NARCISSUS ON STONES. 
Original Painting - Chinese Traditional Ink Gongbi Painting on Xuan Rice Paper Painting
- Ekaterina Nikolskaya

skipping stones makes me blurry

https://digitaldante.columbia.edu/dante/divine-comedy/inferno/inferno-27/

https://www.dangerousspeech.org/libraries/donald-trump-reads-the-snake-song-lyrics-at-florida-rally

funny ignorance

the new pearl

Harmonia Rosales, Birth of Oshun
1. https://www.harmoniarosales.art/catalogue/birth-of-oshun

2. https://museum.ucsb.edu/sites/default/files/sitefiles/exhibitions/harmoniarosales/Harmonia%20Brochure%20Final_English_web2.pdf

The Birth of Oshun appears familiar because the artist cloaks the painting in classical mythology and Renaissance artistic motifs. Modeled after Sandro Botticelli’s fifteenth-century panel Birth of Venus, 

Rosales’s version supplants her Roman counterpart. Critiquing Eurocentric ideals of beauty, the painting makes space for Black female empowerment and beauty of all types.

"
When you give a purple blossom it fades away.

Simp:
'Can I give gifts again?'

Oshun:
'Absolute—Absolutely.'

need me less— 
meaningless discard; 
Emasculate—

Me again— Please just give;
Me a sliver of attention

will You— sculpt me?
Place me in your hands

can You— reshape?
this person I am
"
Oshun is a prominent Yoruba Orisha, a spirit or goddess, associated with love, fertility, beauty, and freshwater, particularly the Osun River in Nigeria. She is also known for her connection to sweetness, good cheer, and flowing joy. Oshun is revered as a powerful deity in Yoruba religion and is often seen as one of the most beloved orishas. 

- eat an eggplant from Yours Truly ;)

prostrate before Oshun

"Witches' Sabbath" - Francisco de Goya

Date: 1820-1823
Museum: Museo del Prado, Madrid, Spain

Another work from Goya’s “Black Paintings,” in “Witches’ Sabbath,” a group of witches worships a large goat, a symbol of the devil. The scene is shrouded in shadows, and the human figures seem monstrous in their devotion. It’s a vision of superstition and madness in an atmosphere laden with terror.

the rotten core, exposed

The Six Paths in Buddhist cosmology are the six worlds where sentient beings are reincarnated based on their karma, which is linked to their actions in previous lives. These paths are depicted in the Bhavacakra ("wheel of existence"). The six paths are:

the world of gods or celestial beings (deva)
the world of human beings (manushya)
the world of warlike demigods (asura)
the world of animals (tiryagyoni)
the world of hungry ghosts (preta)
the world of Hell (naraka)

The first three paths are known as "the three benevolent destinies" (kuśalagati), where beings experience varying degrees of virtue, pleasure, and pain. 

The last three paths are referred to as the three unbenevolent destinies (akuśalagati), where beings lack virtue and suffer predominantly. Typically, we as human beings only perceive the animals around us. 

The first Buddhist texts mention only five paths without distinguishing between the paths of deva and asura. Moreover not all texts acknowledge the world of asura. In Japan, the monk Genshin even inexplicably places the path of humans below that of the asuras.[6]

The elements forming karma are constituted in bodily, oral or mental volitional acts. 

The chain of transmigration due to the Three Poisons (hatred, greed, ignorance), of which ignorance (avidyā) of the ultimate truth (Sanskrit: paramārtha; Chinese: zhēndì 真谛) or the true law (Sanskrit: saddharma, सद्धर्म, correct law; Chinese: miàofǎ, 妙法, marvelous law) is generally presented as the source of reincarnation in the three non-benevolent destinies.

Early Buddhist descriptions divided the psychocosmic universe into three "worlds": the kāma-loka ("world of desire"), rūpa-loka ("world of form") and arūpa-loka (""world of non-form"). The kāma-loka dealt with the daily psychological possibilities of humans and was divided into five above mentioned worlds with the exception of the asura realm.

the sixfold; puking abominations

The world offers us plenty of false vines – those ideas that promise life and nourishment but bring barrenness and death instead. One false vine promises life and nourishment through material abundance; that fulfillment comes from what we possess, from things rather than persons.

