS AND STARED AT HER.

THE OLDER WOMAN FINALLY SAID:

'WELL, WILL YOU LOOK AT THAT.....I'M GETTING A FAX!!'

EXPLORE # 489, # 496 on Sunday, August 24, 2008

Time for lunch at ”We’re Here!” We are having Macaroni, Pasta,Spaghetti, Noodles !

I made some compromises here, meeting somewhere between “luscious” and low-cal “virtuous.” This is whole wheat pasta, tomatoes, spinach, reduced-oil pesto, and a sprinkle of non-fat mozzarella. And it was delicious.

Angelic Mute Swan looking divine, pure, and heavenly!

Excerpt from thebuddhistgarden.com/places-of-interest-%E5%AF%BA%E9%99%...:

The Hall of Sudhana (Hall of Shan Cai) is a multifunctional hall named after a giant relief sculpture. The lifelike figures depicted in this huge sculpture number fifty-three in total. There is also a fascinating story behind it.

The Pilgrimage in Pursuit of Enlightenment Guided by 53 Mentors depict the entire process of a practitioner attaining Buddhahood. The practitioner in this story is none other than the attendant of Avalokiteshvara Bodhisattva, Sudhana Boy.

According to the Avatamsaka Sutra, Sudhana Boy made extensive offerings to past Buddhas, cultivating profound virtues and always rejoicing in purity. He accumulated immense merit and blessings. Sudhana Boy was born in the city of Awakening in India, and at the time of his birth, seven great treasures naturally appeared in his household. Additionally, at the moment of his birth, five hundred precious vessels materialized, leading his parents to name him "Sudhana."

As Sudhana grew up, he was influenced by the teachings and inspiration of Manjushri Bodhisattva. Sudhana embarked on a challenging journey to seek the Dharma. He tirelessly traveled southward, visiting various virtuous individuals. His visits included Bodhisattvas, monks, nuns, Upasakas, Upasikas, etc., totaling fifty-three virtuous individuals. This is the famous "Pilgrimage in Pursuit of Enlightenment Guided by 53 Mentors".

Sudhana's journey of visits and study exemplifies the path to Buddhahood. It teaches us the importance of perseverance and an open-minded approach to learning Buddhism in a humble way.

The Pilgrimage in Pursuit of Enlightenment Guided by 53 Mentors is a representative work of Mahayana Buddhism. Like every practitioner, Sudhana's heart was childlike. During his spiritual journey, he approached, observed, contemplated, and made choices in relation to each accomplished individual. He chose to learn from their virtues and kept his distance from their flaws.

Among his 53 mentors, the twenty-seventh was Avalokiteshvara Bodhisattva, who cared deeply for him. After acquiring the Dharma, Sudhana returned to the side of Avalokiteshvara Bodhisattva and assisted in the Bodhisattva's compassionate mission to guide sentient beings.

This is the story of the Hall of Sudhana and the Pilgrimage in Pursuit of Enlightenment Guided by 53 Mentors at Wutai Shan Buddhist Garden.

善財寶殿是一個多功能廳，它因為一幅巨幅浮雕而得名。整個五十三參浮雕作品長26.2公尺（合86英尺），高6.4公尺 （合21英尺），供奉於五台山大殿一樓多功能廳，是一幅巨型雕工精美的藝術大作。這幅巨雕上面的人物栩栩如生，一共有53位。其中53個人物的立體雕像都是獨立的立像，每個人物雕像約1.08公尺。這裡面還有一個非常有趣的故事。

五十三參講述了一位修行者成佛的整個參學過程。這位修行者就是觀音菩薩的左脅侍－善財童子。

觀音菩薩有兩位侍者：一位是善財童子，一位是龍女。善財童子是《華嚴經入法界品》裡的主要人物。據《華嚴經》記載，善財童子在過去諸佛處，廣修供養。深種善根而常樂清淨，並且喜歡親近善知識，修習菩薩行，因而積聚了大量的福德因緣。善財童子生於印度覺城，因前生福報，初住母胎之時，家中自然顯現七大寶藏。出生之時，又有五百寶器出現，父母請人為他取名叫「善財」。

善財長大時，文殊菩薩正在覺城弘法。由於受到文殊菩薩的教導與啟發，善財歷盡艱辛，南下求法，歷訪各處的善知識。所參訪的對象，有菩薩、比丘、比丘尼、優婆塞、優婆夷、童子、童女、天女、婆羅門、國王、王妃、仙人、醫師等，共計有五十三位善知識。這就是著名的「五十三參」。

善財童子的參訪修學之路為佛教徒展示了一條通往成佛的途徑，由淺入深，由低到高，循序漸進，不可投機取巧。它啟示人們在學佛的歷程裡，要有吃苦耐勞的毅力和鑼而不捨的精神。虛心學習佛法，所學的對像不必固定為一師一處，甚至只要他有長處，即使是外道，也不妨虛心向他求教。這是一種開放、寬廣的求學胸懷，值得後人效法。因此，善財童子是學習佛法、實踐佛法的榜樣。

善財童子五十三參是大乘佛教的代表之作。善財童子就像每一個修行的人，他的內心猶如孩童，在自己修行的旅程上，向每一位成就者都親近、觀察、思維、抉擇，擇其善者而從，於其不善者遠離。

其中參拜第二十七位名師是觀音菩薩，觀音菩薩對他十分關心。善財得到佛法後，便回到觀音菩薩身邊，協助觀音菩薩教化眾生。

這就是五台山善財寶殿和五十三參的故事。

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RAWR Virtuous necklace

Mesh Head: Lelutka Siwa

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Hair: Doux Tzuyu

Skin: Face - Guapa Lilbet

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maps.secondlife.com/secondlife/Nijole/157/26/2201 Paisley Daisy

X Spanish painter (16th - 17th century) - Still Life with books (1630-1640) - oil on canvas 34,9 x 56,8 cm Gemäldegalerie, Berlin

