Claude Lorrain (Claude Gellée), Chamagne/Lothringen ca. 1600 - Rom 1682 Landschaft mit dem Begräbnis der hl. Serapia - Landscape with the burial of St. Serapia (ca. 1639) Museo del Prado, Madrid Wie so häufig, versetzte Claude Lorrain auch hier eine Geschichte ab römische Orte, hier auf das Forum Romanum mit dem Kolosseum im Hintergrund. Die hl. Serapia war wegen der Christenverfolgung in ihrer Heimatstadt Antiochien nach Rom geflohen, wo sie eine Bedienstete (oder Sklavin) der vornehmen römischen Witwe Sabina wurde. Durch Serapina bekehrte sich Sabina zum Christentum und beide Frauen wurden wegen ihres Glaubens angeklagt und im Jahr 119 hingerichtet. Serapina wurde zuerst hingerichtet und Sabina ließ sie in der Grabstätte beisetzen, die sie eigentlich für sich selbst bestimmt hatte. In diesem Gemälde schaut die trauernde Sabina (in rot und orange gewandet) in etwas erhöhter Position dem Geschehen zu.
Explore bautisterias' 13430 photos on Flickr!
Handmade Cremation Urns for Human Ashes – Funeral Urns for Adult Female & Male – Decorative Burial Urn - Marble Painting - with Velvet Bag. Handmade with Love Impeccably crafted from aluminum with an exquisite marble painted surface, our urn provides a dignified resting place for your loved one. This chic purple urn showcases an elegantly painted design, capturing the uniqueness of each individual. It serves as a large urn, comfortably holding the remains of adults weighing up to 250 pounds. This finely designed urn for human ashes adult exceeds aesthetic expectations, in any setting wherever it is placed. - This is not just any urn - it's a large urn designed specifically for adult urn usage. Its size makes it ideal as an urn for human ashes adult men, it can also be used as a keepsake urn for human ashes, preserving unique reminders of your loved one. Our adult urn is designed to blend strength, durability, and beauty ensuring it stands as a testament to a life well-lived. - Our cremation urn transcends the ordinary ash urn, offering more than just a resting place for your loved one's ashes. It comes with a gentle velvet bag for safekeeping, an elegant addition to this extra large urn. It can readily serve as a burial urn for cremated remains and as a tasteful urn for ashes, offering a peace of mind that your loved one’s remains are preserved with honor. The urn also serves as one of the keepsake urn for human ashes, elegantly aiding the transition from burial urn for cremated remains to cherished memento. Whether purchasing urn for human ashes adult or mini urn for ashes, our aluminum urn epitomizes quality craftsmanship and thoughtfulness. Adequate Capacity - Built to accommodate remains of adults weighing up to 250 pounds, this funeral urn serves as an honorable resting place. This cremation urn for adult ashes measures 10.5 x 6 x 6 inches offering ample space for the ashes of your loved ones. Superior Construction - Our cremations urns are expert-made from durable aluminum with an elegant marble finish. This adult urn exudes sophistication, creating an exquisite homage for your loved one's ashes. Safe and Secure - With its robust closure, this urn for human ashes adult safeguards your loved one's ashes. It serves as a tranquil resting place for the remains, providing peace of mind for the dear ones left behind. Added Elegance - This urn comes with a velvet bag for added elegance. Ideal for funeral urn, this urn seamlessly integrates with any decor, whether kept at home or interred. This feature makes it one of the go-to choices for the medium urns category. Aesthetic Design - Its unique marble-painted finish makes it stand out, making it a suitable decorative urn that can be handed-down through generations. This elegant cremation urn stands as an emotional anchor. Our urn offerings express a graceful tribute to your loved ones and their everlasting memories.
Studying history helps us understand and grapple with complex questions and dilemmas of the present. By examining the past, we get a better understanding of what shaped (and continues to shape) global, national, and local relationships between societies and people.
No other great Western artist moved mentally—as El Greco did—from the flat symbolic world of Byzantine icons to the world-embracing, humanistic vision of Renaissance painting, and then on to a predominantly conceptual kind of art.
