Tumblelog by Soup.io
Newer posts are loading.
You are at the newest post.
Click here to check if anything new just came in.

May 21 2018

6070 cd7b 500


When bright flowers bloom

Parchment crumbles,

my words fade.


Morpheus  ( ?   :)  unverified)

Illustration: Rene Gruau



Reposted bymr-absentia mr-absentia

May 20 2018

3497 b331 500

Working Women of Hanoi series,  C-type Photography

Ian Webb   HERE


Part of a collection of images of the women who work the streets of the city selling and collecting goods. (Saatchi Art)



Reposted bymr-absentiaverroniqueniezwyyklakashkash
3507 e2e0 500

Ian Webb HERE



May 17 2018

5028 9105 500

Untitled, 1969, Private collection

Mark Rothko



Artemis: once the post is resized for the dash the resolution is horrible. Drives me crazy. LOL Absolutely horrible.




Extension

The decisive moment of a dance extension is a wondrous sight but it’s over in an instant. What if this instant in time could be extended or elongated? ‘extension’ was born of this idea.


Niv Novak Photography -  Instagram @nivnovak

Dancer:  Chengwu Guo 

Post production assistant: Mark Scott

Production assistant:  Sam Mcgilp



Artemis: perfect.   :)      Australian Ballet Principal Dancer.



May 16 2018

5058 dc2a 500

Deserted Moment, illustration, 1911

Kay Nielsen



The sky grew darker, painted blue on blue, one stroke at a time, into deeper and deeper shades of night.

 Haruki Murakami



Some people are in such utter darkness that they will burn you just to see a light. Try not to take it personally.

Kamand Kojouri


Artemis: and learn when to let go. Let go of the toxic people in your life.



Reposted bymr-absentiaRekrut-KFarbnebelmalinowychrusniakmissadventuremietta-world
5085 dc78


Although I too am within Amida’s grasp,
Passions obstruct my eyes and I cannot see him;
Nevertheless, great compassion is untiring and illumines me always.


Shinran Shonin

Drawing:  Tibetan Gallery pinterest



5119 7d70 500

Frontispiece, from the album Amours

Artist: Maurice Denis (French, Granville 1870–1943 Saint-Germain-en-Laye)

Publisher: Ambroise Vollard (French, 1866–1939)

Date: 1899

Medium: Color lithograph

Dimensions: sheet: 23 5/8 x 17 11/16 in. (60 x 45 cm)

Credit Line: Harris Brisbane Dick Fund, 1941

Accession Number: 41.19.3 (1)  - The Metropolitan Museum of Art


More  Maurice Denis   Here



5142 17d5 500

Springtime

Artist: Maurice Denis (French, Granville 1870–1943 Saint-Germain-en-Laye)

Date: ca. 1894–99

Medium: Oil on canvas

Dimensions: 31 ¾ x 38 ½ in. (80.6 x 97.8 cm)

Credit Line: Gift of David Allen Devrishian, 1999

Accession Number: 1999.180.2a,b  - The Metropolitan Museum of Art


Description from the Metropolitan Museum of Art:  "Springtime, with its associations of joyful new life, was a source of constant inspiration for Denis. This double-sided canvas presents two studies for his 1899 painting Virginal Spring (private collection), in which young women engage in a purification ritual evocative of Christian baptism and communion. The verdant setting is the Forest of Saint-Germain-en-Laye, near Paris, whose tree-lined glades and dainty wildflowers captivated Denis. He later reprised this composition in his mural series Eternal Spring (Musée départemental Maurice Denis, Saint-Germain-en-Laye), one of his most ambitious attempts at rejuvenating the practice of decorative painting in France.“


More  Maurice Denis   Here



5177 21bd 500

Le bouquet matinal, les larmes, from the album Amour

Artist: Maurice Denis (French, Granville 1870–1943 Saint-Germain-en-Laye)

Editor: Edited by Ambroise Vollard (French, 1866–1939)

Date:1899

Dimensions: sheet: 21 ¼ x 16 1/8 in. (54 x 41 cm)

Credit Line:Harris Brisbane Dick Fund, 1941

Accession Number: - The Metropolitan Museum of Art


More  Maurice Denis   Here



5218 6585 500

Ce fut un religieux mystère, from the album Amours

Artist: Maurice Denis (French, Granville 1870–1943 Saint-Germain-en-Laye)

Editor: Edited by Ambroise Vollard (French, 1866–1939)

Date:1899

Medium: Color lithograph

Dimensions: sheet: 21 ¼ x 16 5/16 in. (54 x 41.5 cm)

Credit Line:  Harris Brisbane Dick Fund, 1941

Accession Number:41.19.3(9) - The Metropolitan Museum of Art


More  Maurice Denis   Here



May 09 2018

9028 cb31 500

May 06 2018

Life: a solitary butterfly
swaying unsteadily on a slender stalk of grass,
nothing more. But so exquisite!

