[IMAGE ID: four horizontal flags with nine stripes; each flag has three gem shapes, all a very simple black outline, in the center. the middle stripe is twice as large as the rest of them, which are equally sized. the first flag has these top three colors: dark magenta, bright purple, and nearly-white pink. the second flag has these top three colors: bright cool pink, bright light blue, and pastel yellow. each flag has these bottom six stripes: neon blue, off-white, neon blue, medium teal, neon teal, and dark blue. END ID.]
azuriticrysem: a gender connected to being an azurite crystal gem; this gender is connected to azurites, azurite aesthetics, earth-related aesthetics, crystal gem aesthetics, and being a crystal gem in the steven universe sense!
azuritihomem: a gender connected to being an azurite homeworld gem; this gender is connected to azurites, azurite aesthetics, space/alien-related aesthetics, homeworld gem aesthetics, and being a homeworld gem in the steven universe sense!
Andrew Clemens: Bottling the Beauty of Nature in Sand
Artists have always been known for their ingenuity and creativity when working with different mediums. One artist who left an indelible mark on art is Andrew Clemens, renowned for his remarkable ability to create intricate and beautiful artworks using sand. His unique artistry, often called "sand bottle art," has captivated audiences for generations. In this article, we delve into the life and work of Andrew Clemens, exploring the fascinating world he crafted within the confines of glass bottles.
Early Life and Inspiration
Andrew Clemens was born in McGregor, Iowa, on January 29, 1857. His early years were marked by challenges that might have deterred a less determined individual. Clemens was deaf and mute, making communicating and connecting with the world around him difficult. Despite these obstacles, he was fascinated with the natural world, mainly the vibrant landscapes and geological formations surrounding his Iowa home.
This love for nature provided the primary source of inspiration for Andrew Clemens' art. His ability to see the beauty in everyday materials and turn them into works of art is a testament to his extraordinary talent and determination.
The Art of Sand Bottles
Clemens' journey into sand bottle art began with a simple curiosity. As a child, he collected colorful grains of sand and experimented with different ways to arrange them. Over time, he developed a meticulous and refined technique for creating intricate scenes within glass bottles. His process was labor-intensive and required immense patience and precision.
Each piece of sand was individually selected, colored, and then carefully layered within the bottle. These layers formed intricate landscapes, seascapes, and other detailed scenes that showcased the diverse beauty of the natural world. The precision and artistry behind Clemens' work were nothing short of remarkable.
One of the most astonishing aspects of his art was using natural minerals and materials to color the sand. Clemens used crushed minerals like amethyst, carnelian, and azurite to create a wide range of hues, resulting in a stunning palette of colors. The sand was meticulously arranged using various handmade tools, and layers were carefully built to create depth and detail in the scenes.
Recognition and Fame
Andrew Clemens' exceptional sand bottle art did not go unnoticed. He began to display his work at local exhibitions and fairs, where he quickly garnered attention and acclaim. His pieces were astonished and admired as people marveled at the intricate beauty he had created in these small glass bottles. Clemens' artistry transcended his disabilities, and he became known for his unique ability to capture nature's essence within a bottle's confines.
Legacy and Influence
The legacy of Andrew Clemens lives on in the world of art and craftsmanship. His sand bottle art continues to inspire contemporary artists who work with unconventional materials, pushing the boundaries of what is possible within art. His ability to see the beauty in the most basic of elements - grains of sand - is a testament to the power of human creativity and determination.
Andrew Clemens' sand bottle art is a testament to the power of human creativity and determination. Despite facing significant challenges due to his disabilities, he transformed simple grains of sand into intricate works of art that continue to captivate and inspire audiences today. His love for the natural world and meticulous approach to artistry have left an indelible mark on art, reminding us that beauty can be found in the most unexpected places.
One platform that stands out in online auctions is Auction Daily. It is a comprehensive resource for anyone interested in the auction world. It offers a wealth of information, including auction previews, auction calendars, auction news, and connections to prominent art, antique, and painting dealers.
