#destroying the sculpture in pursuit of perfection

[ghost-in-a-cup]

No matter how much they try parents still fuck up. And isn't that a fucking shame

[asphaltvalkyrie]

Threnody

So, I've spent the last two months or soon-and-off writing an origin story for my Sorceror Tav, Ardea. I was going for a bit of a dark fairytale vibe and it could use more work, but its at that "If I look at this thing anymore my eyes are going to permanently cross" stage so I decided to just let 'er rip.

Also on Ao3 because holy shit I DO have one of those, don't I?

In the lower city of Baldur's Gate, tales of familial tragedy are more numerous than the cobblestones on the streets. Families torn apart in one way or another, sometimes quite literally, thanks to a bevy of warring gods, bargaining devils and capricious magic.

One such family began with a young husband and wife.  Both were human and talented artists - the husband highly skilled at carving wood, and the wife at painting. Oftentimes they would work with one another to create things of astonishing beauty.  While they were most famed for their beautiful and lifelike sculptures, everything they created seemed to be beautiful, down the the simplest kitchen tool or child's toy. And so, they were blessed with great success and wealth, with a greatly renowned workshop that they operated out of their home in the lower city.

The perfection of their work often drew covetous and jealous eyes from the city's many other artisans both noble and peasant, but the couple's kindness and humility were enough to cool even the most heated of rivalries. Indeed, it would take nothing short of divine malefaction and infernal machination to harm the prosperous pair.

The architect of their ruin would be the Stormlord Talos, who could destroy in a second anything which nature and mortal kind could build, no matter how ancient or beautiful. One need only look to a grand old tree uprooted by a windstorm or a millennia-old temple felled in a single streak of lightning to see the shadow of His hand at work. Though the artistic endeavors of a single well-meaning pair of mortals could hardly be construed as a threat by most gods, Talos was not most gods.  In fact, the more random and senseless the destruction, and the more beautiful the things destroyed, the greater his pleasure.

And so, Talos sent a mighty storm to ruin the couple - great winds that blew away paintbrushes, heavy rains that ruined paints and rusted saws and chisels, and, worst of all, lightning bolts that tore through sculpted wood and painted canvas with equal ease. The pair was thought to have perished in this storm as well.  However, they were discovered the next day completely unharmed, beneath a pile of the their ruined masterpieces, which had somehow fallen to create a shelter for them, as if the works had sacrificed themselves to save their creators. A true miracle. 

And so, the pair was able to rebuild their home and workshop with alacrity, aided by the hands of their many friends and neighbors. Talos, childishly satisfied with his work, turned to other destructive pursuits. However, the pair could not help but fear that they would once again catch the eye of The Raging One once their works again reached full glorious potential. And their fear only grew when the wife realized that she was with child. 

It was in their hour of greatest worry that one of the devils of Cania came to them in the form of a handsome elf. He offered them a contract stating that no storm born of the heavens would ever harm them, their work, or their family. What he asked in exchange seemed simple enough for them to risk the loss of their souls - all he asked was for them to create a perfect likeness of him in wood and paint in a tenday. Afraid but confident in their abilities, the couple signed the contract... It would not be the first time they had been asked to capture the visage of someone influential and dangerous. But as soon as their blood had dried upon the parchment, the devil laughed and shed his handsome face, revealing his true form; a body only vaguely humanoid. The whole of his being was a nightmare of impossible colors and intangible textures - a landscape as varied and horrid as the hells themselves. Grinning with a beak full of mismatched teeth, he bid the couple adieu, and said that he would return in three days time. And he wanted it perfect, down to every rough scale and curling claw.  Every patch of matted fur and scabrous skin.