Illustration: Valerie Goodwin. African Burial Ground II, 2009. Valerie Goodwin is a textile artist that probably approaches the medium through a realatively unique perspective, that of an architect. She has both a degree and Masters in architecture and has taught architectural design. This gives her a strong and definite edge to her work akin to that of the fairly structured disciplines of cartography, archaeology and architecture. Illustration: Valerie Goodwin. City Grid IV, 2007. The use of planned and structured surfaces could give her work a cold and clinical appeal with quilts appearing as hard and intransigent geometrically set grids, but instead her work, although much of it based on the city grid map, takes into account the human element that makes a town or city. What at first glance what seems to have been both scientifically and geometrically planned within an office as a concept or task, takes on the role of an organic human landscape. This becomes more apparent when looking at Goodwin's work in detail, as what appears at a distance to be a regular street plan of any typical city or town across the planet, at a close up level shows numerous human interventions. Buildings and outhouses show that they are of different sizes and shapes to suit the needs of individuals, and house boundaries quickly become a fluid patchwork of interlocking properties which softens the geometry of the architectural office, producing a haphazard but liveable environment. After all, these maps are drawn to show human patterns of habitation, not that of the benefits of producing tight geometrical grids. Illustration: Valerie Goodwin. City Grid IV (detail), 2007. Goodwin has also taken the element of archaeology as an interesting added layer to the story of human habitation. Architectural archaeology allows the city to be peeled back or layered forward, depending on the time frame. This allows Goodwin to play with transparency and density, layers and half-layers and colour combinations, juxtapositioning generations of human habitation in a grand collage of life across countless generations of our ancestors. Illustration: Valerie Goodwin. Labyrinth of the Hidden Goddess, 2005. While some of her quilts show segments of city life though the arrangement of partial maps, most are self-contained and are a literal self-functioning organism, which seems very reminiscent of the countless Bronze Age city states that were scattered throughout the Mediterranean, Asia and Africa. Indeed some of the themes of the quilts do seem to be reminders that the city was not always the planned and faceless machine like grid that we often associate with modern city living, but a spiritual and organic part of the landscape. A city that both grew and retreated, was built over layer upon layer, walls within walls, countless ancestors becoming part of the fabric of the city, in fact a human environment for living rather than existing. Illustration: Valerie Goodwin. Labyrinth of the Sleeping Goddess, 2005. Goodwin has exhibited across the US and holds a number of workshops, which are mostly design orientated with an emphasis on the processes and development of art and design. She has a comprehensive and detailed website Studio Quilts. For those interested, there is also a flickr gallery with many of 'work in progress' photos, which can be found below. All images were used with the kind permission of the artist. Reference links: Studio Quilts - Valerie Goodwin website Valerie Goodwin Flickr gallery
I first encountered Kapet, or Kyphi as it was known by the Greeks, when one of my previous Coven Sisters made it as a gift for a Sabbat ritual. I was very intrigued with the idea of a recipe that takes nearly 2 weeks to complete, adding each ingredient at the proper time. Her version required the addition of one resin or spice per day. It made me think that great care and possibly meditation was required of the clergy who crafted such an expensive and time consuming incense. After New Years, I was researching lotus oils and Egyptian sources when I came across Kyphi again. I was immediately inspired to learn more about the history of Egyptian incense, compare various recipes, and attempt to craft my own. It has been an exciting and aromatic journey! The History: Ancient Egyptians burned incense in large quantities every day. It was thought to be integral to health and fortunes of both the living and the dead. Kapet, or Kyphi as it was known to the Greeks, was one of the most popular varieties of ancient incense and has been used since at least the Old Kingdom. According to Plutarch, ancient Egyptians burned frankincense in the morning, myrrh at midday, and Kyphi in the