View allAll Photos Tagged virtuous
For the marmalade kitten cannot be overcome by even the most virtuous and valiant of collies; her power is too strong, and too cute, and must not be disturbed.
www.youtube.com/watch?v=g8a2hsMhIp4
This link will take you away from this page.... but it is such a good song...
Most plain girls are virtuous because of the scarcity of opportunity to be otherwise.
Maya Angelou
:)
not sure why this quote made me laugh like it did, but it did.
night night Flickr land.
During my last day of shooting in Le Puy-en-Velay (March 9, 2023), I managed to complete all the subjects that required additional photography, and to extensively shoot the last item on my bucket list, i.e., the spectacular Saint-Michel d’Aiguilhe chapel which I will show in a few days.
My first goal was to photograph the “inner” statuary in the canons’ cloister, i.e. the items that are only visible from the central space (préau in French), as opposed to the galleries. In monasteries, that space was often used as an herb garden, particularly when safe space was at a premium elsewhere. However, in the case of Le Puy and its secular canons, very often the offspring from the wealthiest families, there were other sources of supply, should herbs be needed, and aside from framing the central well, the purpose assigned to that space was most probably very similar to what it is now: a pleasure garden.
Bearing that in mind (and, no doubt, the designers of the cloister did), it is not surprising that we should find, on this inner side, one of the wildest collections of monsters, devils and sinners ever devised by the fertile imagination of Mediæval sculptors: while meditation in the galleries took place among virtuous and God-pleasing representations, the canons (or those who cared, at least) were reminded by that gallery of monsters and vices that basking leisurely in the sun in the garden wasn’t too good for their karma, if I dare say.
Some of the keystones in the arches are decorated with various sculpted motifs. On the southern side, a monk and a nun are featured on each side of a Siren, a creature that symbolized the sin of Lust in the age of Romanesque. However, the two characters do not look directly at the Siren; they look more decidedly at the cleric that would stand in the garden, himself gazing at the Siren (i.e., contemplating a sin of flesh), and their facial expression (astoundingly well rendered!) reflects a warning aimed at the beholder: “Do not look upon Sin with any complacency!”
[Carte de vœux — Tirages meilleurs jusqu'à 115 x 83 cm maximum]
[Greeting Card — Prints best within 115 x 83 cm / 45 x 32 inches]
Non, ce n’est pas Batman et Robin... ce duo dynamique est beaucoup plus vertueux. C'est Monseigneur Didier Berthet, évêque de Saint-Dié, et l'abbé Lhillet Milandou-Bassinga debout sur son côté gauche. J'ai eu le bonheur d'être formellement présenté à l'évêque Berthet peu avant de prendre cette photo, et j'ai été sincèrement impressionné.
Je souhaite maintenant annoncer que l'équipe de Jeanne d'Arc a un nouveau capitaine. Et comme le nouveau capitaine, l'abbé Lhillet Milandou-Bassinga semble plus que prêt à prier dur et de jouer dur. J’ai pu rencontrer avec le nouveau curé de Domrémy deux jours avant sa première messe de dimanche matin à la Basilique de Domrémy. La rencontre était un honneur pour moi. Je crois que les gens plus doués dans ce monde peuvent généralement être décrit avec un seul mot. Je décrirais l'abbé Milandou-Bassinga comme « recueillies ». Compte tenu de la tâche devant lui, c’est le meilleur n’importe qui peut éventuellement être.
Ma récente visite à Domrémy était destinée uniquement à un pèlerinage à la tombe du l'abbé Michel Lambert, mais Sainte Jeanne a jugé bon de faire coïncider le voyage avec l'arrivée de son remplaçant official aussi. J'ai dit au l'abbé Milandou-Bassinga que je crois que l'avenir de l'héritage de Sainte Jeanne et l'avenir spirituel de Domrémy sont investies en lui. Ils sont entre de bonnes mains... et des mains chaudes aussi.
Cette photo est dédiée au l'abbé Michel Lambert. Merci à Bernadette de rendre possible la séance de photo.
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No, it's not Batman and Robin... this dynamic duo is far more virtuous. This is Monseigneur Didier Berthet, Bishop of Saint-Dié, and Father Lhillet Milandou-Bassinga standing at his left side. I had the good fortune to be formally introduced to Bishop Berthet shortly before taking this photo, and I was both impressed and humbled.
I now wish to announce that Joan of Arc's team has a new captain. And as the new captain, Father Lhillet Milandou-Bassinga seems more than ready to pray hard and play hard. I got to meet with Domrémy's new parish priest two days prior to his inaugural Sunday morning mass at Domrémy's Basilica. The encounter was an honour for me. I believe the most gifted people in this world can usually be described with a single word. I would describe Father Milandou-Bassinga as "collected." Given the job ahead of him, that's the very best anyone can possibly be.
My recent visit to Domrémy was solely intended as a pilgrimage to Father Michel Lambert's grave, but Saint Joan saw fit to have the trip coincide with the arrival of his official replacement as well. I told Father Milandou-Bassinga that I believe the future of Saint Joan's legacy and Domrémy's spiritual future are invested in him. They are in good hands... and warm hands too.
This picture is dedicated to Father Michel Lambert. Thanks to Bernadette for making the photo op possible.
Codi von Richthofen,
Saint Joan of Arc Superstar ©
El lago Llanquihue (lugar sumergido en mapudungun) es un lago ubicado en la Región de Los Lagos, Chile. Tiene una extensión de 860 km² que lo convierten en el segundo lago más grande de Chile tras el lago General Carrera. Su profundidad no se conoce con certeza, pero algunas sondas de cordel han arrojado cifras superiores a 350 m. Está a una altitud de 70 m sobre el nivel del mar.
La Leyenda de Licarayén es parte de la mitologia Huilliche y cuenta la historia de la doncella Licarayén y la formacion del Lago LLanquihue.
Licarayén era la hija menor de uno de los "cacique", jefe de la comunidad, de una de las tribus que vivan en los alrededores del volcan Osorno. Ella estaba enamorada de un joven y valiente "toqui", el lider guerrero Quitralpique. Ambos se amaban con pasion y felicidad. El "pillán" un espiritu que habitaba el interior de los volcanes Osorno y Calbuco envidioso no pudo resistir tanto amor desatando enormes temblores. Con su enorme poder hizo que los volcanes comenzaran a botar humo y azufre con grandes llamaradas anunciando la tragedia. Entonces los Huilliches se reunieron en un Parlamento para decirdir como aplacar la furia del Pillán. Un misterioso "machi" apareció y dijo "debeis sacrificar a la virgen mas hermosa de la tirbu, arrancarle el corazon y colocarlo en la punta del cerro bajo una rama de canelo, entonces vendra un gran pajaro que se comera el corazon y dejara caer la rama en el crater del volcan, el hogar del Pillán", luego desaparecio sin dejar rastro.
El cacique entre lagrimas para salvar a su pueblo decidio sacrificar a la virgen mas virtuosa, que era su hija. Entonces Licarayen pidio que su amado preparara su lecho de muerte y que fuese el unico que tocara su corazon ya que él era el unico dueño desde que lo conocio. El toqui destrozado beso a la doncella y conteniendo las lagrimas extrajo el corazon y lo entrego para ser llevado al cerro. Entonces aparecio un enorme Condor que se lo llevo para engullirlo junto con la rama de Canelo, mientras volaba la dejo caer sobre el crater del volcan. En el mismo momento comenzo a caer blanquisima nieve como si el alma de la doncella volviese a la tierra. Nevo durante años, a medida que caia fue fundiendose en lucha contra el fuego que bajaba del volcan, formando torrentes de agua que inundaron las tierras mas bajas dando origen a un gigantesco lago entre los volcanes Osorno y Calbuco. La leyenda dice ademas que en el lugar del sacrificio Licarayén echo raices formando un hermoso palacio de helechos y flores, ubicado el fondo de la "Quebrada del Diablo" cerca de Puerto Varas, pero que solo algunos pueden ver, visible solo para aquellos que esten en intimo contacto con la naturaleza.