"
Additionally Clive and Jill are also two deeply traumatized individuals who feel unworthy of the others love, yet support one another unquestionably. They were always a couple, in the prologue people were pointing them out. Clive’s hesitance to comfort Jill on the balcony is indicative of his feeling of unworthiness. After Clive vanquishes his demons, it’s Jill who vocalizes her need to do the same cause she wants to stand side by side.
"

"
Ben Starr once said something along the lines of their relationship being about two people who have trouble connecting, and it is because they both deal with so much trauma, self-loathing, and the need to atone. That’s why the beach scene is so pivotal for their relationship because that’s when Clive accepts who he is as a man, realizes he’s worth saving, and lets himself hope for a better future for them both - he opens up to loving himself and Jill. Something she only did after her arc.
"
"
I think before the timeskip at least (and even after, somewhat), it was difficult for them because they were both struggling with their self worth; and how could they dedicate themselves to each other when they couldn't even love themselves?
"

"
For me, it's feasible that they could have been physically intimate during the timeskip but not acted on it further due to the reasons others have outlined. They could have kissed or even had sex previously in the heat of the moment but not have been in a headspace to pursue anything else. They both had a lot to work through as individuals. So I don't necessarily see it as a progression of their romantic relationship.

I honestly think it's irrelevant whether they were physically intimate before the beach scene. To me their behavior toward each other afterward isn't a result of them being intimate for the first time as much as it is a result of a shift in mindset, with Jill having done what she needed to do to face her past, and Clive finally accepting that he doesn't need to sacrifice himself. They both accept that they are deserving of happiness and deserving of each other.

Also, personally, they didn't seem awkward to me at all during the beach scene. Them sitting back-to-back still struck me as two people who were very comfortable with each other. I thought it highlighted how close they already were at that point. It felt like the nudity was more of a metaphor for it being a really vulnerable moment between them and not intended to be sexual.
"

https://www.fanfiction.net/s/14276680/1/Clive-and-Jill-An-introspective

clive's fate

Anguish (French: Angoisses or Angoisse) is an 1878 oil painting by August Friedrich Schenck. It depicts an anguished mother sheep standing over the dead body of her lamb, surrounded by a murder of crows.

pane

"L'Orphelin, souvenir d'Auvergne," or "The Orphan, a Memory of Auvergne," is a painting by August Friedrich Schenck, an 1885 oil on canvas painting located at the Musée d'Orsay in Paris. The painting depicts a solitary lamb huddled beside its dead mother, surrounded by crows in a stark, snowy landscape. It is considered a companion piece to Schenck's "Anguish"


Loss and Grief:
The painting evokes a sense of profound sorrow and loss, particularly the vulnerability of the orphaned lamb in the face of nature's harshness. 

Symbolism:
The crows are often interpreted as harbingers of death or symbols of opportunism, adding to the painting's somber tone. 

Darwinian Influence:
Some scholars suggest that the painting may have been influenced by Charles Darwin's theories of evolution and emotions in animals. 

Societal Commentary:
The painting has also been interpreted as a commentary on societal cruelty and the indifference of the world to suffering. 

Emotional Resonance:
The painting's powerful depiction of loss and vulnerability has resonated with viewers, making it a well-known and appreciated work of art.

murder of crows & the orphan of Auvergne

Situated in St Peter and St Paul’s Church Chaldon, it is possibly the oldest Doom painting in the UK, painted sometime around 1200 AD. It is unique, there is nothing to compare it with. Some people have suggested that it is part of the original mural but no-one has found any evidence to support this theory and looking around with my amateur eye, I couldn’t see anything that could be interpreted as being even a small bump in the white paintwork that could be concealing a fragment of another painting. The painting is believed to have been produced by an unnamed travelling monk who went from church to church. The painting is over 17 feet wide and 11 feet high. Only red and yellow ochre paints were used in the painting which again, makes it unusual. It is said to have been whitewashed when Cromwell and the puritans were in power and rediscovered in 1869. Protestants and their more extreme cousins, Puritans, believed this was a “Popish” distraction and should be whitewashed over. They did not believe in “Purgatory”, along with bishops and the Pope, Purgatory was not mentioned in the Bible. The Reformation brought about the idea that mural paintings, stained glass windows, priests in colourful garments and statues in church, were distractions and that people should simply sit in church and listen to the readings from the Bible.
The painting shows the Biblical Day of Judgement with, in the middle, the “Ladder of Salvation” where souls of the “good” can climb up to heaven having to go through “Purgatory” where they are judged and then allowed into heaven. On the other hand “sinners” go from Purgatory back down to Hell where they stay, suffering for eternity. From this it is often given the title of a “Purgatorial Ladder” or “ Ladder of Souls”. The bottom half of the painting is devoted to scenes from hell and focuses on the “Seven Deadly Sins” which will be explained in the commentary below.

