Bali- Pura Processions

China impressions

Galaxy

Pulau Seribu - Thousand islands off Java

Reflections

The 7 apostles

Spring time

Destroyer

Suitjie - warrior

Jabez & Rapha

WRSJ in the forest

Jabez fighter jets

4 birds in a family

At Botanical Garden

Goldcoast - Broad beach

Eagles at Rainforest Ec before construction

The 5 elements -

Generating Interactions

The generating interactions of the five elements are like the conception, gestation, birth, and nurture relationship between a mother and a baby. Such element pairs are deeply attached, and together imply success and luck.

The five generating interactions are fueling, forming, containing, carrying, and feeding:

·                          Wood fuels fire.

·                          Fire forms earth (volcanoes, ash, etc.).

·                          Earth contains metal.

·                          Metal carries water (buckets, pipes, etc.).

·                          Water feeds wood (trees, plants, etc.).

Overcoming Interactions

The overcoming interactions of the five elements are like the acts of hostility between two sides in a war.

The five overcoming interactions are melting, penetrating, separating, absorbing, and quenching:

·                          Fire melts metal

·                          Metal penetrates wood (chopping, sawing, drilling, nailing, screwing).

·                          Wood separates earth (tree roots breaking up soil/rock).

·                          Earth absorbs water.

·                          Water quenches fire.

Celebrating National Day at Istana

Horses - the conflict

Jia Jia and Kai kai

WRJ golf at driving range

First attempt at portraits

Java - Balemong - Semarang

Qi Qi Ha Er - Cranes

Burano- Venice Italy

Temple Mount and Western Wall

Compianto sul Cristo morto’ (Lamentation over the Dead Christ) by Niccolò dell’Arca

The sculptural group of the 'Compianto sul Cristo morto' ('Lamentation over the Dead Christ') by Niccolò dell’Arca is located in the main chapel of the Church of Santa Maria della Vita, Bologna.

This dramatic depiction of sorrow and death was commissioned by the Battuti Bianchi around 1463 and consists of a group of life-sized figures – the Madonna and the Three Marys, St John the Apostle and Joseph of Arimathea – weeping over the dead body of Christ, which is laid out between them ready for deposition in the tomb.

The Lamentation over the Dead Christ is a c. 1480 painting by the Italian Renaissance artist Andrea Mantegna.[1] While the dating of the piece is debated, is generally believed to have been completed between 1457 and 1501.[2] It portrays the body Christ supine on a marble slab. He is watched over by the Virgin Mary and St. John, who are weeping for his death.

The theme of the Lamentation is common in medieval and Renaissance art, although this treatment, dating back to a subject known as the Anointing of Christ is unusual for the period. Most Lamentations show much more contact between the mourners and the body. Rich contrasts of light and shadow abound, infused by a profound sense of pathos. The realism and tragedy of the scene are enhanced by the violent perspective, which foreshortens and dramatizes the recumbent figure, stressing the anatomical details: in particular, Christ's thorax. The holes in Christ's hands and feet, as well as the faces of the two mourners, are portrayed without any concession to idealism or rhetoric. The sharply drawn drapery which covers the corpse contributes to the dramatic effect. Unique to this painting is a design that places the central focus of the image on Christ's genitals - an artistic choice that is open to a multitude of interpretations. Mantegna managed instead to paint a very specific representation of physical and emotional trauma.

Mantegna presented both a harrowing study of a strongly foreshortened cadaver and an intensely poignant depiction of a biblical tragedy. This painting is one of many examples of the artist's mastery of perspective. At first glance, the painting seems to be a strikingly realistic study in foreshortening . However, careful scrutiny reveals that Mantegna reduced the size of the figure's feet, which, as he must have known, would cover much of the body if properly represented.[2]

Mantegna probably made this painting for his personal funerary chapel. It was found by his sons in his studio after his death and sold off to pay debts. The painting is in the Pinacoteca di Brera of Milan, Italy.