 Nishiyama Soin (1605-82)

translated: Michael Burch



May 05 2018

Borné dans sa nature, infini dans ses vocux, L'homme est un dieu tombé qui se souvient des cieux
— Alphonse de Lamertine - from L'Homme, addressed to Lord Byron in 1819


Limited in his nature, infinite in his desires,
Man is a fallen god who remembers heaven.



May 04 2018

5248 2521 500

Lamenting Women, from the tomb (TT55) of Ramose, c. 1411-1375 BCE



5259 854d 500

The Weepers (Las Plañideras), Mantilla series, 2012,  ink print on fabric (sublimation)

Antonio Briceño  ( Caracas, Venezuela) 


From the Photographer:  “There is a sea made up of unfathomable waters: the sea of emotions. It is host to converging torrents, attacks, rages and intensities, which seem to be contained by the over-estimated dam of    reason. However, behind the concrete bounds of our logical life, lies an ocean that is endlessly swelling.

These waters free themselves via many different escape routes. The liberation that crying provides is much more than a form of therapy; in essence, it is a connection, an unequivocal expression    of a powerful emotion. In this sense, professional weepers have been the quintessential officiants of the merciful ritual of crying.

Nonetheless, the act of crying has been persecuted to such an extent that the very idea of a professional weeper is, in the best of cases, a cause of discomfort today. Since the beginning of    humankind up until a few decades ago, all over the world these priestesses played their liberating, cathartic role. Their tears, which were sometimes collected in lachrymatories, were then buried    next to the deceased as proof of the sadness left in his or her wake.

Now the crying has stopped and the weepers and lachrymatories have been forgotten, we have been left dry in a desert of self-inflicted exile, disconnected from our internal and external waters.    We are anesthetized in an oasis that is nothing but a mirage, pursuing headlong towards evasion, pleasure, speed and power. Our emotions are imprisoned, condemned to be ignored and never to    manifest themselves. There is no faucet for them.

However, in the remote desert of Sechura, in Peru, unquenched by water for a long time now, there are still some professional weepers along with the last tears. Although they do exist, there are    not many of them and certainly not enough for all our tragedies, our silent pain, our hurt and losses. There are not enough tears for the world’s pain, for our pain.

Yet, they continue to exist and if during the dark night of the soul you hear their sobbing, do not ask the weepers for whom they weep. You will know they weep for you.“

Antonio Briceño


Description from Celeste prize -  From the cathalogue of the exhibition, part of the text by the Curator Tomás Rodríguez:  "Professional wailers always played a vital role in relation to emotional blockages. These women, who are normally hired, are not only a vehicle to heighten the pain of grief and the ritual staging of the importance of the deceased, but also to channel relatives’ pain. Their sobbing encourages others to let their pain out by providing them with a mirror in which to see themselves. 

Contrary to what some might imagine, the wailers do not fake pain, nor do they con people with crocodile tears. Their role is closer to that of tragic actors from Ancient Greece, when tragedy was a ritual representation to pay tribute to Dionysus, who was an important god for women. Dionysus was linked to the idea of resurrection and sacred madness. In a sense, the wailers’ violent staging of pain and weeping fits with what Aristotle identified as the key elements of tragedy: mimesis (imitation) and catharsis (purification). Their empathy works as a genuine incarnation of Pathos (emotion) that they experience as their own pain, thus affecting mourners in a real sense and stimulating their grief. These women, who invariably wear black mantillas (the works magnify them on long and tremulous black shrouds), dramatize loss, turn it into something transcendental, cut through time and reveal the unalterable change that has occurred in our lives. ” via: celesteprize.com

Images via: Celesteprize and Photo Berlin

More about Antonio Briceño   Here and Here



5277 1fdd 500

Mourner, suspected to represent Isis mourning Osiris. 18th dynasty, 1550 - 1295 BC. Terra cotta   (photo credit:  Rama, Cc-by-sa-2.0-fr)



Reposted bymr-absentia mr-absentia

April 19 2018

9036 776a 500
Reposted bymr-absentiajutyndakreska-groteskaMuska
Older posts are this way If this message doesn't go away, click anywhere on the page to continue loading posts.
Could not load more posts
Maybe Soup is currently being updated? I'll try again automatically in a few seconds...
Just a second, loading more posts...
You've reached the end.

Don't be the product, buy the product!

Schweinderl