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 Post subject: Re: RLC - A New Michelangelo at the MET?
PostPosted: 30 Dec 2011 12:27 am 
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Something else I was thinking about when it comes to horses and bloodlines.

Some of these horses bloodlines can be easily traced very accurately into the mists of history. Far more so than the humans that owned them.

I really had never considered it before, but researching the horses (and dogs) could possibly provide some very interesting results.

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 Post subject: Re: Poussin
PostPosted: 30 Dec 2011 7:37 pm 
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Renne wrote:
Your farm`s land has quite a history! Arizona is 100 years old
this year so it`s a very different situation here.


I am shocked that an Arizona resident would say this given that your land has been actively farmed since at least 500 CE.

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 Post subject: Re: Poussin
PostPosted: 30 Dec 2011 8:10 pm 
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Serendipity wrote:

War horses were NOT used for transportation or for gay outings about the pond. As the painting clearly shows, the ass or donkey was used for everyday use. The 2 people on horse-back are either fighting someone or training to fight someone. One person controls the horse and the other uses weapons. In order to be truly effective, all 3 must work in-sync; horse and both riders must become one. Therefore, your assumption about man being divided is maybe needing a little further thought.


Something tells me you would enjoy this video...it is the gold medal winning performance in Team Freestyle Vaulting, at the 2010 World Equestrian Championships, by Team USA, which is local to here (look for Emily, the tiniest one, who is the daughter of a good friend of mine). This is the German broadcast, because it's the best one I could find:

http://www.youtube.com/watch?v=6uWBizbS ... re=related

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 Post subject: Re: RLC - A New Michelangelo at the MET?
PostPosted: 30 Dec 2011 8:23 pm 
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Ballet on horse-back. How cool is that?!

Thank you Caelum, I have never seen that done before. Quite amazing.

Training, training, training....

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 Post subject: Re: RLC - A New Michelangelo at the MET?
PostPosted: 31 Dec 2011 2:02 am 
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Quote:
I would guess Poussin is pointing out that the perfected (ideal) man is not 'divided', that he has balanced the opposing forces within himself and has become complete. (The Templar two men on one horse illustrates the base state.)

Not convinced there is something going on? Take a look at the reflection of the those two riders in the lake. How many do you see?


I think I am beginning to understand something about the painting. The two riders and the horse are as one, they are of one mind and action. There is no self; and that is why the refection is the way it is....

And that is why, IMHO, that the painting seems to be a study in 2's or twins. There is no self. We are but a reflection of the total human consciousness....

We must ALL learn to work together to become one, just as the riders and the horse; which takes extraordinary training.

To live without conflict; to be as one universal mind by instinct.

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 Post subject: Re: RLC - A New Michelangelo at the MET?
PostPosted: 31 Dec 2011 2:16 am 
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Serendipity, you are beginning to understand it. But what you have described is the third or fourth stage. Pousin is describing the awakening; the realising that there is something wrong.

Maybe this will help

http://www.andrewgough.co.uk/forum/viewtopic.php?f=1&t=2665&p=55236&hilit=mirror#p55236

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 Post subject: Re: RLC - A New Michelangelo at the MET?
PostPosted: 31 Dec 2011 4:11 am 
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Just like me to miss the first 2 steps....durrrr

So, 'divided' is not our natural state so much as the human consciousness we are born into. Created by thousands, if not millions, of years of religious dogma and conflict.

And it is through reflection of oneself (meditation; it's not just for old people with nothing to do) that we become one.

The meditation is the training. To clear your mind in order to know the truth.

I have much work to do.

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 Post subject: 1/6/12
PostPosted: 07 Jan 2012 1:30 am 
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Merry Eastern Orthodox Christmas 1/6/12!

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Christmas 2012.

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 Post subject: Jan. 6
PostPosted: 07 Jan 2012 11:48 pm 
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Picture from a Prince.

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 Post subject: History
PostPosted: 18 Jan 2012 12:37 am 
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LES DOSSIERS OUBLIES DE L'UFOLOGIE.

Cette photo, publiée il y a une trentaine d'année par une revue italienne, résume l'histoire complète de l'ufologie. En effet, à toutes les époques de l'histoire, les hommes ont vu dans le ciel de mystérieux objets volants.

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 Post subject: Re: RLC - A New Michelangelo at the MET?
PostPosted: 18 Jan 2012 4:39 am 
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Great picture Renne

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 Post subject: Re: RLC - A New Michelangelo at the MET?
PostPosted: 19 Jan 2012 1:02 pm 
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Renne, great pic. Imagine today, if someone saw that in the sky...............trippy to say the least. :wink:

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 Post subject: Columbia
PostPosted: 20 Jan 2012 2:47 am 
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Columbia, South America - Tairona tumbaga gold and copper alloy plated

with gold. Doesn`t this look like an Old World design?!

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 Post subject: Re: RLC - A New Michelangelo at the MET?
PostPosted: 20 Jan 2012 4:26 am 
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Renne wrote:
Columbia, South America - Tairona tumbaga gold and copper alloy plated

with gold. Doesn`t this look like an Old World design?!


I don't know if it's old world but it does seem to resemble they way the depict animals with rounded and large features and then refined plaiting. It shows beautiful craftmanship.
Do you remember those water whistles we discussed awhile ago found in south America, reminds of water carrier that can utilise wind and produce sound.