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Lake Llanquihue (place immersed in Mapudungun) is a lake located in the region of Los Lagos, Chile. It has an area of 860 km ², making it the second largest lake in Chile after the Lake General Carrera. Its depth is not known with certainty, but some twine probes have yielded figures above 350 m. It is at an altitude of 70 m above sea level.
The Legend of Licarayen is part of the mythology Huilliche and tells the story of the maiden Licarayen and the formation of Lake Llanquihue.
Licarayen was the youngest daughter of the "Cacique", head of the community one of the tribes living near the volcano Osorno. She was in love with a young and brave "Toqui" Quitralpique a warrior leader. They loved each other with passion and happiness. The "Pillán" a spirit that lived inside the volcanoes Osorno and Calbuco envious much love could not resist unleashing big earthquakes. With its enormous power made volcanoes began to throw smoke and sulfur with large flares announcing the tragedy. Then Huilliches met in Parliament to appease the the Pillán fury. A mysterious "machi" appeared and said "You must sacrifice the most beautiful virgin, cut out his heart and place it on top of the hill under a branch of cinnamon, then will come a large bird that will eat the heart and dropped the branch in the crater of the volcano, the home of Pillán and then disappeared without trace.
The cacique in tears to save her people decided to sacrifice the most virtuous virgin her daughter. Then Licarayen asked that only his beloved Quitralpique can prepare his deathbed being the only man that will touch your heart the unique owner since they was met. The shattered toqui kiss the maid and holding back tears the heart extracted and delivered it to be taken to the hill. Then a huge Condor took the heart to swallow along with the branch of Canelo, dropped it while flying over the crater. At the same time whitest snow began to fall as if the soul of the maiden returned to earth. Snow falling for years, as it fell was melting into firefighting coming down the volcano, forming torrents of water that flooded to the lowlands forming a huge lake between Osorno and Calbuco volcanoes. The legend also says that in the place of sacrifice took root Licarayen forming a beautiful palace of ferns and flowers, located on the bottom of the "Quebrada del Diablo" near Puerto Varas but only some can see, visible only to those who are in intimate contact with nature.
Sweet stream that winds through yonder glade,
Apt emblem of a virtuous maid
Silent and chaste she steals along,
Far from the world's gay busy throng:
With gentle yet prevailing force,
Intent upon her destined course;
Graceful and useful all she does,
Blessing and blest where'er she goes;
Pure-bosom'd as that watery glass,
And Heaven reflected in her face.
~William Cowper (1731 – 1800)
IMG_3859
15 Apr 11
~ HSS ~
Even in decline, a virtuous man increases the beauty of his behavior. He is like a
burning stick... turned to the ground, its flame is drawn upwards.
- Saskya Pandita
The original capture was of a small daytime campfire at a local celebration.
Happy Sliders Sunday!
Let me introduce you to one of the strangest figures ever to emerge in the convict landscape of Van Diemen's Land. I was delighted to discover when researching this, that there has in fact been written a musical/play about the building of the Ross Bridge, and the central character (a cad) is none other than Jorgen Jorgenson.
In 2006 Garth Chamberlain wrote "The Man of Ross", with music by Lynda Nicholls. It features the four main characters we are discussing today: Daniel Herbert (of course), his wife Mary (whom we've just met), and Jorgen Jorgenson and his deeply troubled Irish wife, Norah Corbett. australianplays.org/script/ASC-116
I can't even begin to scratch the surface of Jorgenson's life here (the fact he merits inclusion in the Australian Dictionary of Biography tells us something), but I'll provide two very interesting links below to give you the full picture. Jorgenson was actually Danish, the son of a royal watchmaker. At 15 he ran away from home and joined the British merchant navy.
By 1801 he is in Port Jackson and in 1802 is reputed to have sailed with the famous navigator Matthew Flinders. He was among the people to establish the first settlement on the Derwent in Van Diemen's Land. He went whaling off New Zealand, sailed the South Pacific, and wound up in Iceland and then in England.
Now here is where the story really gets interesting:
"In June 1809 he returned (to Iceland) and, with an English merchant and abetted by English seamen, arrested the Danish governor, placed himself at the head of government, and proclaimed Iceland independent of Denmark. On this escapade Jorgenson's notoriety largely rests, although his 'protectorship' lasted only nine weeks before it was ended by the arrival of H.M.S. Talbot. In August Jorgenson sailed, voluntarily, for England."
Drunkenness and petty crime were the order of the day and in 1820, while in Newgate Prison, he was condemned to death. This was commuted to transportation for life. He was assigned as a convict to work with the Van Diemen's Land Company, and now we come to the major reason why I believe Daniel Herbert wanted to expose Jorgenson on the Ross Bridge:
"In 1828 he was appointed a convict-constable of the field police in the Oatlands district and strenuously employed in pursuit of Aboriginals. He was granted a conditional pardon in June 1830."
Notice that phrase, "strenuously employed in pursuit of Aboriginals." Herbert knew the moment Jorgenson arrived in Ross, that he had been part of the Gov. Arthur's assigned "death squads". That a convict who had once been sentenced to death would be literally hunting indigenous Tasmanians is a topic that would surely drive any righteous-minded person to burn with anger. And Herbert could abide no such person. The existential rage this sensitive man must have felt towards this self-appointed "King of Iceland" must have been palpable whenever they crossed paths.
To make matters worse, Jorgenson was rewarded for his work with a pardon, something Herbert had to wait for until 1842. So if you are looking for a person who typifies Herbert's description of "the devil", look no further than Jorgen Jorgenson.
Now in the previous photograph I mentioned the placement of the "Celtic horned-god" on the ninth stone from the bottom of the arch, just two up from the virtuous Mary Witherington. Jorgenson (in full false crown) is presented on the ninth stone up from the base of the other side of this arch. All this will be clear in the next photograph "Iconography of Renewal". I believe there is no doubt that Herbert wanted to draw a link between Jorgenson and the devil. This is made even stronger when we see the image of Jorgenson's wife, Norah Corbett on the seventh stone from the bottom of the arch on the other side to Mary Witherington. I'll say more about Norah in the next photograph to rest my case for this interpretation. [I hasten to add this is my interpretation and it is based on historical information that Greener and Laird did not fully have.]
Jorgenson died in 1841, so he saw the completed bridge and there would have been no mistaking the symbolism for him, even if Herbert had not directly pointed it out. What's more I am certain the whole town knew, and they appreciated the lambast. For Jorgenson had overplayed his hand in Ross.
His wife was a hopeless drunk and was reputedly a "loose woman". Jorgenson had stirred up some serious trouble for some members of the community by making false accusations (perhaps of disloyalty to the governor). He was practically driven out of town and died of inflammation of the lungs on January 20, 1841.
www.abc.net.au/news/2019-10-13/exhibition-tells-story-of-...
Saline ing. Luigi Conti Vecchi S.p:a.
ll’Ing. Conti Vecchi è stato un generale del genio militare.
Dopo essere andato in pensione, alla fine degli anni ’20, realizzò un ambizioso progetto per bonificare lo stagno di Santa Gilla impiantandovi una colossale salina e contribuendo così allo sviluppo economico e sociale di questa zona depressa ai margini della città.
Ne nacque una realtà industriale florida, virtuosa e all’avanguardia: un impianto produttivo eco-sostenibile e autosufficiente intorno al quale orbitava una ‘comunità del sale’ dotata di case, scuole e strutture ricreative per le famiglie di proprietari, dirigenti e operai che convivevano nel villaggio di Macchiareddu.
Saline ing. Luigi Conti Vecchi S.p.a.
Eng. Conti Vecchi was a general of military genius.
After retiring, at the end of the 1920s, he carried out an ambitious project to reclaim the Santa Gilla pond by planting a colossal salt pan and thus contributing to the economic and social development of this depressed area on the edge of the city.
The result was a flourishing, virtuous and avant-garde industrial reality: an eco-sustainable and self-sufficient production plant around which a 'salt community' orbited with houses, schools and recreational facilities for the families of owners, managers and workers who lived together. in the village of Macchiareddu.