A causa del suo soggetto insolito e dell'impressionante qualità dell'esecuzione, il dipinto berlinese "Natura morta con libri" è considerato un eccezionale esempio di quello che era allora un genere ancora giovane nella storia dell'arte spagnola. Tre libri di diverse dimensioni rilegati in pergamena, una carta piegata, una clessidra e un calamaio con penna d'oca sono disposti su un panno rosso chiaro davanti a uno sfondo nero. Fino a quel momento, oggetti come questi erano stati considerati degni di essere dipinti solo come attributi di santi o nei ritratti. Sono disposti in modo apparentemente casuale e illuminati da un potente fascio di luce proveniente da sinistra, che proietta ombre dure sul telo. La penna consumata con le alette strappate, gli angoli delle pagine del libro con le orecchie da cane e le copertine sbrindellate suggeriscono che gli oggetti hanno visto un uso frequente. Insieme alla clessidra, che si intravedono nella penombra dietro il libro aperto e che sembra essere stato capovolto solo un attimo fa, testimoniano la presenza di una persona che non si vede nel quadro. Sebbene siano visibili le pagine aperte del libro adagiato sul grande volume in folio, è impossibile decifrare le lettere scritte con inchiostro bruno, e anche il contenuto degli altri libri rimane nascosto allo spettatore. Apparentemente l'intenzione del pittore non era quella di ritrarre opere chiaramente identificabili, ad esempio con contenuto religioso o letterario, ma piuttosto di raffigurare oggetti di uso quotidiano nel modo più realistico possibile. Sebbene le pagine del grande volume in folio siano dipinte con pennellate lunghe e ruvide, si crea l'impressione che ogni pagina possa essere toccata e girata, e anche il peso dei libri e la rigidità delle rilegature sono quasi tangibili. Il fatto che il pittore riesca a ottenere questo effetto con una tavolozza di nient'altro che bianco, nero, marrone e rosso testimonia il suo incredibile talento artistico. Inoltre, si astiene dall'utilizzare il tipo di trucchi illusionistici spesso usati in quadri come questo per far sembrare che alcuni oggetti sporgano dal dipinto. Solo il panno rosso mostra tre sottili pieghe sul bordo anteriore, che segnano contemporaneamente la superficie dell'immagine. si astiene dall'utilizzare il tipo di trucchi illusionistici spesso usati in quadri come questo per far sembrare che alcuni oggetti sporgano dal dipinto. Solo il panno rosso mostra tre sottili pieghe sul bordo anteriore, che segnano contemporaneamente la superficie dell'immagine. si astiene dall'utilizzare il tipo di trucchi illusionistici spesso usati in quadri come questo per far sembrare che certi oggetti sporgano dal dipinto. Solo il panno rosso mostra tre sottili pieghe sul bordo anteriore, che segnano contemporaneamente la superficie dell'immagine.

L'identità del pittore che è riuscito a rendere oggetti così semplici in modo così virtuoso rimane ancora oggi un mistero. Anche se il dipinto è stato più volte attribuito a maestri italiani, la maggior parte degli esperti ipotizza che l'opera sia stata eseguita da un artista che lavora a Madrid.

Due to its unusual subject matter and impressive quality of execution, the Berlin painting "Still Life with Books" is considered an outstanding example of what was then a still young genre in the history of Spanish art. Three books of different sizes bound in vellum, a folded paper, an hourglass, and an inkwell with a quill are arranged on a light red cloth in front of a black background. Until then, objects such as these had been considered worthy of painting only as attributes of saints or in portraits. They are arranged in a seemingly random manner and illuminated by a powerful beam of light coming from the left, casting harsh shadows on the cloth. The worn pen with torn flaps, dog-eared book page corners, and tattered covers suggest that the objects have seen frequent use. Along with the hourglass, which can be glimpsed in the half-light behind the open book that appears to have been flipped over only a moment ago, they testify to the presence of a person not seen in the painting. Although the open pages of the book lying on the large folio volume are visible, it is impossible to decipher the letters written in brown ink, and the contents of the other books also remain hidden from the viewer. Apparently the painter's intention was not to portray clearly identifiable works, for example with religious or literary content, but rather to depict everyday objects as realistically as possible. Although the pages of the large folio volume are painted with long, rough brushstrokes, the impression is created that each page can be touched and turned, and even the weight of the books and the stiffness of the bindings are almost tangible. The fact that the painter is able to achieve this effect with a palette of nothing but white, black, brown, and red is a testament to his incredible artistic talent. He also refrains from using the kind of illusionistic tricks often used in paintings like this one to make certain objects appear to protrude from the painting. Only the red cloth shows three subtle folds at the front edge, simultaneously marking the surface of the image. refrains from using the kind of illusionistic tricks often used in paintings like this to make it look like some objects are protruding from the painting. Only the red cloth shows three thin folds at the front edge, simultaneously marking the surface of the image. refrains from using the kind of illusionistic tricks often used in paintings like this to make certain objects appear to protrude from the painting. Only the red cloth shows three thin folds at the front edge, simultaneously marking the surface of the image.

The identity of the painter who was able to render such simple objects so virtuously remains a mystery to this day. Although the painting has been repeatedly attributed to Italian masters, most experts speculate that the work was executed by an artist working in Madrid.

Vishnu riding the Garuda.

The tale of Garuda and Vishnu is a well-known story from Hindu mythology. It involves two important characters: Garuda, a divine bird, and Lord Vishnu, one of the principal deities in Hinduism. This tale showcases the bond between devotion, duty, and the concept of dharma (righteousness).

Garuda's unwavering dedication to his mother and his determination to fulfill his duty to save her from slavery showcase his virtuous character. During his quest, Garuda encountered Lord Vishnu. Impressed by Garuda's devotion and determination, Vishnu granted him a boon. Garuda was asked to be the mount of Vishnu, carrying him on his back. Vishnu also blessed Garuda with immense strength and immortality. Lord Vishnu's blessings emphasize the significance of devotion to the divine, as well as the interplay between mortals and deities in Hindu mythology.

And Simon is very virtuous !

Love comes from God, Dante avers. Its stamp can be detected throughout life. It is known in the good, and the more the good becomes known, the more love becomes evident, in a virtuous spiral of longing. In this way, it orients the soul increasingly firmly. As that happens, a concurrent dynamic becomes clearer. This is the realization that the things, creatures, people, thoughts, and perceptions that can be called good are themselves reflections of that which is good and lovely in itself. The path of love does not just open onto the good in the cosmos. It directs toward God.

-Mark Vernon, Dante’s Divine Comedy, A guide for the spiritual journey

Be aware of virtuous people and people who help unasked.

A lot of trouble is caused by them.

