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artemisdreaming: Ella Fitzgerald - Cry Me A River
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The Ormesby Psalter is one of the most well-known yet mysterious...
The Ormesby Psalter is one of the most well-known yet mysterious manuscripts to survive the Middle Ages. Commissioned in the late thirteenth century to celebrate a marriage that never took place, this exquisite book of psalms—likely meant for private devotion by its wealthy patrons—was left unfinished.
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Edith Piaf. Smoke gets in your eyes.
Edith Piaf. Smoke gets in your eyes.
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Guillaume Durand’s Rational des Divins Offices (Paris,...
Guillaume Durand’s Rational des Divins Offices (Paris, c.1410)
Born in about 1230,
William survived nearly to the end of the century (1296) and lived an adventurous
and productive life as a canon lawyer, advisor to several popes, bishop,
administrator of the Papal States, and (in this last capacity) warrior. He also
found time to write, and his Rationale Divinorum Officium is one of our two
major sources for information on the Western liturgy of the Middle Ages. It is
in this work that William gives the rationale for the use of art in the church.
He begins by repeating the standard Western defense of the use of images,
current since the time of the iconoclast controversy, and repeated ever since
then: “Pictures and ornaments in churches are the lessons and the scriptures
of the laity.” He then quotes Gregory the Great, the authority for this idea: “For
what writing supplies to the person who can read, that does a picture supply
to the one who is unlearned, and can only look. Because they who are uninstructed
thus can see what they ought to follow: and things are read though
letters are unknown.” But even while appealing to the authority of Gregory,
Durand actually goes far beyond him in what follows:
The Agathensian Creed forbids pictures in churches: and also that
that which is worshipped and adored should be painted on the
walls. But Gregory says that pictures are not to be done away with
because they are not to be worshipped: for paintings appear to move
the mind more than descriptions: for deeds are placed before the
eyes in paintings, and so appear to be actually going on. But in
description, the deed is done as it were by hearsay: which affects
the mind less when recalled to memory. Hence also it is that in
churches we pay less reverence to books than to images and pictures
Viladesau, Richard.
The beauty of the cross: the passion of Christ in theology and the arts,
from the catacombs to the eve of the Renaissance
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artemisdreaming: Kenai, Alaska Jeff Zaruba
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vanfullersublime: Visions of Quixote, Octavio...
Visions of Quixote, Octavio Ocampo
Visit: http://fullerart.tumblr.com or http://www.vanevanfuller.com
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who was frederic sorrieu?
Frederic Sorrieu was a French artist, who in 1848, created a series of four prints, visualising his dream of a world made up of ‘socialist and democratic republics’.
Read more: http://wiki.answers.com/Q/Who_was_frederic_sorrieu#ixzz1dIowm1Aj
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The perfect Present from Kollage Kid at flickr.
The perfect Present from Kollage Kid at flickr.
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yama-bato: Antique Japanese Ivory Okimono Daikoku + Ibizu Wish...
Antique Japanese Ivory Okimono
Daikoku + Ibizu
Wish Fulfilling Lucky Gods
Signature: Sanko. Circa: early 20th century
In Japan, Daikokuten (大黒天), literally, god of great Darkness or Blackness, is one of the Seven Gods of Fortune. Daikokuten evolved from the Hindu deity, Shiva. The name is the Chinese and Japanese equivalent of Mahakala, another name for Shiva.
Daikoku is variously considered to be the god of wealth, or of the household, particularly the kitchen. He is recognised by his wide face, smile, and a flat black hat. He is often portrayed holding a golden mallet called an Uchide no Kozuchi, otherwise known as a magic money mallet, and is seen seated on bales of rice, with mice nearby (mice signify plentiful food).
Daikoku’s image was featured on the first Japanese bank note, designed by Edoardo Chiossone.
Ebisu (恵比須, 恵比寿, 夷, 戎), also transliterated Yebisu (ゑびす – see historical kana orthography) or called Hiruko (蛭子) or Kotoshiro-nushi-no-kami (事代主神), is the Japanesegod of fishermen, luck, and workingmen, as well as the guardian of the health of small children. He is one of the Seven Gods of Fortune (七福神, Shichifukujin), and the only one of the seven to originate from Japan.
Ebisu is frequently paired with Daikokuten, another of the Seven Gods of Fortune, in displays of the twin patrons by small shopkeepers. In some versions of the myth they are father and son (or master and apprentice). Also, these two are often joined by Fukurokuju to be the “Three Gods of Good Fortune”.
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fritzundco: Antoine Watteau: Pierrot Content,ca...
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poboh: Room in New York, Edward Hopper.