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Embracing the Elusive
Like loving the wind — ungraspable and unpossessable... 💕
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. . . Embracing the Elusive . . .
Completely drained, lost in the endless abyss.
No matter how many virtuous deeds I undertake, her heart remains unaltered.
Love squandered, akin to tears absorbed by parched soil. The more I pour forth, the more it evaporates into nothingness. No matter the depth of my affection, she remains unmoved. Do you comprehend the crushing weight of such futility?
Striving for goodness holds no significance in her eyes. Even if I surrender my very essence.
I pour out my soul, every action steeped in love, yet how much worth does my affection hold?
I pour my heart into everything I do, with love, but have you ever once truly valued my love?
Every gesture, every word, infused with the essence of my heart. Have you ever, even once, acknowledged the value of my love?
I yearn to capture her heart with acts of kindness and offerings of goodness. But how much longer must I endure this fruitless pursuit?
The love that consumes us is squandered, its essence rendered meaningless. Each day I extend kindness, hope recedes further into the shadows.
Would it not behoove you to acknowledge the agony I endure? Can you not spare a moment to comprehend? Or is your heart truly devoid of empathy? I implore you, answer me.
A noble endeavor holds no sway against the frigidity of your heart, despite the sacrifices made.
All my heartfelt love and efforts, expended in vain, are as meaningless to you as the dust beneath your feet.
In time, you repay my goodness with only remorse and regret. Yet still, I hold onto hope, praying for the day when you recognize the purity of my intentions. Perhaps, one day, you will feel the sincerity that permeates every act of kindness I bestow upon you.
A myriad of efforts expended, yet a solitary response from your heart eludes me. Just once. It would suffice to liberate me from this anguish and despair. I beseech you, allow yourself to feel it. Embrace the warmth of love and kindness. I beg of you, feel it with your heart.
* tenderly pat his head *
" You told me since beginning you were looking for a mean, heartless Miss, and today what I am is different from what you are looking for? You just got what you were looking for, so why are you complaining?..."
He muses softly, "You're such a sadist, so sadistic..."
" Loving me is like loving the wind — ungraspable and unpossessable. You know well I'm not someone you can own or possess. This is how it should be. It's like embracing the wind you love, it's there even when it seems empty. Just because you can't possess it doesn't mean you've lost it. It's always there to be felt, just not to be owned. "
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" Being kind and treating others nicely doesn't always mean you'll get kindness back. Life presents a blend of kindness, cruelty, and indifference (no reaction at all). However, don't allow this reality to discourage you or instill fear of doing good deeds. Instead, see it as a filter to choose wisely. Having a good heart alone isn't enough to make smart choices. You also need intelligence to make the best decisions and outcomes. "
_______ Scarlett Saphira
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The question should not be, "When will you give me what I hope for?"
The question should be, "When will you stop hoping for something that won't happen?"
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Sponsor: Valhalla - Head tattoo set 3 / @ Skin fair 2024
Leer y comentar las fotos nos hace más felices...es un "vicio virtuoso" empatizamos con él y nos ayuda a entender mejor las imágenes de los demás.
Read and comment on the photos make us happier ... it is a "virtuous vice" With him and empathize Helps us Understand better the images of others.
Champs-Élysées, Paris, France.
Les Champs-Élysées, pronunciado es la principal avenida de París. Mide 1910 metros de longitud, y va desde el Arco de Triunfo hasta la plaza de la Concordia.
El nombre Campos Elíseos viene de la mitología griega, donde designaba la morada de los muertos reservada a las almas virtuosas, el equivalente del paraíso cristiano. Para acceder a él debían beber en el río Lete, que les haría olvidar su paso por el infierno.
En la parte alta de la avenida, que empieza en la plaza «Charles de Gaulle» (antes plaza de la Estrella, «place de l'Étoile») se encuentran cines, tiendas de lujo y grandes almacenes, en particular uno dedicado a la música.
La parte baja de la avenida, que desemboca en la plaza de la Concordia (donde se celebraban las ejecuciones), está rodeada de jardines y se encuentran varios edificios públicos majestuosos: el palacio del Descubrimiento («Palais de la Découverte»), el Pequeño Palacio y el Gran Palacio, así como la Universidad París IV.
Los Campos Elíseos son parte del eje histórico de París, que se prolonga por el jardín de las Tullerías hasta llegar al Museo del Louvre.
Por el lado opuesto del Arco de Triunfo la avenida de la Gran Armada y la avenida Charles de Gaulle prolongan los Campos Eliseos. En los años noventa se construyó en este mismo eje el Gran Arco, en el barrio moderno de La Défense, uno de los centros de finanzas más importantes de la Unión Europea junto con Fráncfort del Meno.
Las grandes avenidas anchas y rectas son una característica de la sociedad barroca, y la Avenida de los campos Elíseos es un claro ejemplo de esto. La calle recta no solo cambió la forma de recorrer las ciudades sino la de verlas y sentirlas. Se alargó la distancia hacia el horizonte generando perspectivas más amplias, normalmente al final de la vista se colocaba un monumento como remate (en este caso el Arco del Triunfo).
Les Champs-Élysées, pronounced is the main avenue in Paris. It measures 1,910 meters in length, and goes from the Arc de Triomphe to the Place de la Concorde.
The name Campos Elíseos comes from Greek mythology, where it designated the abode of the dead reserved for virtuous souls, the equivalent of Christian paradise. To access it, they had to drink in the Lethe River, which would make them forget their passage through hell.
In the upper part of the avenue, which begins at the place "Charles de Gaulle" (formerly Place de la Estrella, "place de l'Étoile") there are cinemas, luxury shops and department stores, in particular one dedicated to music.
The lower part of the avenue, which leads to the Place de la Concorde (where the executions were held), is surrounded by gardens and there are several majestic public buildings: the Palace of Discovery ("Palais de la Découverte"), the Petit Palace and the Grand Palace, as well as the Paris IV University.
The Champs Elysees are part of the historical axis of Paris, which continues through the Tuileries garden until it reaches the Louvre Museum.
On the opposite side of the Arc de Triomphe avenue de la Gran Armada and avenue Charles de Gaulle extend the Champs Elysees. In the 1990s, the Great Arch was built on this same axis, in the modern district of La Défense, one of the most important finance centers in the European Union together with Frankfurt am Main.
The great wide and straight avenues are a characteristic of Baroque society, and the Avenue des Champs-Élysées is a clear example of this. The straight street not only changed the way of touring cities but also the way of seeing and feeling them. The distance to the horizon was lengthened, generating broader perspectives, usually at the end of the view a monument was placed as a finish (in this case the Arc de Triomphe).
In this ground, learned and virtuous priests of the here Nikko sleep; calmly
Eternal time went by slowly
Sofonisba Anguissola (Cremona, February 2, 1531 - Palermo, November 16, 1625) - Self portrait (1558) oil on canvas 63.5 x 54.5 cm. - Poldi Pezzoli Museum, Milan
Questo dipinto tradizionalmente era ritenuto l'autoritratto della pittrice cremonese, ma negli ultimi tempi sono state avanzate altre teorie, non solo sul soggetto, ma anche sull'autrice: l’opera è stata attribuita alla sorella Lucia e la giovane donna raffigurata sarebbe Minerva, un'altra delle cinque figlie di Amilcare Anguissola. Sofonisba fu l’unica a diventare famosa, tanto da lavorare alla corte spagnola come ritrattista, ma non fu la sola ad essere avviata alla pittura; anche le altre sorelle erano pittrici, come narrava il Vasari che, in un viaggio a Cremona, era stato a casa Anguissola e vi aveva ammirato le opere delle “virtuose” fanciulle. La giovane è raffigurata a mezzo busto in una tela ovale (un formato all’epoca diffuso soprattutto nelle miniature), indossa un abito nero ravvivato dal bianco della camicia, di cui si vedono solo il collo e il nastro che scende sul petto, una treccia le circonda il capo. Il volto è leggermente girato a destra, ma lo sguardo è diretto verso lo spettatore. L’atmosfera del dipinto è a prima vista molto semplice, ma osservando meglio è evidente la cura con cui è stato realizzato. Si noti la precisione dei dettagli, con effetti che richiamano l’arte fiamminga, ad esempio negli occhi, nei capelli, nel pizzo del colletto e accorgimenti come lo sfondo chiaro, che evidenzia la figura suggerendo lo spazio che la circonda.