The only virtuous suppose to be, to not have any virtuous. In the name of so called virtuous Billions of people got killed.

To help someone unasked, prevents mostly the one in need from important experiences.

Be good. Do not call yourself good.

Be generous, do not call yourself as such.

Love. Do not talk about it.

Live. Do not think how life is suppose to be.

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In Concert on board the MS Eurodam bound for Alaska.

youtu.be/ixSmslVE7Jg?si=enk0XRChcxRIhXbe

A rather haughty looking burrowing owlet seems to be lecturing one of its not too impressed siblings.

Thanks so much to everyone who takes the time to view, fave or comment on my photos!

© 2018 Craig Goettsch - All rights reserved. Any unauthorized use without permission is prohibited.

Anteprima Settimana del Design

Salone del Mobile - EuroLuce 2023 - Milano

A selection from my new reportage, through my eyes&taste, my own picked pics with comments, some of my favorites,

plus cool discoveries and few unexpected intriguing surprises while visiting the top noch Interior Design Fair.

This is also the cover of my new Album in progress to be shared in the next days and along the month of May. Tuned !

Exhibitions kermesse entitled "The City of Lights"

Installazione di Maurizio Nannucci

Among the most powerful interpreters of artificial light in contemporary art, ideally invites to imagine the contrary, a creative attitude, virtuous and curious.

This neon light installation, presented in preview at the Salone del mobile, will be definitely positioned and hosted at the Politecnico (Architecture University) in Milano as a sign and symbol of the importance an high value of School and Education.

Nannucci has frequently used neon glass coloured tubes as visual and conceptual Art to show his statements with the strength to last. And when a work becomes lettering or, better, WordArt, viewers are invited to read...

Other quotes by him are: "New Times for other Ideas", "Changing place, changing time, changing thoughts, changing future"...

"Everything might be different"...

"You can imagine the opposite" is a powerful exhortation to think the exact opposite, because, as Bruno Munari used to ask in his Mantra "But can't it be done another way?", another possibility always exists.

Special thanks to my model Celeste (what a better name?) for having posed for me meeting my request to not stand still, but, instead, to keep walking to reach a more dynamic effect in real motion.

Shot on the spot on Sunday, April 23 2023.

Ref._MG_9240 edit OK

©WhiteAngel Photography. All rights reserved. # 189

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FELIZ AÑO NUEVO

HAPPY NEW YEAR

Buenas a tod@s

En este año, Me presento oficialmente:

Soy pintor en bellas artes

Estudié unos años de psicología

Aficionado a la fotografía

Aficionado a escribir reflexiones

good to all

In this year, I officially introduce myself:

I am a fine art painter

I studied a few years of psychology

photography hobbyist

Fond of writing reflections

Una vez más pasa la hoja de un calendario y da la casualidad que esta vez, te ves a ti mismo, veo los acontecimientos que desfilan y pienso que son como simples satélites que giran al rededor de un centro, veo el verdadero y único poder que residirá siempre justo en la mente, porque el hecho de que las experiencias personales dejen una huella en la estructura cerebral nos demuestra que no hay nada que cambie de una manera determinada para siempre, y esto nos revela que estamos programados, pero para ser únicos, totalmente distintos de los demás.

Las personas tenemos una capacidad infinita para hacernos infelices. Tiene que ver esta infelicidad con el hecho de que estamos programados para ser únicos...?

Tenemos siempre que empezar de cero, pero claro, nos equivocamos muchas veces, somos más infelices porque somos más libres mentalmente, podemos cometer errores y quizás ese sea parte de la libertad..

La experiencia se agudiza en el poder racional y tener confianza es virtuoso cuando eres dueño de ti mismo,,,,,,,

Juan Salvador

I good to all

I officially introduce myself:

Once again you turn the page of a calendar and it happens that this time, you see yourself, I see the events that parade and I think that they are like simple satellites that revolve around a center, I see the true and only power that it will always reside right in the mind, because the fact that personal experiences leave a mark on the brain structure shows us that nothing changes in a certain way forever, and this reveals to us that we are programmed, but to be unique, totally different from the others.

People have an infinite capacity to make us unhappy. Does this unhappiness have to do with the fact that we are programmed to be unique...?

We always have to start from scratch, but of course, we make mistakes many times, we are more unhappy because we are freer mentally, we can make mistakes and perhaps that is the price of freedom...

Experience is sharpened in rational power and having confidence is virtuous when you are master of yourself,,,,,,,

Juan Salvador

Año 2022, otro año atípico

Si, ha sido un año más, un año que como siempre nos deseábamos que fuese mejor que el anterior, al final ha sido un año de locos, hemos aprendido lo frágiles que somos ante cualquier incidencia, quizás a ser mejores personas a valorar más lo que tenemos y un sin fin de emociones, pero ahí está el tiempo, algo que no podemos tocar ni manipular, momentos efímeros que nos llevan a circunstancias a veces difíciles de controlar,,,,,.tic tac,,,tic tac,,

Preguntarse por el tiempo es no encontrar respuesta alguna, es tan misterioso y abstracto que colapsamos toda neurona de nuestro cerebro, mientras unos los vemos como un transcurso de experiencias otros lo ven como otra dimensión,

El tiempo es tan relativo que cambia constantemente según en el lugar y momento que te encuentres, el estado de ánimo dice mucho ya que puede un momento pasar a ser eterno y en otro pasar en un segundo,

Y ahora quizás por estos años de pandemia nos damos cuenta que el tiempo es más importante, que el tiempo nos quita y nos da y que a veces nos falta y otras nos sobra y por lo que estoy viendo, poco hemos aprendido,,,,,,y esto,,,,?, esto es una opinión más ,,,,,,,,,,,

Conclusión: Seguir en el tiempo.

Juan Salvador

De mi cuaderno de reflexiones

Year 2022, another atypical year

Yes, it has been another year, a year that, as always, we wanted to be better than the previous one, in the end it has been a crazy year, we have learned how fragile we are in the face of any incident, perhaps to be better people to value more what that we have and endless emotions, but there is time, something that we cannot touch or manipulate, ephemeral moments that lead us to circumstances that are sometimes difficult to control,,,,,.tic toc,,,tic toc,,

Asking about time is not finding any answer, it is so mysterious and abstract that we collapse every neuron in our brain, while some see it as a course of experiences, others see it as another dimension,

Time is so relative that it constantly changes depending on where and when you are, the state of mind says a lot since one moment can become eternal and in another it can happen in a second,

And now perhaps because of these years of pandemic we realize that time is more important, that time takes from us and gives us and that sometimes we lack it and others we have plenty of it and from what I am seeing, we have learned little,,,, ,,and this,,,,?, this is one more opinion,,,,,,,,,,,

Conclusion: Follow in time.