www.seeingthepast.com/blog/chaldon-doom-painting

bevel the soul spindle

XIII. — OTHMAN HAS A VISION
                             "And Othman took the sign,
And slowly said,' Upon this rugged couch,
O Dervish, I was lying by thy side,
And sleep was on us both. And in the drown
Of senses, dim and purple-sweet, there came
A sexless Genius, winged, and all unclad,
Except with starlight streaming from its brow.
And standing by me tall as any palm,
And whiter than a marble minaret,
It shot delicious waking from its touch.
"Soul of this man," it said, "attend." And straight
My soul had eyes and ears beyond the strength
Of mortals.

https://freeread.com.au/@RGLibrary/LewWallace/TheWooingOfMalkatoon.html

venus haunts me

Secret of a Lukewarm Sea by Pamela Wilson

lukewarm wind baloon

dancing with a bull

"Tabula Rasa: David's "Death of Marat" and the Trauma of Modernity"


This paper examines Jacques-Louis David's painting 'Death of Marat' in the context of modernity and trauma. It argues that the artwork serves as an early instance of modernist abstraction and reflects the complicated relationship between life, death, and representation. Through the analysis of the painting's historical context and its reception, the paper explores the themes of martyrdom, memorialization, and the viewer's engagement with the image.

electrician's knot

The book was written on gold leaves, each half a finger thick.

Hermes had hidden it in, under or by the sea.

The Arabic word used is indefinite, but it is certain that this treasure was found in the neighborhood of the sea by a wise man, BALINAS of TYANA.

We know of him as APOLLONIUS OF TYANA, the old miracle worker.

This description of the “Tabula Smaragdina”, which comes in the fourth part of the manuscript, is as follows:

“Concerning that which the priest Sagijiis of Nabulus dictated on his (Bolinas) entry into the dark chamber.

He says : “I found the following words of wisdom at the end of the book of Balinas the Wise. As I entered the chamber, above which the talisman was hung, I came upon an old man, sitting on a throne of gold,
who had an emerald tablet in his hand. And behold, it was written upon in Syriac, in the original language.

1 . In this (is) a true explanation, which one cannot doubt.

2. It announces : The highest (comes) from the lowest, and the lowest from the highest, the work of the miracles of one.

3. And the things have (formed) themselves from this basic material through a single process. How marvellous indeed is its world It is the chief (principle) of the world and its preserver.

Its father is the sun and its mother the moon; the wind has carried it in its body, and the earth has nourished it.
(It is) the father of the talisman and preserver of the miracles.

6 . Whose powers are complete, whose lights are established.
A fire, which becomes earth. Take the earth away from the fire, and the subtle will adhere to you more than the coarse, with care and wisdom.

8 . It rises from earth to heaven, to grasp all the lights of the height to itself, and comes down (again) on to the earth, in that all the strength of the highest and of the lowest is in it, for the light of lights (is) with it, so that the darkness flees from it.

(It is) the force of forces, which overcomes every subtle thing and penetrates into every coarse thing.
In agreement with the edifice of the great world is the edifice of the small world.
And the philosophers work according to this.
And it was to this that Hermes pointed, that thrice blessed with wisdom.
And this is his last book, which he concealed in the chamber.”
This is a comparatively recent version of the text, but there is also an older Arabic text, which goes back to DJABIR IBN HAYYAN.

He was a famous alchemist of the eighth century A. D. and has left a great many writings in Arabic.

Among these texts a fragment was discovered, which is undoubtedly the Tabula Smaragdina.

It runs: “BaliInas mentions the engraving of the Table in the hand of Hermes which says:

‘Truth ! Certainty ! That in which there is no doubt!

That which is above is from that which is below, and that which is below is from that which is above, working the miracles of one (thing) .
As all things were from One . . . .

Its father is the Sun and its mother the Moon. The Earth carried it in their belly, and the Wind nourished it in her belly, as Earth which shall become Fire.

Feed the Earth from that which is subtle, with the greatest power.

It ascends from the Earth to the Heaven and becomes ruler over that which is above and that which is below.”

The fragment ends here, so as you see it is unfortunately incomplete.

& make a wish

i wanna run away

reclaim sovereignty of every body <3

coup d'é·tat et tu, brute?