This painting was traditionally considered the self-portrait of the Cremonese painter, but in recent times other theories have been put forward, not only on the subject, but also on the author: the work has been attributed to her sister Lucia and the young woman depicted would be Minerva, another of the five daughters of Amilcare Anguissola. Sofonisba was the only one to become famous, so as to work at the Spanish court as a portrait painter, but she was not the only one to be initiated to painting, the other sisters were also painters, as Vasari said that, in a trip to Cremona, had been to the Anguissola house and had admired the works of "virtuous" girls. The young girl is depicted half-length in an oval canvas (a format that was widespread at the time, especially in miniatures), wearing a black dress enlivened by the white of the shirt, of which we can only see the neck and the ribbon that goes down on the chest, a braid surrounds her head. Her face is slightly turned to the right, but her gaze is directed towards the viewer. The atmosphere of the painting is at first glance very simple, but looking closer it is evident the care with which it was made. Note the precision of the details, with effects reminiscent of Flemish art, for example in the eyes, the hair, the lace of the collar and devices such as the light background, which highlights the figure suggesting the space that surrounds it.
She has no shame - according to madam she only smokes "other peoples" - which apparently doesn't count and makes her a virtuous nearly non smoker - Like Madame - the logic is somewhat twisted.
Buddhism in Thailand is largely of the Theravada school. Nearly 95% of Thailand's population is Buddhist of the Theravada school, though Buddhism in this country has become integrated with folk beliefs such as ancestor worship. Thai Buddhism was based on the religious movement founded in the sixth century B.C. by Siddhartha , later known as the Buddha, who urged the world to relinquish the extremes of sensuality and self-mortification and follow the enlightened Middle Way...... The focus of this religion is on man, not gods; the assumption is that life is pain or suffering, which is a consequence of craving, and that suffering can end only if desire ceases. The end of suffering is the achievement of nirvana often defined as the absence of craving and therefore of suffering, sometimes as enlightenment. Like in most other Theravada nations, Buddhism in Thailand is represented primarily by the presence of Buddhist monks, who serve as officiants on ceremonial occasions, as well as being responsible for preserving and conveying the teachings of the Buddha.
Do Buddhists pray? Well Buddhist don't pray since they do not have a divine being to pray too. Meditation is 'mindfulness' that is watching your own minds, not trying to communicate with a higher one. Buddhist don't pray to a Creator God, but they do have devotional meditation practices which could be compared to praying. Buddhist prayer is a form of meditation. It is a practice of inner reconditioning. Buddhist prayer replaces the negative with the virtuous and points us to the blessings of Life. Photo taken at Wat Mathathat in the Historical park of Ayutthaya - Thailand.
Het overgrote deel van de Thaise bevolking, zo’n 90% à 95% is boeddhist. Men hangt aan het zogenaamde Teravada-boeddhisme. In het Theravada wordt meditatie benadrukt als een essentieel onderdeel van het pad naar verlichting, samen met moreel gedrag en wijsheid. Het brengen van een einde aan het lijden is het hoofddoel van het Theravada boeddhisme. De Boeddha legde verder een zeer gedetailleerde gedragscode voor de Monniken neer: de Vinaya. Over het algemeen worden monniken door de Boeddha aangemoedigd om wereldse aangelegenheden en passies achter zich te laten, zodat zij gemakkelijker in staat zijn een staat van vrede en wijsheid te bereiken, en sterke ongezonde emoties zoals haat, verlangen en lust te overwinnen. Een Monnik in z'n oranje gewaad, kaalgeschoren en met sandalen aan de voeten is niet meer weg te denken uit het straatbeeld van Thailand. Er wordt van iedere jongeman verwacht, dat zij een poosje (van een week tot enkele maanden) als monnik leven. Zo tussen hun schooltijd en hun werkende leven in. Het wordt beschouwd als een overgangsrite en zij verwerven op die wijze aanzien voor zichzelf en hun familie.
“Virtuous motives, trammelled by inertia and timidity, are no match for armed and resolute wickedness.”
― Winston S. Churchill.
-------------------------
Candid street shot, Tofino a small district on Vancouver Island, off Canada's west coast.
Introduction
second coming of Jesus | English Christian Movie"The City Will Be Overthrown" | Warnings of the Last Days
Cheng Huize is a co-worker at a house church in China. She has believed in the Lord for many years, and has worked for the Lord with unwavering enthusiasm. She takes on a lot of responsibilities for the church, and she has compassion for her brothers and sisters. As her church grew more and more desolate with each passing day, the wickedness in her church were more and more frequent. The pastor energetically proposed that the church should start a factory, and led the followers down the path to wealth, and also enticed them to join the Three-Self Church so they could rely on help from the Chinese Communist government. This caused a fierce debate to unfold. The pastor stubbornly acted in his own individual interests and did not hesitate to divide the church, leading the believers down the wrong path. Cheng Huize and a few others held fast to the way of the Lord, and fiercely opposed the church becoming a factory and joining the Three-Self Church. Although the elders at the church expressed that they were opposed to this, they only did so to protect their own status and livelihood. Even though the pastor and elders were all harboring secrets in their hearts, locked in constant strife for their own fame and profit, fighting out of envy, when they saw that most of the good sheep and leading sheep in the church had investigated the Eastern Lightning and turned to Almighty God one by one, they joined together with the Chinese Communist government and fought to repress the Eastern Lightning, blocking the believers from coming to study the Eastern Lightning, urging the followers to report them to the police. They set an example by reporting and arresting the brothers and sisters preaching the kingdom gospel. Cheng Huize and others saw that the pastor and the elders had deviated from the Lord's way a long time ago, and the church had already lost the work of the Holy Spirit and had degenerated into a religious place like Babylon the Great, cursed and reviled by the Lord. Because of this, they decided to investigate the Eastern Lightning to search for the manifestation and work of God. After intense debates with the preachers from the Church of Almighty God, Cheng Huize and the others finally began to see clearly that the leaders of the religious world opposed God in substance, and the reason why the religious world declined, day by day drawing nearer to its destruction: The pastors and elders of the religious world, although they could explain the Bible and hold the Bible in high esteem, they only do so for status and livelihood. They are confusing and ensnaring people. They don't hold God in high regard or bear witness for Him, they don't understand God at all. In the last days, when the incarnate Almighty God appears and does His work, they oppose Him without the slightest scruple, they condemn God's work, even to the point where they unite with the Chinese Communist government to arrest believers. This is enough to prove that they possess a satanic nature that hates the truth and hates God. They are modern-day Pharisees, impersonating virtuous people, antichrists who deny that God becomes flesh. The religious world has already completely become a stronghold for antichrists who are enemies of God. They will absolutely meet with God's curses and punishments. Cheng Huize and others were eventually able to differentiate the antichrist nature essence of the leaders of the religious world, and guided the believers to break away from the confusion and control of the Pharisees, to escape without hesitation from Babylon, the city that will be overthrown …
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www.flickr.com/photos/claudiusbinoche/sets/72157651655361...
Il est certainement l’un des plus sulfureux artistes de sa génération, peintre, aquafortiste, dessinateur, illustrateur et graveur, Félicien Rops, le provocateur, est né à Namur le 7 juillet 1833.
