Unknown, polygonal stone and upright triangular stone, Cornwall, 3000 to 2001 BC
Large perforated stones standing upright; left one locally known as "Menetol", polygonal in form, pierced by circular hole sculpted through center; right one known as "Tolven", similarly pierced; b) drawing showing outlines of stones and perforations at "centers.Giedion observes that the perforations appear to have been shaped by sculpting from both sides as in countersinking so that the center of the hole is also the center of the stone. He writes that these megaliths are believed to have possessed magic properties of healing and rebirth. As ritual objects it is thought that they may have been early sacrificial stones or altars. According to Neumann, the feminine symbol of the dolmen and gate is always connected with rebirth through the woman's womb, thus the act of passing through signifies a journey to renewal. Giedion states that within memory Menetol has been used for curing infirm children by passing them through the aperture and for healing lame people by lifting them sunward through Menetol's ring. According to Levy the anointing and circumambulation of monolithic stones has been practiced until recent times. this leads to the belief that they were endowed with sacred meaning from earliest times, when the setting up of a stone for the habitation of a spirit, as a place kept sacred to him, to which be could be summoned by rites, was practiced. Layard Cn writes that the rough-worked stone, or the stone "cut out without hands" of Nebuchadnezzar's dream, carries with it the meaning of the immanence of the spirit which fills the whole earth like a great mountain. Stones carry within them the spirit of the living men who erect them and their contact with the earth kept them within holy ground. [- - Levy.]
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And as all things are & arise from One, by One Dreaming.
So all unique things are born from this oneness by adaption.
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Ex-votos et Lys de la Madone, painting by Claudine Lecoustre ©️2023
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Shri devi (Palden Lhamo), Central Tibet, circa 1750-1850.
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The glory of Durham Cathedral: a triumph of the Middle Ages
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Bettie Page
David (1622-23), marble. Gian Lorenzo Bernini, Italian, 1598-1680.
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Byam Shaw: The Victory of Christ
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This is a calligraphic filigree rose window mandala design for an upcoming book I'm working on. The single circle form is primary here, as in ancient cosmology this symbolized the One, the unknowable Divine source of all being, as well as becoming the form for the emergent Cosmos as in Plato's "Timaeus". The concentric rings of filigree hearken to this, adapting medieval illumination motifs for the planetary spheres, in this case centrally oriented to the Sun, which symbolizes the undying light of the Divine. This rose window begins the Gospel omnigraph, and for this I selected the famous verses from St. John's prologue, which tie together the eternal origin of all things with the Logos and the embodied entrance of that Logos into human history as the man Jesus Christ.
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Nuestra Señora del Carmen
circle of Diego Quispe Tito (Peruvian, 1611 – 1681)
oil on canvas (73,7 × 104,1 cm), late-17th century
Brooklyn Museum
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"Martyr of Apparitions" Emil Melmoth (2023)
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