In essence, "awakened depravity" often signifies a turning point, a moment where something hidden or dormant - often something negative - is revealed or becomes more powerful.

& then i left

Study for The Fallen Angel by Alexandre Cabanel, 1846

swallow me alive

Francisco Goya;  Vuelo de Brujas[1797-98]

——
What are the psychosomatic symptoms of trauma?

- Negative changes in thinking and mood
- Negative thoughts about yourself, other people or the world.
- Ongoing negative emotions of fear, blame, guilt, anger or shame.
- Memory problems, including not remembering important aspects of a traumatic event.

Feeling detached from family and friends.

——
What does the dunce cap symbolize?

The dunce cap has long been a visual symbol of idiocy and punishment but was once seen as something closer to a wizard's hat. While today we understand the goofy-looking cone hat as denoting some kind of intellectual failing, it actually began as a symbol of respected scholars.

——
What do The Birds mean to Alfred Hitchcock?

Paglia quotes Hitchcock explaining the reason for the birds' attacks: they wanted to exact revenge against humanity for taking nature for granted. This interpretation of nature exacting vengeance against humankind has only gotten more and more relevant over time.

systematic dunce

carpe diem 11:14

when its you & me (1:23)

chameleman

The Woodcutter (after Millet) by Vincent van Gogh

mansplitter

Internal splitting (2023)
by Miloš Hronec

room of shards

Ţărăncuţă cu basma alba (Peasant Girl with White Headscarf) of Romanian Nicolae Grigorescu

maria

dorothy

Nihal Wakode: Set 2, Set 4;

As a demon, Akaza initially had no memory of his human life as Hakuji. Muzan Kibutsuji erased his memories to ensure Akaza's loyalty and combat effectiveness. However, during his final battle with Tanjiro and Giyu, Akaza's past memories resurfaced, leading to his self-destruction.
 
Here's a more detailed look: 
Initial Amnesia:
When Hakuji was transformed into the demon Akaza, Muzan erased his human memories to make him a more effective and loyal demon. This included his love for his fiancée, Koyuki, and his master, Keizo, as well as his father's teachings.

Resurfaced Memories:
In his final battle, Akaza's memories were triggered by the events and emotions of the fight. He remembered his past as Hakuji, his love for Koyuki, his training with Keizo, and his desire to protect his father.

Internal Conflict:
The revelation of his past brought about a conflict within Akaza. He realized the cruelty of his actions as a demon and the pain he caused, especially to those he had once cherished.

Acceptance of Death:
The knowledge of his past and the regret it brought led Akaza to accept his defeat and ultimately choose to end his own existence.

white lotus eyes; (demo)

The four main stages of the opus alchymicum (the alchemical work) correspond to a process of individuation, or the integration of the self. The albedo, or "whitening" stage, is the second of these stages. 

Meaning of albedo
A "whitening" of consciousness. 
The albedo follows the nigredo, or "blackening," a dark and depressive state of unconsciousness and suffering. The albedo is a mental clearing that comes after confronting and integrating the repressed contents of the unconscious (the shadow).

Encounter with the inner partner. 
In this stage, a person becomes aware of their "contrasexual side," also known as the anima (in men) or animus (in women). This inner partner is personified in dreams and imagination, leading to a dialogue with the soul.

The symbol of silver. 
Jungian scholars often equate the albedo with the metal silver, as it represents a newfound purity and heightened spiritual awareness after the darkness of the nigredo. It signifies a moment of grace and rest, a recovery of the soul's original purity and receptivity. 


reflective practice - depth psychology - libby nugent

awaiting albedo

A profound sense of inauthenticity can lead to an "as if" personality, where one's emotions and actions are imitations of others to hide an inner emptiness, as described by psychiatrist Helene Deutsch. 

An individual might vacillate dramatically between different options or opinions, leading to self-sabotage and plummeting self-esteem.

malady diffusion

To move one must endure and process the darkness, allowing it to be washed away through reflection, purification, and forgiveness to achieve a state of clarity and a new dawn of understanding. 

a bad dream

In essence, a lukewarm philosophy is one of spiritual mediocrity, where faith becomes a comfortable habit rather than a transformative, all-consuming life purpose, leading to a desire for ease over earnest devotion.

lukewarm

silly string

an extension of suciogami unto 6petals;

torment or tease (someone) with the sight or promise of something that is unobtainable.

simp&fus

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