En 1851, Rops s’inscrit à l’Université libre de Bruxelles pour une candidature en philosophie, préparatoire au droit. Il y retrouve plusieurs amis namurois et noue de nouvelles relations dont une, capitale, avec l’écrivain Charles De Coster. Il trouve rapidement sa place parmi les cercles étudiants les plus actifs : la « Société des Joyeux » et le « Cercle des Crocodiles ». Il en devient le dessinateur attitré et s’initie avec talent à la lithographie. Deux ans plus tard, il s’inscrit à « l’atelier libre Saint-Luc », un des centres de ralliement de la bohème bruxelloise où s’échangeaient les idées d’avant-garde. Il y rencontre Artan, Dubois, Charles De Groux, Constantin Meunier…, futurs tenants du réalisme en Belgique.
"Rops suis, vertueux ne puis, hypocrite ne daigne". Cette profession de foi, l’artiste belge la déclinera sa vie durant. Son œuvre et son mode de vie reflètent l'indépendance d'esprit et de création qui caractérise ses dessins, gravures et illustrations.
Graveur et dessinateur d’exception, Félicien Rops capte et anticipe des corps de femmes d’une modernité absolue. Abandonnant les formes conventionnelles de l’époque, l’artiste crée des mises en scènes pleines d’humour, de tendresse ou d’insolence pour la jubilation de l’œil du spectateur. Les titres de ses œuvres ne sont guère innocents et témoignent d’une imagination débordant des conventions. Aucun sujet n’est tabou, ni la mort, ni les saintes écritures, qui sont illustrées sous l’angle tout particulier d’un saint Antoine confronté à la tentation de la chair. Rops vivait dans une société bloquée, où les bourgeois, habillés comme il faut, prônaient les valeurs convenues qui confortaient leurs principes, dont le paraître et la propriété. Il étouffait dans le conformisme ambiant et très tôt, ses œuvres et spécialement ses «nus» visèrent à explorer l'envers du décor de la culture bourgeoise. Rops déshabillait la femme non pour la souiller, mais pour exalter son pouvoir de vie face au pouvoir de mort d'un «establishment» engoncé dans les certitudes économiques et les dogmes moraux ou religieux. À son époque le sexe était synonyme de scandale pour le puritanisme imposé par les dominants ; Rops s'en servit donc à l'envi, ne supportant point de devenir un artiste toléré dans une société intolérante.
www.flickr.com/photos/claudiusbinoche/sets/72157651655361...
He is certainly one of the most sulphurous artists of his generation, painter, etcher, draftsman, illustrator and engraver, Félicien Rops, the provocateur, was born in Namur on July 7, 1833.
In 1851, Rops enrolled at the Free University of Brussels for a candidacy in philosophy, preparatory to law. There he found several friends from Namur and forged new relationships, one of which, crucially, was with the writer Charles De Coster. He quickly finds his place among the most active student circles: the "Society of Merry" and the "Cercle of Crocodiles". He became its official draftsman and learned lithography with talent. Two years later, he enrolled in the “Atelier Libre Saint-Luc”, one of the rallying points for bohemian Brussels where avant-garde ideas were exchanged. There he met Artan, Dubois, Charles De Groux, Constantin Meunier…, future proponents of realism in Belgium.
"Rops am, virtuous do not then, hypocrite do not deign". This profession of faith, the Belgian artist will decline throughout his life. His work and his way of life reflect the independence of spirit and creation that characterizes his drawings, engravings and illustrations.
An exceptional engraver and draftsman, Félicien Rops captures and anticipates women's bodies of absolute modernity. Abandoning the conventional forms of the time, the artist creates scenes full of humor, tenderness or insolence for the jubilation of the eye of the spectator. The titles of his works are hardly innocent and testify to an imagination overflowing with conventions. No subject is taboo, neither death nor the Holy Scriptures, which are illustrated from the very particular angle of Saint Anthony confronted with the temptation of the flesh. Rops lived in a blocked society, where the bourgeois, dressed as they should, advocated agreed values that reinforced their principles, including appearance and property. He was suffocating in the ambient conformism and very early on, his works and especially his “nudes” aimed to explore behind the scenes of bourgeois culture. Rops undressed women not to defile them, but to exalt their power of life in the face of the power of death of an “establishment” stuck in economic certainties and moral or religious dogma. In his time, sex was synonymous with scandal for the puritanism imposed by the dominant; Rops therefore used it at will, not supporting to become a tolerated artist in an intolerant society.
Second Coming of Jesus | Christian Movie " | The City Will Be Overthrown" | Warnings of the Last Days
www.holyspiritspeaks.org/videos/city-will-be-overthrown-m...
Introduction
Cheng Huize is a co-worker at a house church in China. She has believed in the Lord for many years, and has worked for the Lord with unwavering enthusiasm. She takes on a lot of responsibilities for the church, and she has compassion for her brothers and sisters. As her church grew more and more desolate with each passing day, the wickedness in her church were more and more frequent. The pastor energetically proposed that the church should start a factory, and led the followers down the path to wealth, and also enticed them to join the Three-Self Church so they could rely on help from the Chinese Communist government. This caused a fierce debate to unfold. The pastor stubbornly acted in his own individual interests and did not hesitate to divide the church, leading the believers down the wrong path. Cheng Huize and a few others held fast to the way of the Lord, and fiercely opposed the church becoming a factory and joining the Three-Self Church. Although the elders at the church expressed that they were opposed to this, they only did so to protect their own status and livelihood. Even though the pastor and elders were all harboring secrets in their hearts, locked in constant strife for their own fame and profit, fighting out of envy, when they saw that most of the good sheep and leading sheep in the church had investigated the Eastern Lightning and turned to Almighty God one by one, they joined together with the Chinese Communist government and fought to repress the Eastern Lightning, blocking the believers from coming to study the Eastern Lightning, urging the followers to report them to the police. They set an example by reporting and arresting the brothers and sisters preaching the kingdom gospel. Cheng Huize and others saw that the pastor and the elders had deviated from the Lord's way a long time ago, and the church had already lost the work of the Holy Spirit and had degenerated into a religious place like Babylon the Great, cursed and reviled by the Lord. Because of this, they decided to investigate the Eastern Lightning to search for the manifestation and work of God. After intense debates with the preachers from the Church of Almighty God, Cheng Huize and the others finally began to see clearly that the leaders of the religious world opposed God in substance, and the reason why the religious world declined, day by day drawing nearer to its destruction: The pastors and elders of the religious world, although they could explain the Bible and hold the Bible in high esteem, they only do so for status and livelihood. They are confusing and ensnaring people. They don't hold God in high regard or bear witness for Him, they don't understand God at all. In the last days, when the incarnate Almighty God appears and does His work, they oppose Him without the slightest scruple, they condemn God's Work , even to the point where they unite with the Chinese Communist government to arrest believers. This is enough to prove that they possess a satanic nature that hates the truth and hates God. They are modern-day Pharisees, impersonating virtuous people, antichrists who deny that God becomes flesh. The religious world has already completely become a stronghold for antichrists who are enemies of God. They will absolutely meet with God's curses and punishments. Cheng Huize and others were eventually able to differentiate the antichrist nature essence of the leaders of the religious world, and guided the believers to break away from the confusion and control of the Pharisees, to escape without hesitation from Babylon, the city that will be overthrown …
Recommended for You:Christian Inspirational Movie
Image Source: The Church of Almighty God
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Radha and Krishna Sculpture Painting by Praveen Achar, Art Solutions, Tirthahalli, Bengaluru displayed in the Chitra Santhe 25.
"The chief consort of Krishna, Radha is the goddess of love and motherhood. She is also considered the complete incarnation of Mahalakshmi. Radha is often depicted as a virtuous court lady, and is sometimes interpreted as symbolizing the human soul."
Sweet stream that winds through yonder glade,
Apt emblem of a virtuous maid
Silent and chaste she steals along,
Far from the world's gay busy throng:
With gentle yet prevailing force,
Intent upon her destined course;
Graceful and useful all she does,
Blessing and blest where'er she goes;
Pure-bosom'd as that watery glass,
And Heaven reflected in her face.
-- by William Cowper --
Using the Nikon Nikkor 35mm f/1.8 G DX lens.
Photo taken at Randfontein in South Africa.
I Shoot Raw.
I edit in GIMP.