evening. In Heliopolis, Kyphi was burned in the evening to honor Ra and the Pyramid Texts, the world’s oldest religious text. The most sacred of the ancient Egyptian incenses was called Kyphi, or “Welcome to the Gods.” High priests concocted Kyphi during secret, chant-filled temple ceremonies. The incense was said to consist of “things that delight in the night.” Green historian Plutarch (A.D. 46-120) wrote that smelling Kyphi was like “listening to beautiful music.” He also described it as having the power to “rock a person to sleep, brighten dreams, and chase away the troubles of the day.” Various resins, woods, oils, and spices were so highly prized that a case can be made that many military campaigns were motivated by the desire to dominate the trade and sources of such luxery items. Some of the ingredients were home-grown, but many had to be imported. Hatshepsut recorded a trading expedition to Punt on the walls of her mortuary temple at Deir el-Bahri. The expedition was a great success, delivering aromatic woods and spices for the creation of incense and perfume. This expedition was also a great public relations coup because the Egyptians favoured exotic imported fragrances like myrrh, frankincense, cinnamon, cassia and galbanum. The Egyptians tried to establish their own frankincense trees, but were not very successful. Wood was also in short supply in Egypt, and they were particularly fond of cedar wood from the Levant. Balsomon (probably Mecca balsam) can be found in southern Arabia and eastern Africa. They also sought flowers such as iris, lotus (water lily), lemongrass, and rose. There were many recipes of Kyphi. The Greek physician Dioscorides recorded a recipe for Kyphi incense in his book “Materia Medica”. Manetho reputedly composed a book named “Preparation of Kyphi Recipes”, but unfortunately no copies of this book have ever been found. There are a number of different recipes recorded in inscription (for example in the temples of Edfu and Philae) and on papyrus (such as the Ebers Papyrus c. 1500 BCE). These have anywhere from twelve to over fifty ingredients. The Edfu text involves blending and aging of sixteen ingredients in a specific order over sixteen days. While some incense ingredients in ancient Egypt were ground and thrown directly onto hot coals, Kyphi was a time consuming mixture molded into pellets, cured over time, and then burned. This would be made with a mixture of dried fruit (such as raisins or dates), papyrus rind, honey, and wine to which the expensive resins and spices would be added. Kyphi was believed to have many benefits including: -healing snake bites -curing bad breath -relieving asthma -enhance sleep and cause vivid dreams -aid in meditation -cure many poisons -act as an antiseptic My Kyphi Recipe: After considering several different recipes and approaches I settled for this one. Some called for adding one ingredient per day over a two week period. Others blended the dry ingredients in one container, the wet in the other and let these sit for two weeks. I went with the later approach and am very pleased with the outcome. I spent several hours hand grinding my spices and resins (my mother wondered what was going on upstairs because I was using my marble mortar and pestle while sitting on the floor lol!). It was a workout. The dry ingredients: - 3 parts frankincense resin - 2 parts myrrh resin - 2 parts gum arabic - 1 part dragons blood resin - 1/2 part copal resin - 1/2 part galangal root - 1/2 part cinnamon - 1/2 part cedar wood - 1/2 part orris root The wet ingredients: - 1 part juniper berries (I had half berries and half fronds) - 3 cups of raisins - 1 cup of chopped dates - 1/2 cup of honey - 1/4 cup of red wine - couple drops of lotus oil Note: some recipes, but not all, also called for sandalwood and storax. Each of these bowls of ingredients were mixed well and kept in an air tight container for two weeks, stirring occassionally. The fruits sucked up all the liquid, becoming plump and easy to smash. When I finally blended the two together, it smelled heavenly! It made a sticky dark paste which I rolled into small balls about 1" in diameter. Some recipes called for this size, pea sized, or even small cone shapes. These were then rolled in powdered benzoin and left to airdry on wax paper for nearly two more weeks. Then it was time to wrap them individually in cheesecloth and store them in a large airtight container. Apparently, the longer these cure, the better they burn and smell. Just make sure that they are not mistaken for delectible snacks and eaten!
The argument that "post-election pain" is good for art is cold comfort.
Эволюция европейских фасонов с XVIII до начала XX века