Juan Salvador

From my notebook of reflections

Traducción: Google

El tiempo aparece como alegoría, una vez más todo comienza cuando ves que acaba el año en el que estamos y empieza el nuevo.

Me viene a la cabeza los buenos y malos momentos, los nostálgicos, los tristes y cumplir los objetivos que no pude cumplir en el pasado. No se lo que me aguarda, pero lo que sí sé y no dudo es que ya no soy el mismo, que he cambiado, creo que a todos nos pasa lo mismo, pero lo que realmente importa es darte cuenta que ya no soy quien era, que he aprendido de todo lo que me ha pasado este año y en los de antes, que los absurdos propósitos y todas esas pantomimas dan igual, que lo que realmente importa está en ti mismo y que lo que eras antes no es más que un recuerdo del pasado del cual no existe foto para etiquetar o colgar.

A pesar de todo tengo que admitir que sí, he escuchado historias increíbles, he visto cosas que no hubiera querido ver, he perdido gente y he encontrado otra, he destapado mentiras y he descubierto verdades, algunas personas me han hecho daño y no se sí yo se lo he hecho a otras, pero al fin y al cabo eso no hace más especial este año, si no el hecho de despedirme de la persona que está escribiendo esto, porque al igual que todos vosotros ya he cambiado a lo largo de escribir este texto. Esa es la esencia de las cosas que nos pasan, eso es lo importante, el presente continuamente se convierte en futuro.

Ya se que es difícil llevarlo a cabo, pero tenemos que disfrutar no sólo del fin de año, si no de nosotros mismos, de lo que somos ahora y de que mañana, sólo será un recuerdo,,,,,

Juan Salvador.

Time appears as an allegory, once again it begins when you see the year we are in and we will start the new one.

The good and bad moments come to mind, the nostalgic, the sad and the goals that are fulfilled in the past. I do not know what awaits me, but what I know and I do not tell you I am not the same, that he has changed, I think we all have the same thing, but what really matters is to realize that I am no longer who I was , that I have learned from everything that has happened to me this year and in that before, that absurdities and all those pantomimes do not matter, that what really matters is in yourself and what you were before is nothing more than a memory of the past of the which there is no photo to tag or hang.

In spite of everything, I have to admit that yes, he heard incredible stories, he has seen things that he has not wanted to see, he has lost people and he has found something else, he has uncovered lies and has discovered truths, some people have hurt me and I do not know Yes what you are doing is something else, but after all, that does not make it any more special this year, if it is not the fact of dismissing the person who is writing this, because like all of you, you have changed the time to write this text. That is the essence of the things that happen to us, that is the important thing, the present continuously becomes the future.

We already have that it is difficult to carry out a corporal, but we do not have that ourselves, neither what we are now nor in the morning, it is only a memory,

Juan Salvador

(Traductor Google)

In the last light of the rotation, I look into the abyss and see only a smiling mocking face. My face, laughing at me, it knows me, it feels me. Like a forbidden door that has been opened, Pandora's box, I see myself. For the very first time I truly see myself. What I am. What I am capable off. Where my destiny lies. But I don't want that destiny, I don't want to know me. I want another me. I let the rifle fall to the ground, take off my helmet. Breathing the fresh unfiltered air. Watching the sun set with the naked eye, it's beautiful, virtuous, a promise of rebirth. I take a deep breath, I hold it for as long as I possibly can, I don't want the smell to leave, I don't want to forget. I turn my back on the dark side of my mind and walk away, embracing the unknown sun lit road.

If patience is a virtue, landscape photography must be a supremely virtuous pursuit. There's a lot of waiting for things to happen (like light) or stop happening (like rain). In this case, I just had to wait for all the people to clear out of the scene, which took all of about five minutes -- time which I spent looking around for other possible compositions and angles. Unfortunately I only got to enjoy a few people-free minutes because right after I took this a large tour group invaded the beach -- I'm lucky to have been granted that brief lull.

If you're going to Iceland, you'll definitely be stopping at Jökulsárlón (it's a kind of obligatory). The glacial lagoon itself is awesome, not doubt. But the volcanic sand beach across the ring road from the lagoon is equally awesome, and easy to miss. I highly recommend seeing both. Here's a photo I took from that beach. More Iceland photos here.

Happy Monday, everyone!

-Lorenzo

____________________________________________________

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Valkenburg, 12km east of Maastricht, has been a tourist destination for at least a century, mainly for hiking and admiring the natural beauty of the hilly terrain. Among the attractions here is a replica of Roman catacombs, installed in an old limestone mine by architect Pierre Cuypers of Rijksmuseum fame. Above the town loom the ruins of an ancient castle. Valkenburg is an easy rail trip from Maastricht (15 min), and the palatial station, the oldest in the Netherlands, is a destination in itself.

Excerpt from thebuddhistgarden.com/places-of-interest-%E5%AF%BA%E9%99%...:

The Hall of Sudhana (Hall of Shan Cai) is a multifunctional hall named after a giant relief sculpture. The lifelike figures depicted in this huge sculpture number fifty-three in total. There is also a fascinating story behind it.

The Pilgrimage in Pursuit of Enlightenment Guided by 53 Mentors depict the entire process of a practitioner attaining Buddhahood. The practitioner in this story is none other than the attendant of Avalokiteshvara Bodhisattva, Sudhana Boy.

According to the Avatamsaka Sutra, Sudhana Boy made extensive offerings to past Buddhas, cultivating profound virtues and always rejoicing in purity. He accumulated immense merit and blessings. Sudhana Boy was born in the city of Awakening in India, and at the time of his birth, seven great treasures naturally appeared in his household. Additionally, at the moment of his birth, five hundred precious vessels materialized, leading his parents to name him "Sudhana."