Horrified but undaunted, the couple locked themselves in their workshop, and when the devil strutted cockily back once a tenday had passed, he was struck dumb by what he saw. There he was. In perfect likeness. His chaotic form captured in every tiny detail. The husband had rendered his body in exact anatomical perfection with hammer and chisel.  He had somehow coaxed from a block of wood the dry smoothness of scales and the gauzy lightness of feathers and fur.  And beneath, the contours of muscle and sinew. The wife had seen to it that the colors were perfect down to the smallest shade - from the leprous green mottling on his patches of humanoid skin to the oily black sheen of his iridescent horns. Colors dull and muted where they needed to be, and brightly lurid where they needed to be. Mixed and applied with flawless skill.

The devil was furious that the couple had gotten the better of him. But the sculpture was undeniably a perfect replica of him, and devils are creatures of their word.  And so, he placed a spell of protection on the couple's home and workshop and scuttled back to Cania, tails between his many legs, as agreed. But, a word is a flighty and ephemeral thing to stake one's life upon, as words can be twisted into all manner of shapes, for good or ill. 

A short time later, the wife bore their long-awaited child; a daughter.  And though she was strong and healthy, her tiny body bore the unmistakable signs of infernal meddling. Superficially her face resembled her father's, but her skin was the color of a winter sky and her eyes were black pits lit by two sickly yellow sparks. On her head one could clearly see the two swellings that would become horns as she grew, and if there was any further denial of her devilish heritage, one need have only looked at her long, fleshy tail.

A Tiefling. 

Once again horrified but undaunted, the couple vowed to raise the girl as they would any other child, and were true to their word. They named her Threnody, a choice they would later regret, for it seemed to mark her for tragedy just as blatantly as her devilish features.  True to her name, she was a rather unhappy child, prone to bouts of sullen silence punctuated with sudden outbursts of anger.  Though intelligent and observant with a sharp tongue, she was not motivated by the admiration of her peers or the praise of her elders, and thusly school seemed to only bore her. One would have expected her to be teased, given her unusual appearance and spontaneous birth into a human family, but there was something about the girl that made other children keep their distance.  She found few friends, even among other the other Tiefling children of Baldur's Gate. 

This did not seem to bother Threnody, as she preferred to spend her time in the workshop with her parents... Not for their companionship so much as to be in the presence of them as they worked. Even as a toddler, she would watch her parents work for hours, enrapt with the act of artistic creation.  It seemed, in fact, to be the only thing that could make her smile. Watching the marbled patterns that her father could coax from a piece of mahogany, or the sublime shades her mother could mix with the most disparate of colors brought forth the kinds of coos and giggles that a parent lives to hear.  Delighted, her parents did everything they could to encourage the girl, providing her with brushes and paints as well as sculptor's clay, and (when she was old enough,) carving and sewing tools as well.  

Their investments in their daughter's talent was rewarded again and again, as the girl seemed to have a great affinity with all things creative. By the age of 10, she was creating pieces nearly as exquisite as those of her parents, and the wealthiest citizens were offering greater and greater sums for works from the young prodigy. She had inherited from her father a fine grasp of texture, and from her mother, an eye for perfect color.  When she worked, the very air seemed to pulse with potential, and her grim and gray features brightened.  

If she had deigned to accept commissions for painted portraits or custom clothing or heraldic sculptures, she may very well have earned her family a place among the wealthiest patriars in the upper city. However, she followed only her own agenda, balking at the idea of following anyone's visions but her own. Most of her work was inspired by nature, and her favorite subjects were the marsh animals and plants that she often glimpsed on the banks of the Chionthar not far from her home. She rendered them in paint, embroidery, wood and clay with equal skill, often against exquisite backdrops of clouded skies and rivers that seemed to snake off into eternity.

Even without following any sorts of instructions but her own, Threnody's gifts could have made her beloved of anyone and everyone she chose.  However, she remained distant and cold to most anyone, and disliked the company of others while she worked. Though her judgmental gaze and sullen silence were her only weapons, those who braved being in her presence as she worked would sometimes find their flesh breaking out in goosebumps. Even her parents would only approach her long enough to offer a cup of tea or to retrieve a dropped brush or chisel. But that was usually long enough to glimpse an occasional happy smile or joyful gesture, and they took solace in that as one would from seeing a spring sun peek out from among a towering bank of winter clouds. Delighted by their daughter's abilities, if not by her off-putting tendencies, her parents began to describe her gift as something truly magical.  It fell them to entertain her many admirers, and accept their adoration on her behalf. They took great pride in her and her abilities, believing that their prodigious talent (and by extension, Threnody's) had defeated that scheming devil once again - overcoming the curse of the Tiefling child he had sent them through the beauty and power of art.  All the time, the devil had even stayed true to his word.  