~ Everything has energy, and if you believe in Tarot cards I believe you should also believe in the energy crystals radiate, as they are more natural than any form of divination. ☺️
~ Each Crystal is different, different colors and shapes each have specific uses but many have multiple uses. Lots of crystals are used in Chakra work, Dream work and other forms of energy/ascension/alignment work. The closer to natural the stone is, the more potent it will be. Polished stones still work well, just often at a slower pace. Bigger crystals will be stronger too.
~ When working with crystals in Chakra work most of the time the color of the stone will align with the corresponding chakra.
For example:
♥️ ROOT - Garnet, Carnelian, Red Jasper, Bloodstone. (I love using obsidian here too but I want to discuss this stone lower in the post)
Now, the colors dont HAVE to match. There are plenty of chakra healers/balancers that dont coordinate colors BUT I love to match so there's my list!
🤍 Obsidian (mentioned above) is great for protection!
🤍 Selanite is great for clearing energy & charging other crystals. You can get it as a plate or bowl to rest your daily crystals on so they're ready to go in the morning.
🤍 Clear Quartz is an everything stone! You can literally charge it with any intention. Its a good stand in for anything you dont have. With Quartz being a high vibrational stone it will work to align you with its vibration, often sending you ideas to help you take inspired action to illuminate and clear your path. My favorite of the Quartz family is Lumerian, but stones such as Citrine, Amethyst, Smoky Quartz & Rose Quartz are all in the same family. Be knowledgeable when buying Citrine & Amethyst as some are man made by heat treatment.
🤍 MOLDAVITE is a popular one lately so let's talk about it. Moldavite is a tektite, which is technically not a crystal but still acts like one. It was created in a single meteorite impact in Bohemia that occurred about 15 million years ago. It is ONLY found in the Czech Republic which causes it to be extremely rare & now often faked due to it's increasing demand. So beware of its very high price & be alert when buying. Because of its birth story it's energy is at times chaotic, which you can also see within the stone when examining it, as the inner lines have no pattern & it also holds tiny air bubbles. Like Clear Quartz, its a high vibrational "stone" that works to align you with its vibration. So if you are interacting with low vibrational people or activities it will work to remove these from your life usually by aligning your thought patterns with the correct actions. It may bring you some magic but more often than not you will be asked to take inspired action to have it work properly. This is one piece I cannot sleep with in my room at all!!
~ Check that your crystal dealer is selling ethically sourced stones & be sure to do your research on which crystal/tektite will work best for your desired intentions before purchasing & activating them! I find it best to only work with 1-4 crystals at a time when outside of my home. 2 is my sweet spot, but we are all different & our sensitivity changes as we develop empathy towards universal energy.
~ Ok! Now that we've got the basics on picking your crystal out of the way, here's how to use them!!
~ You should cleanse your crystal after purchasing it to remove the energy of anyone who has handled them or any negative experiences they've endured before reaching you. Not all practicioners believe this & not all stones hold negativity but I believe it's good practice & can't hurt so here's what I know: You can do this in many ways. Sound cleansing (via bells or soundbowls or even YouTube sound baths), kosher or Himalayan salt bath, brown rice, smoke cleanse (via ethically sourced Sage, Palo Santo or Incense) or for certain stones you can soak them in running water or salt/sun/moonwater to cleanse & charge - BUT use caution as some, such as moldavite, laborodite & selenite (most crystals ending in ite) will dissolve in water, especially hot water so again, do your research on the specifics - you can burry them in dirt outside or in your house plants for a few hours just watch out for rain/damp soil, a Selanite or Quartz dish will cleanse & charge any stone, & my personal favorite method - setting them out under the moonlight! I think the Sun works too but the Moon is preferred by most practitioners. It usually only takes a couple hours with most of these methods. Smaller crystals can be cleansed with breath & feather wind.
~ To charge them, moonlight is ideal. Setting them in a windowsill or outside for 3-5 hours will work perfectly! You can soak them in saltwater under the sun too. This amplifies their natural energy before adding your own.
~ To program & active each crystal you'll essentially be forming a bond with each one individually. You can do this simply by holding it in your dominant hand (usually the right hand as the left body is for recieving intuitive nudges), meditate with the crystal wrapped in both hands, envisioning what you'd like to accomplish together & commanding it to activate. I personally find that the universe works best when we say please & thank you. I also like to kiss my energy into each stone after we've spent a few moments bonding.