As Sudhana grew up, he was influenced by the teachings and inspiration of Manjushri Bodhisattva. Sudhana embarked on a challenging journey to seek the Dharma. He tirelessly traveled southward, visiting various virtuous individuals. His visits included Bodhisattvas, monks, nuns, Upasakas, Upasikas, etc., totaling fifty-three virtuous individuals. This is the famous "Pilgrimage in Pursuit of Enlightenment Guided by 53 Mentors".

Sudhana's journey of visits and study exemplifies the path to Buddhahood. It teaches us the importance of perseverance and an open-minded approach to learning Buddhism in a humble way.

The Pilgrimage in Pursuit of Enlightenment Guided by 53 Mentors is a representative work of Mahayana Buddhism. Like every practitioner, Sudhana's heart was childlike. During his spiritual journey, he approached, observed, contemplated, and made choices in relation to each accomplished individual. He chose to learn from their virtues and kept his distance from their flaws.

Among his 53 mentors, the twenty-seventh was Avalokiteshvara Bodhisattva, who cared deeply for him. After acquiring the Dharma, Sudhana returned to the side of Avalokiteshvara Bodhisattva and assisted in the Bodhisattva's compassionate mission to guide sentient beings.

This is the story of the Hall of Sudhana and the Pilgrimage in Pursuit of Enlightenment Guided by 53 Mentors at Wutai Shan Buddhist Garden.

善財寶殿是一個多功能廳，它因為一幅巨幅浮雕而得名。整個五十三參浮雕作品長26.2公尺（合86英尺），高6.4公尺 （合21英尺），供奉於五台山大殿一樓多功能廳，是一幅巨型雕工精美的藝術大作。這幅巨雕上面的人物栩栩如生，一共有53位。其中53個人物的立體雕像都是獨立的立像，每個人物雕像約1.08公尺。這裡面還有一個非常有趣的故事。

五十三參講述了一位修行者成佛的整個參學過程。這位修行者就是觀音菩薩的左脅侍－善財童子。

觀音菩薩有兩位侍者：一位是善財童子，一位是龍女。善財童子是《華嚴經入法界品》裡的主要人物。據《華嚴經》記載，善財童子在過去諸佛處，廣修供養。深種善根而常樂清淨，並且喜歡親近善知識，修習菩薩行，因而積聚了大量的福德因緣。善財童子生於印度覺城，因前生福報，初住母胎之時，家中自然顯現七大寶藏。出生之時，又有五百寶器出現，父母請人為他取名叫「善財」。

善財長大時，文殊菩薩正在覺城弘法。由於受到文殊菩薩的教導與啟發，善財歷盡艱辛，南下求法，歷訪各處的善知識。所參訪的對象，有菩薩、比丘、比丘尼、優婆塞、優婆夷、童子、童女、天女、婆羅門、國王、王妃、仙人、醫師等，共計有五十三位善知識。這就是著名的「五十三參」。

善財童子的參訪修學之路為佛教徒展示了一條通往成佛的途徑，由淺入深，由低到高，循序漸進，不可投機取巧。它啟示人們在學佛的歷程裡，要有吃苦耐勞的毅力和鑼而不捨的精神。虛心學習佛法，所學的對像不必固定為一師一處，甚至只要他有長處，即使是外道，也不妨虛心向他求教。這是一種開放、寬廣的求學胸懷，值得後人效法。因此，善財童子是學習佛法、實踐佛法的榜樣。

善財童子五十三參是大乘佛教的代表之作。善財童子就像每一個修行的人，他的內心猶如孩童，在自己修行的旅程上，向每一位成就者都親近、觀察、思維、抉擇，擇其善者而從，於其不善者遠離。

其中參拜第二十七位名師是觀音菩薩，觀音菩薩對他十分關心。善財得到佛法後，便回到觀音菩薩身邊，協助觀音菩薩教化眾生。

這就是五台山善財寶殿和五十三參的故事。

Of course, many of you will know exactly what "Amache" refers to. It is one of the sites of an atrocity committed by our government upon its own citizens. It's in Southeastern Colorado, just outside the tiny town of Granada--a concentration camp where Americans of Japanese descent were imprisoned for most of WWII. Why? A mixture of stupidity, racism and unreasoning fear. The Japanese attacked us at Pearl Harbor, therefore, no one of Japanese heritage could be trusted . . . not even Americans. And so they usurped their houses and everything they owned, save what they could carry, herded them onto trains (far too resonant of the Jewish experience in Europe ) and imprisoned them for years. One might think that this would have militant-ized at least a few, but there is not a single record of a Japanese American committing an act of sabotage or other treasonous activity during the entire course of the war. Almost 2,000 died of disease in the drafty, uninsulated, slapdash barracks they were housed in. These were unrelentingly grim surroundings--especially early in this process, with few amenities and, much worse, the knowledge that your new world was surrounded by high fences and barbed wire and overseen by guard towers with machine guns at the ready. For those who may try to excuse this abominable behavior by noting that these camps weren't as bad as those in Germany--nothing like stating an obvious, but irrelevant fact. How can the German's behavior excuse ours? It cannot.

It's an unhappy truth that the fantasy of the United States coming to the rescue of the world in WWII, saving it from despotism in a selfless, noble, utterly virtuous effort is not and never has been totally true. There is much that our country can be proud of during that time, but there is also a great deal about which we should feel great shame. Too many are content to ignore, paper-over, or deny the evils committed by our government and armed forces between 1941 and 1946, but to pretend they didn't happen is to ensure they will happen again. I for one do not wish to see us repeat these mistakes.

There is very little left to show that there ever was a concentration camp at this location--a few concrete slabs and foundations, some twisted metal--with only a few signs to indicate what once had gone on here. In this photo, you can see a bit of one of those foundations, with an appropriately gnarly tree in the foreground. I just happened to stumble on the place as I drove semi-aimlessly through a portion of Colorado I'd never been to before--on my eventual way to Rocky Mountain National Park. When I saw the sign for "Amache," it rang a bell, but it took me a bit to recall its significance. I believe the only time I had heard of this specific place was when I visited the memorial in DC to all those who suffered through the ordeal. "Amache" was one of the sites it listed. Later, I would more purposefully seek out "Manzanar" in Western California, where much more of the camp has been preserved. The next time I visit Arkansas, I plan on visiting the sites there, "Jerome" and "Rohwer."

YIKES! Me Englishe has done got badd. Twice n the preceeding paragraf--in the sam sentense--I wrote "their" insted of "there" (know correctted). TWICE! My dain bramage seams two bee geting more worser--soon, no doubt, too became most worsest!

