#artistocrat

[kanazawagakuinuniversitnoh]

【新潟県謡曲古跡めぐり上越編】1日目9箇所目　　2021/6/27ー28

能「壇風」「田村」

水俣観音堂 《 糸魚川市水俣 》 水保観音堂の創建は不詳ですが泰澄大師が養老年間（７１７～７２４年）に開いたとも弘法大師空海が大同元年（８０６）に開いたとも云われています。

その後、坂上田村麻呂が当地を訪れた際、境内が整えられ寺院として草創したそうです。当時は吉祥院に属し、信仰を広げ最盛期には七堂伽藍を備た大寺院として周囲にも大きな影響力を持ちました。古くから神仏習合し隣接する日吉神社の祭祀を担っていましたが明治時代初頭に発令された神仏分離令により吉祥院が廃寺となり日吉神社と観音堂だけが残され現在は宝伝寺の境外仏堂となり周囲の信者によって管理されています。

水保観音堂には棟札が残されていて明和５年（１７６８）に建てられ、棟梁が倉若七右衛門、脇棟梁が宮原与右衛門、下役が小杉久右衛門だったことがわかっています。水俣観音堂は木造平屋建て、寄棟、鉄板葺（旧茅葺）、桁行５間、梁間５間、平入、外壁は真壁造り板張り、四方浜縁、高欄付き、中世の密教寺院建築の特徴を残し地域に残る修験道場の遺構としても貴重な存在です。

寺宝には大正１２年（１９２３）に国重要文化財に指定された｢木造十一面観音立像｣（平安時代中期～後期の作と推定、桜材の一木造、頭部の天冠台には様々な表情をした十一面が墨書、像高１．５４８ｍ、鉈彫り、３３年に一度の開帳、身をもって集落の火災を防いだという伝説が残っていて火伏の観音さまとして信仰の対象となり住民からは「水保の観音さん」と呼ばれています。）や男神像（２躯、室町時代作と推定、像高２７㎝、２３．５㎝）や鋳銅製鰐口（貞享３年作、鋳師：高田土肥藤右衛門藤原朝臣家次、施主：糸魚川高野清右衛門季林敬白）などがあります。 この仏像は、桜材の一木造りで、高さ1.548メートル。 平安時代中～後期（藤原時代）の作と推定されています。丸のみを横に用いて荒っぽく削る「鉈彫り」の技法で作られたものです。 この技法で彫られた例は新潟県には２例しかなく貴重な仏像です。 一般公開は33年に1回です。（平成16年8月27日～29日に一般公開されました）

又、水俣観音堂には鎌倉時代に後醍後天皇の倒幕に加担し佐渡に流され、本間一族に惨殺された日野資朝の子供阿新丸が十一面観音の霊力を受け父の敵を討ち果たし父の遺骨を境内に埋葬したという伝説があり資朝のもの思われる墓（五輪塔）もあります。毎年５月１日に行われる例大祭では日吉神社の神事の後、観音堂まで神輿渡御が行われ、さらに境内で神楽が奉納される神仏習合の名残が見られます。

能楽　#能　#Noh　#申楽　#猿楽　#狂言　#風姿花伝　#世阿弥　#芸術論　#幽玄　#歌舞劇　#演劇　#能面　#マスク #文化　#旅行　#トラベル　#名所旧跡　#神社　#寺院　#像　#碑　#巡礼　#古跡　#謡曲　#新潟　#上越　#伝統　#Travel　#GoTo　#ruins　#wreckage　#grave　#Tomb　#temple　#Buddhist　#image　#Buddha　#Buddhism　#Slaughter　#murder　#massacre　#massacre　#Overthrow　#noble　#aristocracy　#aristocrat　#coup　#惨殺　#貴族　#クーデター　#倒幕　#鎌倉　#墓　#塔　#仏　#将軍

[lollytea]

Okay Lolly, where is the Hunlow Bridgerton AU? /j lol

[headcanon-territory]

OK I'm rambling about Screwllum, this is a very nonsensical post because though I like ramble and analysis stuff, I never talk about them publicly because it ends up being a jumbled mess. My brain just functions that way but please bare with me. [I think I should note that there is spoilerish content for those who likes to check the notes, events or curios in this game ]

I read a few of the Gold and Gears content or hidden Screwllum lore through curios, notes or the occurrence events and it just hits me that Screwllum just exists for the entire 1.6 quests and the new SU dlc dosent really involved him at all. He dosent do much but he is relevant.