~ Now your crystals are ready to move energy & help you develop your growth! All you have to do is place them accordingly in your home or carry them on you. Again, I find it best to only carry about 2 on me at a time. I have also found that sleeping with too many in my room gives me restless sleep, even just 1 high vibrational stone on my dresser is usually too much for me, but the lower chakra stones or blue stones are usually okay. Some people keep them on an altar or in a grid (YouTube is very helpful for learning gridwork) some keep them in windowsills - just use caution as some stones get sunbleached - & some people like me have a few crystals in each room! You can look into the best placements for each stone you own for best uses & placements depending on your intentions.
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I get the most potent dreams with Red Garnet under my pillow & Blue Kyanite on my side table. I keep a large Rose Quartz, medium Amethys & Selanite, & some smaller Obsidian, Moonstone, Laborodite, Rainbow Hematite & Quartz pieces & Gold flakes on my dresser... Although as I'm typing this im wondering if that Laborodite is why I haven't been sleeping as well or if it's just all the Eclipse & Retrograde Energy going around in this 2021 air 😆
Either way, I hope you've found this post to be of some use & if you have any questions or anything I can add please don't hesitate to reach out!!! (Use of Evil Eye as 3rd Eye symbol in this post is soley meant for aesthetic but I do wish protection, peace & prosperity on all it lay sight on)
Clams, Peanut Butter, and a side of Fresh-Cut Grass!
Bluebird's allergy nightmare of a treat is a special challenge--especially since I'm a vegetarian and won't eat clams!
But I won't eat fresh-cut grass either so that gives me some leeway.
I decided to make it...a candy plate. Candy replicas of everything! You can eat the shells even!
Instructions below.
See more SU food tutorials!
The biggest challenge is the clams so let's start there.
The clams have shells as well as gushy insides. The shells are dark and patterned, while the insides are pale.
So here's what I'm doing. First, let's measure out some white chocolate chips--8 ounces should do it. Melt them in a double boiler for gentle, no-burn melt and spoon/spatula the melted chocolate evenly into two small bowls.
We're going to make two shades of gray here: light gray and dark gray. Using black gel food coloring, add two drops to one bowl and five drops to the other. Stir until even.
Then, use a chocolate mold with impressions of clam shells. I got this relatively cheap on Amazon.
I began filling alternating stripes of colored chocolate. I started using a frosting bag and tried to pipe it, but the food coloring had stiffened the chocolate--happens sometimes--and as soon as it was cooling it wouldn't behave. I used a frosting knife, shaping the chocolate into stripes and keeping each cavity only shallowly filled.
Sure they don't look great from this side, but look at it from below!
Refrigerate the tray of clam shells for about half an hour.
When they're solidified, there's one more step. Melt four ounces of white chocolate chips (in a double boiler again) and use a frosting knife to cover the backs of the shells, creating the pale inside of the shell. Refrigerate again.
Now you're ready to make the gushy clam inside! It looked sort of pale orange in the cartoon, so I will be making a dyed version of something I've made before: Vanilla creme balls!
Ingredients:
1/4 cup unsalted butter, softened
3 1/2 ounces sweetened condensed milk
1/8 teaspoon vanilla extract
1 cup powdered sugar
pinch of salt
Yellow and red food coloring
Truth be told, you're actually supposed to freeze these, dunk them in chocolate, and roll them in toasted almonds. But I'm just making the creme centers for this recipe!
This is SUPER simple--no cooking. In a medium bowl, mix the ingredients together. You will get a thick mixture that's somewhere between frosting and dough. Refrigerate it for half an hour.
Now it's time to get your clam shells out. Ta-da!
Now it's time to fill the clam shells with clam.
If the creme substance is too sticky to handle when it comes out, try freezing for 10 more minutes. You want to be able to use a melon baller or spoon to dig out a nice round or oval shape for inside the clams. A little extra powdered sugar can help while handling as well.
Set up your clam shells on the serving plate in a way that will complement the other items. Add the innards.