Feel free to criticize or just comment.
I am not interested!
Best viewed large.
Westport Marina, WA.
This guy was obviously interested in a resting female. He flapped his wings back and hopped towards her, but when he reached her she showed no interest whatsoever!!!
He is my namesake......A brown pelican (voiced by Geoffrey Rush in an Australian accent) was illustrated as a friendly, virtuous talking character named Nigel in the animated children's film Finding Nemo, set in the Pacific Ocean near Australia, although only the white Australian pelican is known to occur in that country.
The brown pelican is a small pelican found in the Americas. It is one of the best known and most prominent birds found in the coastal areas of the southern and western United States. It is one of only three pelican species found in the Western Hemisphere and one of the only two that feeds by diving into the water.
The brown pelican lives on both coasts in the Americas. On the Atlantic Coast and Gulf Coast they distribute from Nova Scotia to Venezuela, and to the mouth of the Amazon River. Along the Atlantic, they are usually less common north of the Carolinas, with a considerable population in much of the Gulf of Mexico. On the Pacific Ocean they are found from British Columbia to northern Peru (populations found further south are now regarded as a separate species, the Peruvian pelican), and including the Galapagos Islands. In the Pacific, they are fairly common along the coast of California, Mexico and Central America.
There are eight species of pelican in the genus pelecanus which makes up the family Pelecanidae.
Wikipedia.
During my last day of shooting in Le Puy-en-Velay (March 9, 2023), I managed to complete all the subjects that required additional photography, and to extensively shoot the last item on my bucket list, i.e., the spectacular Saint-Michel d’Aiguilhe chapel which I will show in a few days.
My first goal was to photograph the “inner” statuary in the canons’ cloister, i.e. the items that are only visible from the central space (préau in French), as opposed to the galleries. In monasteries, that space was often used as an herb garden, particularly when safe space was at a premium elsewhere. However, in the case of Le Puy and its secular canons, very often the offspring from the wealthiest families, there were other sources of supply, should herbs be needed, and aside from framing the central well, the purpose assigned to that space was most probably very similar to what it is now: a pleasure garden.
Bearing that in mind (and, no doubt, the designers of the cloister did), it is not surprising that we should find, on this inner side, one of the wildest collections of monsters, devils and sinners ever devised by the fertile imagination of Mediæval sculptors: while meditation in the galleries took place among virtuous and God-pleasing representations, the canons (or those who cared, at least) were reminded by that gallery of monsters and vices that basking leisurely in the sun in the garden wasn’t too good for their karma, if I dare say.
Interspersed with the various dæmons and monsters (see two quite creative types on the right) are some human faces that we must associate with some kind of sin, because of their location. This young female face, with its big candid eyes, flared nostrils and sensuous, Botox lips, is obviously supposed to suggest the sinning of the flesh...
photo rights reserved by B℮n
Wat Si Phan Ton is known for its beautiful architecture and the use of gold-colored sheet metal to cover the buildings and structures. This gives the temple its distinctive shiny golden appearance, which contributed to its nickname Golden Temple. Buddhist monks live in Wat Si Phan Ton, including the venerable monk Chao Abbot. In Thai temples such as Wat Si Phan Ton, monks perform several roles: Prayer and Meditation, Buddha's Teachings, Community Service, and Almsgiving. Monks may be involved in community service, such as providing spiritual guidance to those in need, attending ceremonial events, and providing moral support. They follow a strict set of precepts and devote their lives to the pursuit of spiritual development, meditation and spreading the Buddha's teachings. Monks spend a significant portion of their time in prayer and meditation. This enables them to achieve inner peace and gain profound insights. Monks can be involved in community service, such as providing spiritual guidance to those in need, attending ceremonial events, and providing moral support. In Buddhism, it is considered virtuous to give food and donations to monks. Monks often enter the community early in the morning to receive alms as a way to promote spiritual connection. Monks lead a simple lifestyle and have minimal material possessions. They wear traditional orange robes and shave their heads as a sign of renunciation of worldly vanity. Wat Si Phan Ton is not only a place of worship, but also a cultural and historical site.
Wat Si Phan Ton is a striking Buddhist temple located in Nan, Thailand, and it is sometimes affectionately referred to as the Golden Temple because of its dazzling golden appearance. The temple is an important spiritual and cultural site in Nan. It is not only a place of worship and meditation, but also a symbol of the region's rich Buddhist tradition and cultural heritage.
Wat Si Phan Ton staat bekend om zijn prachtige architectuur en het gebruik van goudkleurige bladmetaal om de gebouwen en structuren te bedekken. Dit geeft de tempel zijn opvallende glanzende gouden uiterlijk, wat heeft bijgedragen aan zijn bijnaam Golden Temple. Er wonen boeddhistische monniken in Wat Si Phan Ton zo ook de eerbiedwaardige monnik Chao Abt. In Thaise tempels zoals Wat Si Phan Ton, vervullen monniken verschillende rollen: Gebed en Meditatie, de leer van Boeddha, Gemeenschapsdienst en Aalmoezen. Monniken kunnen betrokken zijn bij gemeenschapsdienst, zoals het bieden van spirituele begeleiding aan mensen die dat nodig hebben, het bijwonen van ceremoniële gebeurtenissen en het bieden van morele ondersteuning. Ze volgen een reeks strikte leefregels en besteden hun leven aan het nastreven van spirituele ontwikkeling, meditatie en het verspreiden van de leer van Boeddha. Monniken besteden een aanzienlijk deel van hun tijd aan gebed en meditatie. Dit stelt hen in staat om innerlijke vrede te bereiken en diepgaande inzichten te verwerven. Monniken kunnen betrokken zijn bij gemeenschapsdienst, zoals het bieden van spirituele begeleiding aan mensen die dat nodig hebben, het bijwonen van ceremoniële gebeurtenissen en het bieden van morele ondersteuning. In het Boeddhisme wordt het als deugdzaam beschouwd om voedsel en donaties te schenken aan monniken. Monniken gaan vaak in de vroege ochtend de gemeenschap in om aalmoezen te ontvangen als een manier om spirituele verbondenheid te bevorderen. Monniken leiden een eenvoudige levensstijl en hebben minimale materiële bezittingen. Ze dragen traditionele oranje gewaden en scheren hun hoofd als teken van verzaking van wereldse ijdelheid. Wat Si Phan Ton is niet alleen een plek van aanbidding, maar ook een culturele en historische plek.
On life's journey faith is nourishment, virtuous deeds are a shelter, wisdom is the light by day and right mindfulness is the protection by night. If a man lives a pure life, nothing can destroy him.
The 17th century French polymath, Blaise Pascal (1623-1662), is famous for several reasons. Taught by his father, he was a child prodigy who excelled in mathematics and the science of his day.
Amazingly enough, whilst still in his teens, he developed ideas about calculating machines and over three years produced 50 prototypes. He is rightly considered one of the fathers of mechanical calculators and his findings contributed eventually to the rise of modern computers. In fact one of the early computer programming languages was named after him: Pascal.
His major scientific discoveries, however, related to chemistry, particularly the study of fluids and the clarification of theories about gases under pressure and the vacuum. I can recall first learning about him in high school Chemistry - a Pascal is now a unit of pressure.
His major contributions to mathematics began when he was just 16, both in geometry and probability theory. In fact this latter theory led him to his primary reason for choosing to believe in God (though let me add, this is NOT why he believed in God - more of that in the next picture).
Pascal's Wager is another term that has entered our lexicon. In it Pascal argues that one must stake one's own life on the outcome of a coin toss.
Suppose the following (and I'll use terms current with the theology of his age):
You believe in God AND
{God exists} = Eternal Happiness or Heaven
{God does not exist} = Nothing
You do not believe in God AND
{God exists} = Eternal Damnation or Hell
{God does not exist} = Nothing
Now leaving aside the debate about Hell (in which most people in Pascal's age believed), you can see the conclusion. By staking your life on the fact that God exists you cannot lose the bet. And more than this, you have lived a virtuous life (supposing that you are true to the principles of your faith).