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quam-nos-animadverto: Unexpected by Wim Heldens, 2009
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Emile Decoeur Untitled c.1910© David Nathan-Maister & The...
Emile Decoeur
Untitled c.1910
© David Nathan-Maister & The Virtual Absinthe Museum http://www.oxygenee.com
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loquaciousconnoisseur: James Gillray Political Dreaming! -...
James Gillray
Political Dreaming! - Visions of Peace! - Perspective Horrors (1801)
The war minister William Windham (1750-1810) is shown in bed, sleepless, and surrounded by the terrible parade of monstrosity and perversion which he feared would accompany the proposed peace with France. To the left, a skeleton on stilts straddles a pile of discarded British trophies, wearing the revolutionary bonnet rouge. In the background, we can see St Paul’s Cathedral in flames and Britannia in chains.
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amare-habeo: Amedeo Modigliani - Cariatide, 1910 brush and...
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a4rizm: Pénélope devant son métier à tisser, Château d’Écouen,...
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Temple of Zeus The ancient Olympic Games were always held at...
Temple of Zeus
The ancient Olympic Games were always held at Olympia in the western Peloponnese. Here, at the heart of the sacred precinct of Zeus, stood the magnificent Temple of Zeus, the chief god of Greek mythology, who was believed to bestow on athletes the prowess and skills that enabled them to excel in sport, and was thus inextricably bound up with the ancient Games. Among the remarkable works of art the temple once housed was the magnificent 13m-high gold and ivory cult statue of Zeus designed by Pheidias, which was one of the Seven Wonders of the ancient world (now destroyed).
The image shown here is taken from the British Museum’s model of ancient Olympia. The real temple took ten years to build and was completed in 456 BC. The people of Elis, who controlled the Olympic Games, financed its construction with spoils taken during hostilities with neighbouring peoples.
The temple gave the appearance of being constructed completely of marble, but in fact it was only the roof that was made of Pentelic marble - from the quarries near Athens - and the rest was made of local conglomerate stone covered in stucco. Its vast columns, over 2m in diameter and over 10m high, now lie toppled where they fell in a massive earthquake in about the sixth century AD. The site had always been prone to earthquakes, and the mystique of the area may have been responsible for the choice of the site as a sacred area - way back in prehistory.
Over the centuries the sanctuary became densely populated with temples, shrines and altars - all standing in close proximity to facilities constructed for the Games, such as the stadium, horse-track, gymnasium and palaistra (where participants could practice wrestling and the long jump).
Link: www.bbc.co.uk/history/ancient/greeks/greek_olympics_galle…
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These Neolithic engravings are almost too awesome to describe....
These Neolithic engravings are almost too awesome to describe. They can be found on the apse slab (the stone at the back) of the Merchants’ Table burial chamber in Locmariaquer, France. The chamber dates back to 3900 BC and it’s possible that the engravings represent ears of wheat ripening in the sun; equally, however, they may depict croziers (a kind of stylized staff carried by spiritual leaders) - in which case the entire piece may represent a Neolithic idol. They remind me of similar engravings that I’ve seen at various ancient Egyptian sites.
The mystery of this chamber does not end there: this stone is older than the dolmen itself (dating back to at least 4300 BC) and is contemporary with a neighbouring menhir alignment that was demolished by Neolithic tribes sometime between 4200 BC and 4000 BC. The assumption is that some of the fragments of the menhir alignment were used to build burial chambers, such as this one.
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The megalithic complex of Ħaġar Qim is located atop a hill on...
The megalithic complex of Ħaġar Qim is located atop a hill on the southern edge of the island of Malta, on a ridge capped in soft globigerina limestone. All exposed rock on the island was deposited during the Oligocene and Miocene periods of geological time. Globigerina limestone is the second oldest rock on Malta, outcropping over approximately 70% of the area of the islands.[9] The builders used this stone throughout the temple architecture.[10]
The temple’s façade is characterized by a trilithon entrance, outer bench and orthostats. It has a wide forecourt with a retaining wall and a passage runs through the middle of the building,[7] following a modifiedMaltese megalithic design.[1] A separate entrance gives access to four independent enclosures which replace the north-westerly apse.[11]
Features of temple architecture reveal a preoccupation with providing accommodation for animal sacrifices, burnt offerings and ritual oracles.[12] Recesses were used as depositories for sacrificial remains.Excavation has uncovered numerous statuettes of deities and highly decorated pottery.[12]
A 1776 engraving of Ħaġar Qim by Jean-Pierre Houël
No burials exist in the temple or the area surrounding Ħaġar Qim, nor have any human bones been discovered in Maltese temples.[13] Bones of numerous sacrificial animals have been found.
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phassa: Iluminura das Cantigas de Santa Maria
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