The sculpture of God Vishnu, flying on Garuda's back, is seen in the background.

The tale of Garuda and Vishnu is a well-known story from Hindu mythology, featuring two important figures: Garuda, the divine bird, and Lord Vishnu, one of Hinduism’s principal deities. The story highlights the themes of devotion, duty, and dharma (righteousness).

Garuda’s unwavering devotion to his mother and his determination to rescue her from slavery reveal his virtuous nature. During his quest, Garuda encountered Lord Vishnu, who was deeply impressed by his loyalty and resolve. As a reward, Vishnu granted Garuda a boon: he would become Vishnu’s mount, carrying him on his back. Vishnu also blessed Garuda with immense strength and immortality. These blessings emphasize the importance of devotion to the divine and the intricate relationship between mortals and deities in Hindu mythology.

A shot without people although the gardens were quite busy for this time of year - one day of sunshine sandwiched between the usual days of rain bringing everyone out.

A very pleasant hour or so wandering around and a nice secluded bench to have my lunch (overnight oats with nuts and frozen fruit; made that morning so it was still chilled - delicious and satisfyingly virtuous).

Perhaps a little early in the year to visit to get the full benefit of the £8 entrance fee, but still a very special place with a lovely atmosphere.

Nowadays they destroy the innocents of children and think they are virtuous. They will answer to God for such evil. Hellfire will be their due penalty.

The Gender Theory of neo-Marxism: the destruction of children equals the destruction of the family; the destruction of the family equals the destruction of democracy; the destruction of democracy equals the destruction freedom. What is the outcome: the commies destroy their much hated freemarket capitalism and institute their authoritarianism. Then, as history proves, murder and evil follows. Oppressed vs oppressor: the doctrine of demons.

Matthew 6:23 “But if your eyes are bad, your whole body will be full of darkness. If then the light within you is darkness, how great is that darkness!”

www.youtube.com/watch?v=0TFNGRYMz1U

ZAZ - Je veux

San ha sostenido siempre la idea que en la vida las cosas no pasan porque sí. Ella es artífice, virtuosa, protagonista, estrella de su propia existencia. Sustenta en su mente el boceto, la reflexión, la concepción preconcebida que los “hitos vitales” suceden en la forma que cada “ente” los planifica.

Es soñadora, imaginativa e inteligente y sus ojos lo dicen todo. Compositora, intérprete y melódica perseguirá sus sueños hasta “atraparlos”.

Hace un par de meses se ahuyentó desvinculándose y absolviendo definitivamente ciclos de su vida, porque la existencia al fin y al cabo es eso: fases, períodos o trayectos con “altos” en el camino en los que cada uno decide porque bulevar pasear. Ella prefiere “engañarse” con sus ojos que con la mirada de otros. Ella es San y su mirada.

The look of San.

San has always maintained the idea that in life things do not happen just because. She is an architect, virtuous, protagonist, star of her own existence. He sustains in his mind the sketch, the reflection, the preconceived conception that the "vital milestones" happen in the way that each "entity" plans them.

She is a dreamer, imaginative and intelligent and her eyes say it all. Composer, interpreter and melodica will pursue her dreams until they "catch" them.

A couple of months ago he was disengaged and definitively absolved cycles of his life, because the existence after all is that: phases, periods or journeys with "stops" in the way in which each one decides because boulevard walk. She prefers to "deceive herself" with her eyes than with the gaze of others. She is San and her look.

Le look de San.

San a toujours maintenu l’idée que, dans la vie, les choses ne se passent pas simplement parce que. Elle est une architecte, vertueuse, protagoniste, star de sa propre existence. Il maintient dans son esprit l'esquisse, la réflexion, la conception préconçue selon laquelle les "jalons vitaux" se produisent de la manière que chaque "entité" les planifie.

Elle est rêveuse, imaginative et intelligente et ses yeux disent tout. Compositeur, interprète et mélodica poursuivront ses rêves jusqu'à ce qu'ils "les attrapent".

Il y a quelques mois, il a été désengagé et a été définitivement libéré de ses cycles de vie, car l'existence en définitive est celle-ci: des phases, des périodes ou des parcours avec des "arrêts" dans la manière dont chacun décide à cause de son parcours. Elle préfère se "tromper" avec ses yeux qu'avec le regard des autres. Elle est San et son regard.

L'aspetto di San.

San ha sempre sostenuto che nella vita le cose non accadono solo perché. È un'architetto, virtuosa, protagonista, protagonista della propria esistenza. Egli sostiene nella sua mente lo schizzo, il riflesso, la concezione preconcetta che le "pietre miliari" avvengono nel modo in cui ciascuna "entità" le pianifica.

È una sognatrice, fantasiosa e intelligente e i suoi occhi dicono tutto. Compositore, interprete e melodica inseguiranno i suoi sogni finché non li "cattureranno".

Un paio di mesi fa è stato disimpegnato e ha definitivamente assolto i cicli della sua vita, perché l'esistenza è dopotutto: fasi, periodi o viaggi con "fermate" nel modo in cui ognuno decide perché camminare a piedi. Preferisce "ingannare se stessa" con gli occhi piuttosto che con lo sguardo degli altri. Lei è San e il suo aspetto.

Algarve. Portugal

I know not any season of life that is past more agreeably than virtuous old age.

#MarcusTulliusCicero

Excerpt from heritage.go.kr/heri/gungDetail/gogungDetail.do?serial_num...:

Jinseonmun Gate 進善門

The large gate you are now seeing is Jinseonmun. The name 'Jin Seon' means 'speaking true words with the king'. As this is the entrance to the throne where the king sits, it carries the wish for a virtuous rule. During king Yeongjo's reign in the mid-1700s, the Shinmungo was situated here. It was a large drum which people could hit when they were the subject to a misdeed, and wished to beseech the king's wisdom. Once you enter through Jinseonmun, you reach a large yard that has Injeongmun Gate to the left, and Sukjangmun Gate to the front. There are three stone roads on the center of this yard, called Samdo. The center road is Eodo, which only the king could use; officials used the two roads on Eodo's right and left. The left yard of Samdo, connected to Injeongmun, is shaped like a trapezoid, slightly tapering towards the Sukjangmun. This is quite unique among Korean palaces, which normally have straight and square yards. In most palaces, the route to the king's quarters is normally straight from the front gates, but in Changdeokgung Palace, you have to enter through Donhwamun Gate and make a right turn over Geumcheongyo Gate, and make another right turn through Injeongmun in order to reach Injeongjeon Hall, where the king stays.