But this rational argument is not why Blaise Pascal believed in God. He also said, "The heart has its reasons which reason cannot tell." So to the next picture...
During my last day of shooting in Le Puy-en-Velay (March 9, 2023), I managed to complete all the subjects that required additional photography, and to extensively shoot the last item on my bucket list, i.e., the spectacular Saint-Michel d’Aiguilhe chapel which I will show in a few days.
My first goal was to photograph the “inner” statuary in the canons’ cloister, i.e. the items that are only visible from the central space (préau in French), as opposed to the galleries. In monasteries, that space was often used as an herb garden, particularly when safe space was at a premium elsewhere. However, in the case of Le Puy and its secular canons, very often the offspring from the wealthiest families, there were other sources of supply, should herbs be needed, and aside from framing the central well, the purpose assigned to that space was most probably very similar to what it is now: a pleasure garden.
Bearing that in mind (and, no doubt, the designers of the cloister did), it is not surprising that we should find, on this inner side, one of the wildest collections of monsters, devils and sinners ever devised by the fertile imagination of Mediæval sculptors: while meditation in the galleries took place among virtuous and God-pleasing representations, the canons (or those who cared, at least) were reminded by that gallery of monsters and vices that basking leisurely in the sun in the garden wasn’t too good for their karma, if I dare say.
This enormously heavy metal gate is another of the masterpieces to be found in Le Puy-en-Velay. made of forged iron, it is one of the oldest and most refined pieces of ironwork from the Romanesque age (probably latte 1000s or early 1100s), but also one of the best-preserved.
Look at it closely: as iron forged by hand always shows unevenness, the forger finished his work with thousands of small punch and chisel decorative marks in order to give it a refined and precious aspect. A true masterpiece!
"Dost thou think because thou art virtuous there shall be no more cakes and ale?" Sir Toby Belch, Twelfth Night
theplaystheblog.wordpress.com/2013/02/16/dost-thou-think-...
Dans la culture amérindienne Pueblos, la Kiva représente à la fois un lieu hautement spirituel et social. C’est un lieu de communication avec les morts, le ciel et les esprits, et par ailleurs un point de ralliement du village pour les cérémonies et les rituels.
Dans ce jardin dominé par le blanc, les promeneurs sont d’abord invités à cheminer dans trois abris symbolisant chacun une part fondamentale de l’Homme : le corps, l’esprit et l’âme.
C’est en se dirigeant vers la “maison de l’âme” que le dôme de la Kiva, resté caché jusque-là, apparaît comme flottant sur un nuage. L’intérieur offre un espace dépouillé et plongé dans la pénombre, ceint d’un unique banc circulaire, d’où les promeneurs contemplent ensemble la voûte céleste créée par un puits de lumière.
Ce jardin vise une expérience collective de reconnexion à la Nature et à soi-même. Sa structure, entre matériaux de récupération et végétal vivant, invite à porter un regard vertueux sur notre société et notre mode de vie à venir. Il nous parle aussi de cette part insaisissable de l’esprit humain, de cette nécessité de croire à un au-delà transcendantal, que l’on nomme spiritualité.
In the Pueblo Native American culture, the Kiva represents both a highly spiritual and social place. It is a place of communication with the dead, the sky and the spirits, and also a rallying point of the village for ceremonies and rituals.
In this garden dominated by the white, the walkers are first invited to walk in three shelters symbolizing each one a fundamental part of the Man: the body, the spirit and the soul.
It is while heading towards the "house of the soul" that the dome of the Kiva, remained hidden until then, appears as floating on a cloud. The interior offers a space stripped and plunged into the dark, surrounded by a single circular bench, from which walkers contemplate together the sky created by a skylight.
This garden is a collective experience of reconnection to Nature and to oneself. Its structure, between recycled materials and living plant, invites us to take a virtuous look at our society and our way of life to come. He also speaks to us of this elusive part of the human mind, of the need to believe in a transcendental beyond, which is called spirituality.
During my last day of shooting in Le Puy-en-Velay (March 9, 2023), I managed to complete all the subjects that required additional photography, and to extensively shoot the last item on my bucket list, i.e., the spectacular Saint-Michel d’Aiguilhe chapel which I will show in a few days.
My first goal was to photograph the “inner” statuary in the canons’ cloister, i.e. the items that are only visible from the central space (préau in French), as opposed to the galleries. In monasteries, that space was often used as an herb garden, particularly when safe space was at a premium elsewhere. However, in the case of Le Puy and its secular canons, very often the offspring from the wealthiest families, there were other sources of supply, should herbs be needed, and aside from framing the central well, the purpose assigned to that space was most probably very similar to what it is now: a pleasure garden.
Bearing that in mind (and, no doubt, the designers of the cloister did), it is not surprising that we should find, on this inner side, one of the wildest collections of monsters, devils and sinners ever devised by the fertile imagination of Mediæval sculptors: while meditation in the galleries took place among virtuous and God-pleasing representations, the canons (or those who cared, at least) were reminded by that gallery of monsters and vices that basking leisurely in the sun in the garden wasn’t too good for their karma, if I dare say.
Another view of the wonderful Romanesque period metal gate I showed face-on yesterday.
The steps that go down lead to the main stairway into the cathedral. The passage is blocked by a locked metal gate that you cannot see from where this photograph was taken.
second coming of Jesus | Christianmovie "The City Will Be Overthrown" | Warnings of the Last Days
www.holyspiritspeaks.org/videos/city-will-be-overthrown-m...
Cheng Huize is a co-worker at a house church in China. She has believed in the Lord for many years, and has worked for the Lord with unwavering enthusiasm. She takes on a lot of responsibilities for the church, and she has compassion for her brothers and sisters. As her church grew more and more desolate with each passing day, the wickedness in her church were more and more frequent. The pastor energetically proposed that the church should start a factory, and led the followers down the path to wealth, and also enticed them to join the Three-Self Church so they could rely on help from the Chinese Communist government. This caused a fierce debate to unfold. The pastor stubbornly acted in his own individual interests and did not hesitate to divide the church, leading the believers down the wrong path. Cheng Huize and a few others held fast to the way of the Lord, and fiercely opposed the church becoming a factory and joining the Three-Self Church. Although the elders at the church expressed that they were opposed to this, they only did so to protect their own status and livelihood. Even though the pastor and elders were all harboring secrets in their hearts, locked in constant strife for their own fame and profit, fighting out of envy, when they saw that most of the good sheep and leading sheep in the church had investigated the Eastern Lightning and turned to Almighty God one by one, they joined together with the Chinese Communist government and fought to repress the Eastern Lightning, blocking the believers from coming to study the Eastern Lightning, urging the followers to report them to the police. They set an example by reporting and arresting the brothers and sisters preaching the kingdom gospel. Cheng Huize and others saw that the pastor and the elders had deviated from the Lord's way a long time ago, and the church had already lost the work of the Holy Spirit and had degenerated into a religious place like Babylon the Great, cursed and reviled by the Lord. Because of this, they decided to investigate the Eastern Lightning to search for the manifestation and work of God. After intense debates with the preachers from the Church of Almighty God, Cheng Huize and the others finally began to see clearly that the leaders of the religious world opposed God in substance, and the reason why the religious world declined, day by day drawing nearer to its destruction: The pastors and elders of the religious world, although they could explain the Bible and hold the Bible in high esteem, they only do so for status and livelihood. They are confusing and ensnaring people. They don't hold God in high regard or bear witness for Him, they don't understand God at all. In the last days, when the incarnate Almighty God appears and does His work, they oppose Him without the slightest scruple, they condemn God's Work, even to the point where they unite with the Chinese Communist government to arrest believers. This is enough to prove that they possess a satanic nature that hates the truth and hates God. They are modern-day Pharisees, impersonating virtuous people, antichrists who deny that God becomes flesh. The religious world has already completely become a stronghold for antichrists who are enemies of God. They will absolutely meet with God's curses and punishments. Cheng Huize and others were eventually able to differentiate the antichrist nature essence of the leaders of the religious world, and guided the believers to break away from the confusion and control of the Pharisees, to escape without hesitation from Babylon, the city that will be overthrown …
Image Source: The Church of Almighty God
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I was rather touched by this inscription on the reverse of a gravestone in the parish churchyard of Fordwich in Kent (which, incidentally, claims to be the smallest town in England – population 381).