But I can't stop thinking that this guy is the guy that got the IPC to cancel their plans about eliminating mechanical lifeforms across the universe, this is the guy in one of the resistance groups against Emperor Rubert. But what makes his rebellion different during the Emperor Rubert wars? HES A MACHINE JUST LIKE HIM. HE ALSO SAVED ORGANIC LIVES. like that fact alone wouldn't be so interesting to me if he wasn't a machine.

And somehow it feels like his character hadn't that much focus during the dlc. Buuut I haven't finished the dlc yet so maybe there's a few occurrences or some of the story endings i didn't encounter yet

Soo maybe there's things there that I didn't know yet about him unless I got informed.

ITS JUST it's weird that he's treated with a sidelined light in favor for Ruan Mei [since yknow, big character for 1.6] but he has importance during Emperor Rubert's time.

But i do guess it's on his decision that they made in the dlc and dosent wanna show this fact all over your face.

There is like hints or a few notable content about planet screwllum during the dlc that's good. Like ooo Mechanical City, finally get to know a bit about the capital of Planet Screwllum Like the intra-cognitive events are all set there. And also how Planet Screwllum's people can function like humans [THEY CAN CRY AND TEAR UP DO YOU KNOW THAT?? SCREWLLUMITES CAN CRY THEY CAN ALSO PASS AWAY APPARENTLY <atleast they have population control>] [but somehow Screwllum worries about what he drinks and it should be machine oil for some reason]

So hey! We are learning more about his people this update, slowly and surely! [how All of these hints is giving me false hope- there's no planet screwllum update in the future they definetlt won't they are not brave enough to make several patches with very robotic humanoids they wo]

I got brain burned

tldr: Screwllum should be a more important character in the 1.6 patch especially in the new SU dlc because he has relevance in the time period its based on

[grapecaseschoices]

she looks so ggood in this

[starcunin]

as much as i adore gale and astarion , i feel like out of every one in camp , if astarion were immediately attracted to someone— it would be wyll.

[thedevilsrain]

this is a bit heavy but god i couldnt have come up with worse family tree for an english and a german character even if i tried 💀

[extremelynormalblog]

Best part is there was a documentary about the preparations for the ceremony that aired a few days ago, and the president of the IOC was being explained the concept, and Thomas Jolly is like "So this tableau is called 'Revolution'" and the guy says, "But no guillotine, right??"

And there weren't any guillotines! Technically!!

Gojira at the opening ceremony! 🤘🏼🔥

[denimbex1986]

'Great Scott! Can the actor known as Fleabag's Hot Priest shift to playing several melancholy mopers? Count on the irresistible Andrew Scott to fire up Vanya, a one-man take on Anton Chekhov's Uncle Vanya beginning in March 2025 off Broadway.

A hit in 2023 in London, the show marks Scott’s return to the New York stage after nearly two decades. He made his 2006 debut on Broadway opposite Julianne Moore and Bill Nighy in The Vertical Hour.

Since then, Scott’s screen roles in Fleabag, Sherlock, All of Us Strangers, and Ripley have amped up the Irish actor’s star status. All the while, Scott has worked steadily on stage in London, where he started out in the early 1990s and has since won two Olivier Awards.

Get to know more about Scott’s standout stage roles, then be sure to see him play the title role (and all the other characters) in Vanya at the Lucille Lortel Theatre.

Get Vanya tickets now.

Brighton Beach Memoirs

Scott’s stage roots are, in a way, based in New York – specifically Brooklyn, where Neil Simon’s 1983 dramedy is set. In a 1992 production in Dublin, Scott played Stanley Jerome, a supportive older brother who provides a bit of humor amid family struggles.

Six Characters in Search of an Author

In a 1996 staging of Luigi Pirandello’s absurdist drama, Scott was back in family mode in the role of an aloof son. The show was presented at the Abbey Theatre, where Scott appeared the same year in The Marriage of Figaro and A Woman of No Importance.

Long Day’s Journey Into Night

In Eugene O’Neill’s autobiographical drama about a family’s harrowing struggle with illness, addiction, and emotional turmoil, Scott played the sickly, introspective son, Edmund. For his performance in this 1998 staging at the Gate Theatre in Dublin, Scott was named actor of the year at the Sunday Independent Spirit of Line Arts Awards.

Dublin Carol

Scott made his London stage debut in 2000 at the Royal Court Theatre in Conor McPherson’s moody yuletide drama. Scott played Mark, a young man searching for his place in life, alongside Brian Cox as a forlorn funeral director.