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 Post subject: Ocarinas
PostPosted: 21 Jan 2012 11:33 pm 
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I do remember the figurine whistles, many of tne Mayan figurines from Jaina are ocarinas.

"Vessel flutes, called ocarinas in the Americas, frequently are used by shamanic practioners today as a vehicle of call or communication with the spirit world. The same purpose likely extends back in time to the earliest human societies in the hemisphere. This ocarina's mouthpiece and air duct are found on the figure's right shoulder and back. When played, the seated figure would face roughly forward. This wind instrument renders a seated man with arms crossed over his chest in a formal pose. His fine attire and regal bearing imply nobility, the ocarina/figurine perhaps portraying a ruler given the iconic meanings of the motifs on his face, produced either by intentional scarification or face-painting. His right cheek displays the "jester god," an emblem of royalty which aligned the wearer with the maize god and the power of agricultural fertility and world renewal. Such affiliation is further connoted by the sprouting maize plant depicted in the center."

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Last edited by Renne on 31 Mar 2012 11:21 pm, edited 1 time in total.

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 Post subject: Re: RLC - A New Michelangelo at the MET?
PostPosted: 22 Jan 2012 3:43 am 
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Thank - you Renne, I love the pic, the lamp is wild.

I love the thought of those whistles, I used to have a plastic one you filled with water that sounded like top-notch pidgeons.

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 Post subject: NEW YEAR!
PostPosted: 22 Jan 2012 11:59 pm 
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Happy Chinese New Year of the Black Water Dragon to Rain!

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 Post subject: Mona
PostPosted: 24 Jan 2012 1:48 am 
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What is the mystery? The mystery is the He is Risen!

Leonardo did not agree with his heretic contemporaries.

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 Post subject: Serpent Rouge?
PostPosted: 31 Mar 2012 10:47 pm 
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Is this the Serpent Rouge?

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Last edited by Renne on 10 May 2012 1:09 am, edited 2 times in total.

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 Post subject: Re: RLC - A New Michelangelo at the MET?
PostPosted: 31 Mar 2012 11:06 pm 
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Renne wrote:
Is this the Serpent Rouge?


Leviathan.

Quote:
Leviathan (English pronunciation: /lɨˈvaɪ.əθən/; Hebrew: לִוְיָתָן, Modern Livyatan Tiberian Liwyāṯān ; "twisted, coiled"), is a sea monster referred to in the Bible. In Demonology, the Leviathan is one of the seven princes of Hell and its gatekeeper (see Hellmouth). The word has become synonymous with any large sea monster or creature. In literature (e.g., Herman Melville's Moby-Dick) it refers to great whales, and in Modern Hebrew, it means simply "whale." It is described extensively in Job 41.



Pilrig:

Quote:
BTW the novel ends with a verse:

This cup, this graal...
I have drunk, tout d'une baleine.
She has waited for me for a long time.

According to my English-French dictionary 'baleine' is a whale.

Really ?

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 Post subject: Re: Serpent Rouge?
PostPosted: 31 Mar 2012 11:24 pm 
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Renne wrote:
Image

Is this the Serpent Rouge?


Oh thanks for the pictures Renne much better to sea

nice connection

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 Post subject: Grail
PostPosted: 01 Apr 2012 10:54 pm 
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This picture is called "The Templar Grail" - isn`t there a legend about the emerald cup as a grail?

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 Post subject: Re: RLC - A New Michelangelo at the MET?
PostPosted: 02 Apr 2012 8:38 am 
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Renne.....

Il Sacro Catino, “The Holy Basin.” Most sources allege that this vessel—actually an emerald-green, hexagonal bowl—was brought to Genoa by Guglielmo Embriaco, following the conquest of Caesarea in 1101. A fresco on the main façade of the Palazzo San Giorgio depicts crusader Guglielmo (“William” in English) holding as war booty the distinctive Catino. Twelfth-century writers acknowledged the purported intrinsic value of the bowl. For example, William of Tyre noted circa 1170 that it was “a vase of brilliant green shaped like a bowl” and that “the Genoese, believing that it was of emerald, took it in lieu of a large sum of money and thus acquired a splendid ornament for their church.” He adds, “They still show this vase as a marvel to people of distinction who pass through their city, and persuade them to believe it is truly an emerald as its color indicates” (quoted in Barber 2004, 168).
source: http://www.csicop.org/si/show/in_search ... rald_grail

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 Post subject: Re: Grail
PostPosted: 02 Apr 2012 1:08 pm 
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Renne wrote:
Image

This picture is called "The Templar Grail" - isn`t there a legend about the emerald cup as a grail?


IMHO - I've always thought there was a link between the mythology of the Jade palace and the emerald cup/platter. It's also been described as a perforated disk.

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 Post subject: Emerald?
PostPosted: 03 Apr 2012 12:57 am 
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This broke in the 15th C. proving that it was not made of emerald. I hope it wasn`t broken by
someone who was testing it!

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In Genoa, the author poses with Il Sacro Catino (“The Holy Basin”), long believed to be the Holy Grail.

Image
A Genoese palace fresco depicts Guglielmo Embriaco, merchant and military leader, with the Catino as war booty.

Does the shell in the background have to do with Santiago de Compostela cathedral?
Thank you for this beautiful link Shasta.

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