If it doesn't look goopy and shiny enough, brush on some remaining condensed milk.
And there you have it! Clams for Steven by Bluebird Azurite!
But there are two more ingredients. Next is grass.
Going with the candy theme, I got this edible candy Easter grass.
Yeah, baby!
And then finally, peanut butter. Not hard. Let's do smooth.
And there we have it!!
BRILLIANT!
Please enjoy it. I'm beggin' you. Please!
Oh don't forget, Steven needs something to wash it down with.
Lion Head from a Chair or Throne, 525-404 B.C.E., Brooklyn Museum: Egyptian, Classical, Ancient Near Eastern Art
One wooden lion's head, probably from a piece of furniture. The lion is shown, mouth open, its snout curved up in a snarl. The ears are back against head, the back of which is flat, and provided with a square dowel with peg stop still in place. The teeth are shown in two flat rows on upper and lower jaws. No canines are present. The ruff spreads out below the lower jaw and terminates in large flame like fringe. The eyes are moderately deeply set, the rim being copper the pupil of gold leaf. A piece of crystal may have been placed over this to complete the illusion. The cheek bones are prominent and emphasize the snarl. The interior of the mouth is painted red, the teeth white. Roof of the mouth sports rugae. Condition: Right side of the piece is much damaged. A gaping crack extends through the eye socket from the snout all the way to the rear. At least seven other longitudinal cracks radiate in a fan shape. The right eye setting and gilding is lost. Lost also is the right hand side of the nose. The gesso covering of the left hand side is completely gone as compared with that of the right. The rim of the left eye, though in place, has been transformed into azurite with little copper left. The paint on the white mouth interior is fairly well preserved the white of the teeth less so. The great amount of damage appears on the left side of the head.
Size: 5 x 4 5/8 x 4 11/16 in. (12.7 x 11.8 x 11.9 cm)
Medium: Wood, glass
[IMAGE ID: three horizontal flags with nine stripes; each flag has three gem shapes, all a very simple black outline, in the center. the middle stripe is twice as large as the rest of them, which are equally sized. the first flag has these top three colors: light red, bubblegum pink, and bright yellow. the second flag has these top three colors: bright indigo, warm pink, and very light blue. the third flag has these top three colors: dark teal, warm green, and light yellow-green. each flag has these bottom six stripes: neon blue, off-white, neon blue, medium teal, neon teal, and dark blue. END ID.]
azuritigem: a gender connected to being an azurite gem; this gender is connected to azurites, azurite aesthetics, gem aesthetics, and being a gem in the steven universe sense!
fusiazuritic: a gender connected to being an azurite fusion; this gender is connected to azurites, azurite aesthetics, fusion aesthetics, and being a fusion in the steven universe sense!
azuriticruptem: a gender connected to being an azurite corrupted gem; this gender is connected to azurites, azurite aesthetics, corruption aesthetics, corrupted gem aesthetics, and being a corrupted gem in the steven universe sense!
Virgin and Child, Icilio Federico Joni, 1400s, Cleveland Museum of Art: Medieval Art
This picture has at times been seen as a forgery due to its seemingly excellent state of preservation and the simplicity of the composition. It was cleaned, retouched and re-varnished in the 1960s, giving in an even, shiny surface, hiding to some extent its original appearance. This treatment was probably undertaken to address the losses to the Christ Child's hair and the discoloration and abrasion of the Virgin's mantle. Also problematic is the restoration of the frame and sides of the panel, which obscure the age of the work. However, both the panel itself and the pigments employed prove that this is a 15th-century painting---though of lesser quality than CMA's Virgin and Child Adored by Saints (1924.199). In particular, the Virgin's robe appears to have been painted originally with the pigment azurite, a less costly mineral pigment used as an alternative to ultramarine (made of powdered lapis lazuli). The use of this less expensive material, along with the picture's small size and simple composition, suggests that it was made by a member of Sano's workshop and not Sano himelf.
Size: Framed: 30.5 x 22.9 x 3.2 cm (12 x 9 x 1 1/4 in.); Unframed: 24.2 x 16.6 cm (9 1/2 x 6 9/16 in.)
Medium: tempera and gold on wood