The Irish Times praised Scott for bringing the “hopefully innocent Mark” to life. Scott returned to the Royal Court in 2006 for McPherson’s grief-themed Dying City and in 2009 for Mike Bartlett’s emotionally charged Cock.

A Girl in a Car with a Man

Rob Evans’s unsettling play revolves around the abduction of a girl captured on closed-circuit TV video. For his role as gay narcissist Alex in a 2004 staging at the Royal Court, Scott won an Olivier Award for Outstanding Achievement in an Affiliate Theatre.

The Vertical Hour

In 2006, Scott made his Broadway debut in director Sam Mendes’s staging of David Hare’s drama about a former war correspondent (Julianne Moore) confronting her past and the men in her life – fiancé Phillip (Scott) and his father, Oliver (Bill Nighy). The New York Times critic praised Scott’s “touching vulnerability.”

Fleabag

Phoebe Waller-Bridge’s Emmy Award-winning series began as a 2013 one-woman play. Scott's character of a foxy pastor, and the title character's unholy obsession, first appeared in the TV adaptation.

Still, we'd be remiss not to include Fleabag here. There’s a fan-favorite moment in the second season when Fleabag speaks to the audience by looking directly into the camera. The priest sees her do it, asking, “Where’d you just go?” It's a theatrical moment — breaking the fourth wall at its deepest and finest.

Hamlet

To be or not to be… the lead role in this Shakespeare classic? In 2017, Scott stepped up as the dour Hamlet in a production directed by Robert Icke that began at the Almeida Theatre and transferred to London's West End. London Theatre praised Scott, who was nominated for an Olivier Award, for his “boyishly youthful demeanor” in the demanding part.

Present Laughter

No��l Coward becomes him. Scott played the charismatic, if self-absorbed, actor Garry Essendine in this 2019 revival at the Old Vic. London Theatre's critic wrote: “A magnetic Scott delivers again.” The star turn won Scott an Olivier Award. In his acceptance speech, Scott said Coward “put forth so many brave and progressive ideas through comedy.”

Nine years earlier at the same theatre, Scott starred in Coward’s Design for Living, a comedy about a complicated three-way relationship.

Vanya

This acclaimed solo adaptation of Uncle Vanya by Simon Stephens (The Curious Incident of the Dog in the Night-Time) arrives off Broadway following its acclaimed 2023 London run. The show, filmed live in the West End, features Scott playing multiple roles, each of them bedeviled by regret. In a five-star review, London Theatre called Scott's performance "a truly remarkable theatrical feat" — so be sure to experience it for yourself.

Get Vanya tickets now.'

[gentlefxlk]

Everyone needs to go to a museum and absorb the art and get off of tiktok.

[elbiotipo]

Quick worldbuilding hack, if you want to make a coherent political system for your fantasy world:

Basically, between the fall of Rome and early modern times, in Europe* most political organization wasn't actually kingdoms ruled by One True King like it's usual in fantasy, but something like this:

Feudalism: here, the center of power was not the nation (there was little concept of such thing) or the state, and not even the King, but the landowners (from kings to dukes to counts...) and their network of vassalages to each other. There were no "countries" but rather hereditary titles, and the people who held them. There was little of a true state besides what individual rulers did; they didn't even have formal armies as such, but rather the vassals who provided them, they and could have multiple allegiances. Examples are of course the Holy Roman Empire (neither holy, etc. etc.) France (note that the 100 Years War was a dispute about titles rather than France vs. England), Spain (actually a bunch of kingdoms and crowns rather than a country), etc...

"Empires": A state where a central goverment exerts power over other territories and peoples. These are rather familiar to us, because a formal state exists here, and the ruler is more powerful and often does have a standing arming and administration instead of relying on vassals. Here, there is a bureacracy and a claim to rule a territory, and while they might have vassals and prominent artistocratic families (everyone did) their administration was state-based, not allegiance based. The Roman Empire is the most imperial empire, as well as its cringefail successor the Byzantine Empire, but note that the great Islamic empires also had this kind of administration, with governors appointed and confirmed by the imperial court.