No matter...

how much you earn

how much you want,

to see the future

glittering charms

entering your bank account

living, the nice life-

society would be proud of

media induced

insecurities of lost sleep

marketing dreams

of inadequate nightmares

possessing our homes

stealing the air we breath

stifling the place we call home

political canvasing

of a man-made lack of fibre

ill-fitting the needs

of perverted sleaze

go straight to hell!

not you...no

not you...

just them!

you understand,

I know you do,

and it is from the future hell

we withstand the path

from pre-history

to slake the present

only time remains virtuous

we just follow.

by anglia24

09h50: 27/11/2007

© 2007anglia24

☀

Book: www.lulu.com/shop/giles-watson/pearl/paperback/product-20...

The story so far: The Dreamer loses his Pearl in a grassy mound - evidently her grave. He swoons with grief, and awakens in an earthly paradise, through which there runs a beautiful stream. The land on the opposite bank seems even more beautiful. He wanders further down the stream, hoping to find a bridge or a ford. Just when he starts to become afraid of the dangers that may be in store for him, he sees a young woman sitting at the foot of a crystal cliff on the opposite bank, and instantly recognises her as his lost Pearl. He hails his Pearl and expresses his relief that she still exists, but she begins to reprove him for his lack of faith. She criticises him for only believing that her soul is immortal now that he can see her, and is shocked by his suggestion that he - a mortal man - has a hope of joining her in Paradise without first experiencing death.

The Dreamer admits that she is stupendously beautiful, but wonders how she can have won the title of Queen and bride of Christ, in the face of stiff competition: all those other women who have gone to heaven. Her reply draws upon the Old Testament prophets and the Book of Revelation: the Lamb which was slain in Jerusalem will return to govern the New Jerusalem as its King, with a company of a hundred and forty-four thousand wives – one of whom is the Pearl. She describes the state of bliss experienced by all the brides of the Lamb, and the worship that is offered to him. The Dreamer asks her for a boon: he wants to see the heavenly city or fortress where she lives. She describes the spotless city of the New Jerusalem, and he is so entranced by the glory she describes that he repeats his request to be taken to see it. She grants his request, even though he will not be able to set foot inside the city, and he follows her upstream until he can see the heavenly City. At first, he cannot lift his eyes beyond the twelve tiers at its base, each one wrought of precious stones – with the exception of one, which is fashioned out of pearl. Now, he begins to look up at – and through – the City itself, awed beyond belief by its beauty. He realises that no mortal could ever enter the city and survive its sublime excess – and sees a throng of a hundred thousand and more women, all dressed and jewelled like his Pearl, approaching the throne of God in the company of the Lamb.

Pearl: Part 19

Just as the rising, marvellous moon

Drives the ebbing day-gleams down,

It shakes the very soul of man

To know this City – of rich renown –

Is thronged with retinues of women:

All virgins, wearing the same gowns,

Answering the same unseen summons

As my own bejewelled and blissful one –

And all of them are likewise crowned,

Dripping pearls, and draped in white.

In each one’s breast is firmly clasped

A blissful pearl of great delight.

In great delight they glide together

On golden, glinting, glassy roads;

A hundred thousand of them gather,

All rigged out in matching robes,

Each as radiant as the other.

The splendid Lamb before them rides

With seven horns – a lather

Of priceless pearls encrusts his clothes,

And without clamour, the virgins close

In upon the throne, their ranks all white.

Like maidens at Mass, they rise in rows,

Pouring forth with great delight.

The delight the Lamb’s coming brings

Is too intense for me to tell:

The aldermen, when he arrives,

Swoon at his feet. No pen could spell

Out how that angel-legion throngs,

With thuribles, the delightful smell

Of incense eternally on the rise,

And for that Jewel, their praises swell:

They quake the Earth and cleave Hell.

The virtuous orders of angels smite

My heart. I long to sing as well,

And lose my soul in their delight.

Delighting in the Lamb, I reel,

Rapt in wonder. Just out of reach

He seems: more regal and real

Than prophets could spell out in speech,

His garments all glorious, the seal

Of graciousness upon his face. I search

With wild eyes the wound that spills

His heart’s blood, in a great gush,

The skin so torn. I swoon and lurch,

Sick to think that sin and spite

Thrust in the spear and raised the lash.

Can men do this, and take delight?

And yet, delight is on his face

Despite that open, gushing sore:

The agony has left no trace

On his expression – an exultant stare.

Around him, his retinue of grace,

Lambent with life, enough to sear

My eyes. And there, looking utterly in-place,

My little Queen. Did she stand near

Me in that glade? Christ! I can hear

Her laughter, mingling with the mass, all white.

I must wade these waters, face my fear

With love, and longing for delight.

Late fourteenth century poem, written in a north-west midland dialect of Middle English, paraphrased by Giles Watson.

There are moments in life when you wonder whether you have chosen the right path. Life is full of decisions you must make before a fork in the road. And often times the path of least resistance or the most convenient is not the right one! And you feel that you have taken the wrong way, even though everything is in order. The sun is shining, and everything seems to be working perfectly. But there is this strange feeling that something must be wrong, this small uncomfortable feeling in the area of the stomach that tells one that the things must be different!

In Greek mythology the ancient hero Hercules is forced at a symbolic crossroads to make one of the hardest decisions of his life. At a clearing two ladies were waiting for him: A young voluptuous beauty that promises him a carefree and fulfilling life on earth and the virtuous and modestly dressed woman offering him a stony but glorious and heroic life with eternal recognition by the gods and others. Hercules chooses the path of virtue!

Which path would you choose?

I want to thank all very much for your "views", "Comments" and "Favourites" :-) The only thing that matters is that you have joy in this photo. Again, thank you :-)

I used to bite my tongue and hold my breath

Scared to rock the boat and make a mess

So I sat quietly, agreed politely

I guess that I forgot I had a choice

I let you push me past the breaking point

I stood for nothing, so I fell for everything...