The gravestone marks the resting places of Margot Van Loo (1912-92), to whom the inscription refers; her husband Gerald Van Loo (1914-2006, Major, Indian Army); and their son John Van Loo (1947-2013, ‘He was a most lovely man’).
"I am She - Lilith
Mistress of the dark, Of Sheba.
First offender
And succour to demons
Whose sweet seductions and wicked rites
Lead all those too enslaved by the flesh
To trespass against God's holy law.
And tonight I come for you.
I am darkness, I am sin
The Queen of lust invited in
Reborn at last to cast my
Fecund shadow on this world,
You shall worship me, enslaved
For many lovers shall I crave
And in return, I'll gladly pave
Your psycho path with pearls
Fall for the love of me
Crawl for the love of me
Drool for the love of my virulent sway
I grow more master the faster the days"
(I am) Lilith Immaculate"
Dani Filth - Cult Of Venus Adversa/Lilith Immaculate
I know I should more but, I normally do not write explanations for many of the pieces I present. So this will be a little bit unusual for me to share. So here is a little background, information and some of my thought process for interpretation of the piece.
I have a great aversion to using stock images of others for a wide variety of reasons. I don't care if other employ them but it is not for me. Thus, every image used in construction was shot by myself with the exception of the horns and stitches (from shutterfly.com).
For the piece I took a combination of the lyrics above for inspiration.
For those who do not know, in Abrahamic traditions, Lilith was the first wife of Adam and was not made from his flesh. Many myths about her tell of a woman who was strong willed and sexually liberated; akin to a more modern view of feminism. For these reasons, God caste her out of the garden in to the barren world. Because of her crimes she is considered to be the first offender of God and from her evil was born into the world through her blood line.
There is a tradition in religious art that dates back at least to the middle ages through the Renaissance in western European culture to personify her in paintings as half snake/half woman. In some suppressed christian teachings it is said that after she was caste from Eden, Lilith returned to the Garden in the form of a snake to tempt Eve to eat from the Tree as her revenge against God for her banishment.
Over the recent months I have been steadily working on building stronger characters as well as liminal places in which the characters can dwell. For this piece, I really wanted to push myself as far as I felt my skills could take me; and maybe further.
This is varient1.
I constructed the background from about five images to give the appearance of a royal tomb of sorts. The background columns are from a mourning chapel dedicated to St. Mary (the immaculate and virtuous.) The mausoleum doors are from a crypt of a family who had a spouse kill another over an affair.
The center piece is constructed from about 12 images. he feminine form was an image I shot of a tribute headstone of an angel for a group of nuns of a local convent.
Here I broke from symbolic tradition. Instead of serpentine qualities, I chose to alter the metaphor to ram horns because the Ram has more of a masculine association with it as well as also being link to virility and war. Thus, making the image bolder and linking slender feminine figure to masculine qualities visual. Plus I like the contradiction of a feminine form and masculine symbols without loosing feminine quality. (I employ visual contradiction quite often in my pieces so I can create a disquiet image.)
The atmosphere is actually made of three images of wispy cloud images and I constructed the light burn texture by hand.
All together, the piece took about 10-15 hours to construct and perfect.
In the Chroverse, Faltan was an ancient Toa of Earth, who was nearly obliterated in the Metru Nui Civil War. Rebuilt to be a robotic upholder of justice, he mercilessly destroyed hundreds of combatants in an effort to ensure peace. Eventually he was able to rediscover his past and break free of his reprogramming, becoming the virtuous keeper of justice he was intended to have been all along.
LE TRADIZIONI ED IL FOLKLORE
“San Gimignano delle belle torri” si trova in Toscana, 56 kmn a sud di Firernze, ed è una una testimonianza eccezionale della civiltà medievale poiché racchiude, all’interno di un’area limitata, tutte le strutture tipiche della vita urbana: piazze e strade, case e palazzi, pozzi e fonti.
Le 14 torri gentilizie ancora intatte (erano 72) contribuiscono alla conservazione dell’atmosfera e dell’aspetto feudale della città, che intrattiene un virtuoso dialogo con il paesaggio circostante e rappresenta un gioiello dell’urbanistica medievale e scrigno di capolavori dell’arte italiana tra il XIV e il XV secolo.
Note tratte dal sito:
www.unesco.it/it/unesco-vicino-a-te/siti-patrimonio-mondi...
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TRADITIONS AND FOLKLORE
“San Gimignano delle belle torri” is located in Tuscany, 56 km south of Florence, and is an exceptional testimony of medieval civilization because it contains, within a limited area, all the typical structures of urban life: squares and streets, houses and palaces, wells and fountains.
The 14 noble towers still intact (there were 72) contribute to the preservation of the atmosphere and feudal aspect of the city, which maintains a virtuous dialogue with the surrounding landscape and represents a jewel of medieval urban planning and a treasure chest of masterpieces of Italian art between the 14th and 15th centuries.
PANASONIC LUMIX DMC FX-35
Sofonisba Anguissola (Cremona, February 2, 1531 - Palermo, November 16, 1625) - Self portrait (1558) oil on canvas 63.5 x 54.5 cm. - Poldi Pezzoli Museum, Milan
Questo dipinto tradizionalmente era ritenuto l'autoritratto della pittrice cremonese, ma negli ultimi tempi sono state avanzate altre teorie, non solo sul soggetto, ma anche sull'autrice: l’opera è stata attribuita alla sorella Lucia e la giovane donna raffigurata sarebbe Minerva, un'altra delle cinque figlie di Amilcare Anguissola. Sofonisba fu l’unica a diventare famosa, tanto da lavorare alla corte spagnola come ritrattista, ma non fu la sola ad essere avviata alla pittura; anche le altre sorelle erano pittrici, come narrava il Vasari che, in un viaggio a Cremona, era stato a casa Anguissola e vi aveva ammirato le opere delle “virtuose” fanciulle. La giovane è raffigurata a mezzo busto in una tela ovale (un formato all’epoca diffuso soprattutto nelle miniature), indossa un abito nero ravvivato dal bianco della camicia, di cui si vedono solo il collo e il nastro che scende sul petto, una treccia le circonda il capo. Il volto è leggermente girato a destra, ma lo sguardo è diretto verso lo spettatore. L’atmosfera del dipinto è a prima vista molto semplice, ma osservando meglio è evidente la cura con cui è stato realizzato. Si noti la precisione dei dettagli, con effetti che richiamano l’arte fiamminga, ad esempio negli occhi, nei capelli, nel pizzo del colletto e accorgimenti come lo sfondo chiaro, che evidenzia la figura suggerendo lo spazio che la circonda.
This painting was traditionally considered the self-portrait of the Cremonese painter, but in recent times other theories have been put forward, not only on the subject, but also on the author: the work has been attributed to her sister Lucia and the young woman depicted would be Minerva, another of the five daughters of Amilcare Anguissola. Sofonisba was the only one to become famous, so as to work at the Spanish court as a portrait painter, but she was not the only one to be initiated to painting, the other sisters were also painters, as Vasari said that, in a trip to Cremona, had been to the Anguissola house and had admired the works of "virtuous" girls. The young girl is depicted half-length in an oval canvas (a format that was widespread at the time, especially in miniatures), wearing a black dress enlivened by the white of the shirt, of which we can only see the neck and the ribbon that goes down on the chest, a braid surrounds her head. Her face is slightly turned to the right, but her gaze is directed towards the viewer. The atmosphere of the painting is at first glance very simple, but looking closer it is evident the care with which it was made. Note the precision of the details, with effects reminiscent of Flemish art, for example in the eyes, the hair, the lace of the collar and devices such as the light background, which highlights the figure suggesting the space that surrounds it.