City-States: Basically a powerful city (though they were often the size of small towns, still, very rich) ruled by a local aristocracy, sometimes hereditary, sometimes elected from a few families or guilds, or a mix of both, and in some cases ruled by religious authorities. These could be independent or organized in alliances, but were often vassals of more powerful goverments such as above. Cities are in many way the building brick of larger states; of note, in the Ancient Mediterranean before Rome conquered it all, leagues of city-states were the main powers. Medieval and Early Modern independent city states were the Italian city states of course, and a famous league was the Hansa (many of its members themselves vassals of other powers)

Tribes and Clans: Every culture is different with this, but basically here the centre of power is the relationships between families and kinship. If this sounds familiar to Feudalism, you've been paying attention; Feudalism is what happened when the Roman empire and administration fell, and it was replaced by landowners and their ties of vassalage and allegiances.

Now, besides the history lesson, why is this important? Because there are reasons why rulers had their power, and you should know that.

A king never ruled alone. He was only the head of nobles tied by vassallage (feudalism), or the head of a inherited state bureaucracy and army ("empire"). If you killed the king, another one would rise from the prominent families. Often by bloody civil wars or conquest yes, but the system overall would stay. A king did not reign by its own power or virtue, but because the system itself supported him, and of course, he maintained the system.

A new king who wants to replace the bad old king (a common fantasy storyline) needs to also deal with the allegiances of all its vassals (who would probably rather kill him and take the throne themselves) or build a bureaucracy and an army, supremely expensive endeavors in those times, which took decades if not centuries to build. In fact, the Byzantines and the Arabs inherited most of their state aparatus, in one way or the other, from the Romans.

This is also why these systems lasted so long, too. The appearance of modern republics and other systems of goverment needed the coordination of people and revolutions that did not just kill the king, but also replace it with something else, and for that you need literacy, economic changes, an empowered populace... But that's for another time.

I hope this is fucking helpful because I don't want to spell allegiance ever again.

*I would love to do more about goverments outside Europe, especially Precolombine American ones like the redistrubitionist state-based economy of the Incas, or the Mesoamerican city-states. But that's for another time.

[gemsofgreece]

Mosaic from the 4th century BC discovered in Erétria, Euboea island, Greece. The mosaic depicts two satyrs, the older one dancing at the melody played by the younger one. The mosaic was found in a location where more ruins of late classical artistocratic houses have been unearthed as Ancient Erétria was prospering at the time. Based on the dimensions and the shape of the room with this flooring, it was likely an “andronas”, the room of the house which was exclusive to men, where the symposia took place. The classical mansion was abandoned in later times and was turned to a Christian cemetery by the 5th - 6th century AD.

Source

[headcanon-territory]

AU designs for a weird au

[zu-zup]

The town’s ‘artistocrat ladies’

[omarwolaeth]

(if it didn't put an awkward wrench into Heartbeat Program, I would've added the Heartland Nobility stuff in from the back of my head, but then that means Shun Might Know instead of He's Clueless But Suspicious. I'd rather he found out like everyone else might; purely on accident)

heehoo Heartbeat time

[hotwaterandmilk]

There is a lot about the Jenny series by Kawasou Masumi that hasn't aged well, but I'll be damned if it isn't bursting at the seams with badass moments like this featuring everyone's favourite artistocratic mercenary MILF.

When I think about what's missing from Hana to Yume today vs. the magazine during the late 80s/early 90s it's not just Hollywood-esque action series, but the way titles like the Jenny series would follow up heart-stopping explosions or fire fights with moments of palpable attraction between characters (per above).

Which isn't to say I dislike the magazine now (it has some great series running in it at the moment), but I do miss the sheer variety of content we saw in the lineups from 30-40 years ago. I also miss heroines like Jenny who was always compelling even though her moral greyness made her difficult to root for at times.

[umbralsong]

I was expecting something more thematic regarding Wyll's transformation, especially since there are obvious Beauty and the Beast parallels that are just ripe for the taking.

I genuinely expected this character, a heroic monster hunter so in love with fairy tales and romance, to strengthen the narrative surrounding the Tadfools and their fear of death, metamorphosis, or further transformation. For him to bring a completely new thematic resonance to the Emperor's story. For him to embody the city on the verge of discarding their soul to Gortash, the artistocrats, the vampires, and the (maybe futile?) attempt to save the city once again.

Instead, he is simply punished for his good act, and in a way that isn't close to his vow to kill Karlach on his "one good eye."

I really don't know what they were going for with all of that. *Warlock voice* And her contract doesn't make any fucking sense, as pointed out [here].

That's why I personally discard it, but I'm curious about what all of you amazing Wyll fans would have done if Larian gave a shit about him. What would you have done?