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Excelsis Gaudi and Christianity

Excelsis Gaudi and Christianity

Excelsis Gaudi and Christianity 1

Excelsis Gaudi and Christianity 2

Excelsis Gaudi and Christianity 3

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Kokoro the Spirit of a Hummingbird

Kokoro the Spirit of a Hummingbird

Kokoro the Spirit of a Hummingbird 1

Kokoro the Spirit of a Hummingbird 2

Kokoro the Spirit of a Hummingbird 3

Kokoro the Spirit of a Hummingbird 4

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Wired to Sustainability

Wired to Sustainability

The capacity to endure or how biological systems remain diverse over time. For humans it means maintaining the well being for the long term dealing with environmental, economic and social their impacts and dimensions.

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Sustinere: maintain, support, endure

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Axis Mundi

Axis Mundi

Dendrolatry, trees as worship, symbols of growth, decay and resurrection. Germanic paganism and historical druidism have involved cultic practice in sacred groves, above all the oak. Popular stories reflect a firmly rooted belief in an intimate relation and connection between human beings and trees, plants and flowers as explained in the Egyptian Tale of the Two Brothers 1209-1205 BC

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(Wikipedia source)The Tree as an Axis Mundi: The axis mundi (also cosmic axis, world axis, world pillar, columna cerului, center of the world) is a ubiquitous symbol that crosses human cultures. The image expresses a point of connection between sky and earth where the four compass directions meet. At this point travel and correspondence is made between higher and lower realms.[1] Communication from lower realms may ascend to higher ones and blessings from higher realms may descend to lower ones and be disseminated to all.[2] The spot functions as the omphalos (navel), the world’s point of beginning.[3][4]

The axis mundi image appears in every region of the world and takes many forms. The image is both feminine (an umbilical providing nourishment) and masculine (a phallus providing insemination into a uterus). It may have the form of a natural object (a mountain, a tree, a vine, a stalk, a column of smoke or fire) or a product of human manufacture (a staff, a tower, a ladder, a staircase, a maypole, a cross, a steeple, a rope, a totem pole, a pillar, a spire). Its proximity to heaven may carry implications that are chiefly religious (pagoda, temple mount, church) or secular (obelisk, minaret, lighthouse, rocket, skyscraper). The image appears in religious and secular contexts.[5] The axis mundi symbol may be found in cultures utilizing shamanic practices or animist belief systems, in major world religions, and in technologically advanced “urban centers.” In Mircea Eliade’s opinion “Every Microcosm, every inhabited region, has a Centre; that is to say, a place that is sacred above all.”[6]

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Churrigueresque Retablo

Churrigueresque Retablo at SantaMaría LaMayor, Morella, Spain

(Wikipedia Source Churrigueresque) Churrigueresque refers to a Spanish Baroque style of elaborate sculptural architectural ornament which emerged as a manner of stucco decoration in Spain in the late 17th century and was used up to about 1750, marked by extreme, expressive and florid decorative detailing, normally found above the entrance on the main facade of a building.

Origins:

Named after the architect and sculptor, José Benito de Churriguera, who was born in Madrid of a Catalan family (originally named Xoriguera), and who worked primarily in Madrid and Salamanca, the origins of the style are said to go back to an architect and sculptor named Alonso Cano, who designed the facade of the cathedral at Granada, in 1667.

A distant precursor (early 15th century) of the overwrought style can be found in the Lombard Charterhouse of Pavia; yet the sculpture-encrusted facade still has the Italianate appeal to rational narrative. The Churrigueresque style appeals to the proliferative geometry, and has a more likely ancestry in the Moorish architecture or Mudéjar architecture that still remained through south and central Spain. The interior stucco roofs of, for example the Alcázar de los Reyes Cristianos in Granada, Spain, flourish with detail and ornamentation.

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(Wikipedia Source Retablo) Retablo (or lamina) is a term for a Latin American devotional painting, especially a small popular or folk art one using iconography derived from traditional Catholic church art. This is a different meaning from the original one in Spanish, which still applies in Spain, and is equivalent to reredos in English or retable in French: a painting, sculpture or combination of the two, rising behind the altar of a church. The Latin etymology of this Spanishword means “board behind”[1].

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Spanish retablos of the Late Middle Ages and Renaissance grew extremely large and elaborate, typically using carved and gilded wood, and rising as high as 40 feet or more. The tradition of making them was taken to the new Spanish Empire in America. There, by the late 18th century at least, the word became used for much smaller popular religious paintings, both conventional devotional images and ex-votos (paintings giving thanks for protection through a specific episode).

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