阿姨 PSEUGLAM

mythology meme- seven/ten gods or godess .

HUITZILOPOCHTLIis a Mesoamerican deity of war, sun, human sacrifice and the patron of the city of Tenochtitlan. He was also the national god of the Mexicas, also known as Aztecs, of Tenochtitlan. Many in the pantheon of deities of the Aztecs were inclined to have a fondness for a particular aspect of warfare. However, Huitzilopochtli was known as the primary god of war in ancient Mexico. Since he was the patron god of the Mexica, he was credited with both the victories and defeats that the Mexica people had on the battlefield.[1] It is important to remember that the defeat of their patron deity meant the defeat of his people. This is one of the many reasons why they were concerned with providing exquisite tribute and food for him. Not only was it important for him to survive his battles, but the fate of the Mexica people would have rested in the victory of Huitzilopochtli.


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Alexander Gardner (American, 1821–1882)
Ruins of the Gallego Flour Mills, Richmond, Virginia, 1865
On April 2, 1865, as General Lee learned that the Union Army prepared to attack the Confederate capital of Richmond, he ordered the army to evacuate the city. As the retreating army attempted to burn anything that might be of use to the invaders, the fire rapidly became an uncontrollable inferno. 
Gardner’s images of Richmond – the charred corpse of a thriving city – became iconic symbols of the devastation of the Civil War. 
metmuseum.org



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Alexander Gardner (American, 1821–1882)

Ruins of the Gallego Flour Mills, Richmond, Virginia, 1865

On April 2, 1865, as General Lee learned that the Union Army prepared to attack the Confederate capital of Richmond, he ordered the army to evacuate the city. As the retreating army attempted to burn anything that might be of use to the invaders, the fire rapidly became an uncontrollable inferno.

Gardner’s images of Richmond – the charred corpse of a thriving city – became iconic symbols of the devastation of the Civil War. 

metmuseum.org


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Saint Jean and the Allegory of the Synagogue

Acquisition of  Saint Jean and the Allegory of the Synagogue.  A National Treasure from the Louvre through 4500 donors  © Musée du Louvre in 2012, Martine Beck-Coppola.

In October 2012, the Louvre has appealed to the generosity of the public to acquire two medieval statues classified national treasury. With the support of 4,500 donors, figures of St. John and the Synagogue were able to join the Descent from the Cross du Louvre, a unique masterpiece in the world.

Statuettes of Saint John and the Synagogue, classified National Treasury, were considered lost forever or destroyed. Their discovery led to reconstruct a masterpiece of Gothic art. 4,500 donors have chosen to support the Louvre to acquire.

Saint Jean and the Synagogue before the Descent from the Cross

A Masterpiece of World Heritage

The group of the Descent from the Cross in the Louvre is one of the key works of French Gothic art, both the quality and elegance of its style and its dramatic force. The status of national treasure attributed to St John and the Synagogue reflects perfection of execution, and their remarkable state of preservation. Acquisition of two missing statuettes made ​​this set a unique masterpiece in the world the Louvre and has the only full group carved this period reached us in excellent condition.

The group is shown an episode of the Passion of Christ. The whole forms a spectacular image by its dramatic power combined with restraint in the expression of a sharp pain. Each of the characters that comprise a defined role in a staged originally intended to build and move the viewer. Gather the entire family of characters allowed to complete the story “images” of this biblical episode.

Saint Jean and the Synagogue

Both statues have the same stylistic characteristics as statuettes already exhibited at the Louvre, which helped to establish with evidence that they belong to this group: remnants of extremely fine polychrome portraits of the very rare style, the skeleton , loops thick and abundant hair.

Jean, wearing a coat draped over her dress, holding in his left hand the book, while he brings his right hand a piece of his coat to his face to wipe her tears. Favorite disciple of Christ, it appears young and beardless. His face is both angelic and contorted with pain. Wrinkles are visible on his forehead, which is extremely rare in this type of representation. It is expected to be equal to the Virgin, on the other side of Christ.

The synagogue, according to a widespread in the thirteenth century iconography, leans her head blindfolded. She holds her left hand veiled tables overturned the Act, and held in his right hand a broken spear, now defunct. Its slender silhouette meets that of the Church and should be arranged symmetrically thereto. The figure of the Synagogue provides details of great virtuosity of execution: and the fine belt loop that holds the orfévrée her dress, the elegance of his hands, any length or mellowness drapery of her dress, which fall while flexibility.