From left to right: Bartholomew, James, son of Alphaeus and Andrew form a group of three, all are surprised.

 Judas Iscariot, Peter and John form another group of three. Judas is wearing green and blue and is in shadow, looking rather withdrawn and taken aback by the sudden revelation of his plan. He is clutching a small bag, perhaps signifying the silver given to him as payment to betray Jesus, or perhaps a reference to his role within the 12 disciples as treasurer. He is the only person to have his elbow on the table and his head is also horizontally the lowest of anyone in the painting. Peter looks angry and is holding a knife pointed away from Christ, perhaps foreshadowing his violent reaction in Gethsemane during Jesus' arrest. The youngest apostle, John, appears to swoon. 

Jesus Apostle Thomas, James the Greater and Philip are the next group of three. Thomas is clearly upset; James the Greater looks stunned, with his arms in the air. Meanwhile, Philip appears to be requesting some explanation.

 Matthew, Jude Thaddeus and Simon the Zealot are the final group of three. Both Jude Thaddeus and Matthew are turned toward Simon, perhaps to find out if he has any answer to their initial questions.
Source: Ann Kay - Da Vinci and Wikipedia

Last Supper, Italian Cenacolo, one of the most famous artworks in the world, painted by Leonardo da Vinci probably between 1495 and 1498 for the Dominican monastery Santa Maria delle Grazie in Milan. It depicts the dramatic scene described in several closely connected moments in the Gospels, including Matthew 26:21–28, in which Jesus declares that one of the Apostles will betray him and later institutes the Eucharist.

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Plato and Aristotle

At the centre of the School of Athens are Plato and Aristotle.

The two men had different pursuits,

Plato being engaged with such spiritual ideas as truth, beauty, and justice and

Aristotle being concerned with worldly reality.2

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You’ve definitely seen this painting before, but if you haven’t taken the opportunity to study it closely, you’ve also definitely missed some details. 

Commissioned by Pope Julius II to adorn his private library in the Vatican’s Stanza della Segnatura (The Signature Room, a reference to the official documents signed by the Pope there),

Raphael painted the fresco around 1510 AD, during the height of the Renaissance’s fascination with Classical philosophy. 

 There are 58 representations of real historical thinkers in Raphael’s School of Athens, few of which have completely undisputed identities but all of which are composed with great care.

Bologna, St Peter Vatican and Florence

Sagrada Familia

Churches in Kyiv  - St Cyril, , Volodtymyr ' Cathedral,St Nicholas  St Sophia Cathedral  , St Andrew, St Michael Golden Domed Monastry,, Pechersk Larva,

David is a masterpiece^[1][2] of Italian Renaissance sculpture, created from 1501 to 1504 by Michelangelo. With a height of 5.17 metres (17 ft 0 in

David (Michelangelo)

Statue of St. Peter by Giuseppe De Fabris, 1840 .The statue of St. Peter is 5.55m in height, on a pedestal 4.91m high.

In his right hand the apostle is holding the keys, symbol of the power promised to him by Christ in Caesarea of Philippi;

In his left hand is the scroll bearing the words "ET TIBI DABO CLAVES REGNI CAELORUM' (Mt. 16, 19).

One key is silver-plated, while the other is gold plated.

Michelangelo’s Moses, Church of St. Peter-in-Chains, Rome, 1513–1515. Jörg Bittner Unna, CC BY 3.0, via Wikimedia Commons.

Jonah

Guadalupe

Guadalupe: The hidden message in her eyes

WITNESS OF THE STARS https://www.youtube.com/watch?v=LOHlZom5kj8

The Gospel In The Stars: What the Stars Names Mean & What the Constellations Signify

The Mazzaroth - The Gospel in the Stars - Act I     Act2   Act3

The Cardo

Jerusalem’s street plan included a Cardo. It was a paved, 22.5 meter-wide road running southward from the Damascus Gate.

The Main Street