Viewing this family farm home from high on Steptoe Bute, I cannot help but wonder what it would be like to live the life of a farmer. Thomas Jefferson thought independent living on a family farm was the key to a virtuous life and he wanted as many people as possible to own their own land in sufficient amount to support this kind of life.. Perhaps because I have grandparents who were farmers, part of me feels a bit nostalgic about what seems like a wonderful life, close to nature and the earth. I am sure, however, that these farmers are some of the hardest workers around, but the rewards seem plenty.

Arcadia (Greek: Ἀρκαδία) refers to a vision of pastoralism and harmony with nature. The term is derived from the Greek province of the same name which dates to antiquity; the province's mountainous topography and sparse population of pastoralists later caused the word Arcadia to develop into a poetic byword for an idyllic vision of unspoiled wilderness. Arcadia is associated with bountiful natural splendor, harmony, and is often inhabited by shepherds. The concept also figures in Renaissance mythology. Commonly thought of as being in line with Utopian ideals, Arcadia differs from that tradition in that it is more often specifically regarded as unattainable. Furthermore, it is seen as a lost, Edenic form of life, contrasting to the progressive nature of Utopian desires.

The inhabitants were often regarded as having continued to live after the manner of the Golden Age, without the pride and avarice that corrupted other regions.[1] It is also sometimes referred to in English poetry as Arcady. The inhabitants of this region bear an obvious connection to the figure of the Noble savage, both being regarded as living close to nature, uncorrupted by civilization, and virtuous.

photo rights reserved by Ben

On the shores of the Zhinvali Reservoir lies the famous Ananuri Fortress, a historical site dating back to the 16th-17th centuries. The fortress not only offers an insight into Georgian history, but also a beautiful view of the lake. Within the Ananuri complex is a well-preserved church with impressive stone carvings and frescoes. Ananuri is recognized as an UNESCO World Heritage Site due to its cultural and historical significance. It is an ideal place for photography, picnics and relaxing in nature, making it a must-see destination for travelers in Georgia. The church itself has a long history and was badly damaged during a fire in 1739. Many of the original frescoes were lost, and only fragments of them remain visible on the walls and pillars today. On the south wall is a partially preserved representation of the Last Judgement, a theme often depicted in Orthodox churches to remind believers of the Day of Judgement and the eternal consequences of their actions. The dome of the church, although not visible in the photo, is an architectural highlight and symbolizes heaven. Together with the iconostasis and the surviving frescoes, the church provides a beautiful picture of the rich religious and artistic traditions of medieval Georgia.

The Ananuri Fortress is a historical complex in Georgia, located on the banks of the Zhinvali Reservoir, about 70 kilometers north of Tbilisi. One of the most visited attractions in the country. The complex consists of several defensive structures, such as towers, churches and walls, which were strategically placed to withstand attacks. The Church of the Savior is the most striking structure within the complex. The fresco on the south wall of the church of the Ananuri complex depicts the Last Judgement, one of the most dramatic and meaningful themes in Christian art. This imagery was popular in Orthodox churches, especially in the Middle Ages, because it reminded believers of God's judgment and the ultimate destiny of souls after death. At the center of the composition, Christ is often depicted seated on a throne. He is usually surrounded by angels and saints, who are witnesses to the judgment. On the right side, the righteous are depicted being led to heaven by angels. On the left, sinners are often depicted in dark and chaotic scenes, being led to hell by demons. The gates of heaven are often shown as a glorious, orderly place with angels and saints. In contrast, hell contains images of flames, monsters, and sinners suffering, sometimes with symbolic punishments for specific sins. The Last Judgement served not only as a religious theme, but also as a moral lesson. It was meant to remind believers to prepare for the day of judgment by living virtuously and confessing their sins.

Aan de oevers van het Zhinvali-reservoir ligt het beroemde Ananuri-fort, een historische plek die dateert uit de 16e-17e eeuw. Het fort, dat een van de meest bezochte bezienswaardigheden van het land is, biedt niet alleen een fascinerende inkijk in de Georgische geschiedenis, maar ook een prachtig uitzicht op het omliggende landschap. Het fort diende als de residentie van de Aragvi-hertogen, een machtige dynastie in Georgië. Het complex speelde een belangrijke rol in de verdediging van de regio tegen invallen en oorlogen. Het complex bestaat uit meerdere verdedigingsstructuren, zoals torens, kerken en muren, die strategisch waren geplaatst om aanvallen te weerstaan. De Verlosserkerk -Church of the Savior is het meest opvallende bouwwerk binnen het complex. De ingang van een kerk is rijkelijk versierd met verfijnd steenhouwwerk. Het portaal toont ingewikkelde geometrische en florale patronen, kenmerkend voor de middeleeuwse Georgische architectuur. De kerk zelf heeft een lange geschiedenis en werd zwaar beschadigd tijdens een brand in 1739. Veel van de originele fresco's gingen verloren, en slechts fragmenten ervan zijn vandaag de dag nog zichtbaar op de muren en pilaren. Op de zuidmuur bevindt zich een gedeeltelijk bewaard gebleven voorstelling van het Laatste Oordeel, één van de meest dramatische en betekenisvolle thema's in de christelijke kunst. Deze voorstelling was populair in orthodoxe kerken, met name in de middeleeuwen, omdat het gelovigen herinnerde aan het oordeel van God en de uiteindelijke bestemming van de zielen na de dood. Centraal in de compositie is Christus vaak afgebeeld, zittend op een troon. Hij wordt meestal omringd door engelen en heiligen, die getuigen zijn van het oordeel. Aan de rechterkant worden de rechtvaardigen afgebeeld, die naar de hemel worden geleid door engelen. Aan de linkerkant worden de zondaars vaak in donkere en chaotische scènes weergegeven, waar ze door demonen naar de hel worden geleid. De hemelpoort wordt vaak getoond als een glorieuze, ordelijke plek met engelen en heiligen. De hel daarentegen bevat beelden van vlammen, monsters, en zondaars die lijden, soms met symbolische straffen voor specifieke zonden. Het Laatste Oordeel diende niet alleen als een religieus thema, maar ook als een morele les. Het moest gelovigen eraan herinneren zich voor te bereiden op de dag van het oordeel door een deugdzaam leven te leiden en hun zonden te belijden. De vervaagde kleuren en details weerspiegelen de eeuwenoude geschiedenis en benadrukken de rol van kunst in het overbrengen van theologische en morele boodschappen.