Threnody was scarcely a woman grown when she set about producing something truly remarkable.  It would take her several years... And she would work in a manner that was quite unlike herself, patching it together piece by piece instead of as a harmonious whole. Her parents voiced their concerns about her methods, but all it took was a single look from her baleful yellow eyes to silence them. 

Though her work was slapdash and seemingly improvised, every element of it seemed to integrate perfectly. Every dab of paint and thread of fabric she placed seemed to weave itself into the exact state she needed it to be in.  Shades of paint mixed on different days matched perfectly, cut edges of fabric melded together with seamless grace, a chisel never chipped a speck of wood more than it needed to, drying clay never cracked. 

None save Threnody knew what the finished product was supposed to be, and though she often spent hours staring at it, she never spoke of her work on it. Eventually, it began to take shape, becoming some sort of long-limbed and graceful bird.  Her careless crafting process was evident in its construction - when it was finally recognizable as a bird, it was headless, one-winged and balanced on a single leg of impossibly thin wood.  Some parts were painted and varnished while others remained bare wood, hastily bent wire or stiffly starched fabric, or were absent entirely. Even so, it was resplendent as a phoenix in a thousandfold shades of deep blue, cloudy gray and wine red.  

As she worked, the climate around the family home seemed to change. The winters became longer, and the sky howled with wind and rain and thunder seemingly every night. But Threnody's parents only laughed.  They had the word of a devil, written in blood and sworn by the infernal sisters, that no storm would ever harm them or their work. Let Talos throw his tantrums... it must chafe him, they thought, as lightning forked through the sky above their home only to crackle away into nothing as the hells-touched girl wrought masterpieces just out of his reach.  How mad he must be when the wind howled and shook the rafters of their home, unable to even momentarily distract their girl from creating another work of electrifying beauty. She was to have been a curse, but she had proved herself among the greatest of blessings.

With every new detail, the bird became more lovely, as if it were flying in feather by feather from the highest peaks of Celestia. It was posed with an unearthly and impossible grace, with a delicacy that should not have been physically possible to coax from the materials she had used.  Its ungainly construction became invisible beneath the beauty of its many elements. A time came when it appeared finished, but it was missing something... The bird had no eyes, and it was obvious from the messy and unpainted pits in its head that it was intended to have them.

At this point, Threnody stopped her work for a long time, focusing on other projects, which she worked with her usual care and professionalism, employing none of the improvised and haphazard techniques she had been using with the bird. Still, every day she would stare at the nearly finished, nigh-paradisical creature as if weighing something very important in her head.  Her parents could never get an answer from her as to why, and chalked it up to apprehension about somehow botching the last element. After all, every artist worried now and then that a perfect piece could be ruined by something as small as a single careless brushstroke or errant stitch. Meanwhile, the winter storms seemed to grow stronger every year.

Eventually, she began work painting two small, perfectly round seed pods from a scraggly marsh tree outside of their home.  Her parents held their joy in check as they realized that they were to be the bird's eyes. She painted them in cool shades of yellow, dappled like an autumn moon with hints of purple, punctuated at the center by a pit of abyssal black, varnished to a viscous sheen. Even bereft of a skull to hold them, the eyes seemed to follow the viewer, conveying a secret intensity of some unknown emotion.  Her parents hadn't been there when she finally placed the eyes, but they knew that it had been done by the sudden change in the air that made the hairs on their necks stand on end.  Though both busy with chores on opposite sides of their home, the husband and wife nearly crashed into one another as they rushed to the family's workshop.

There Threnody stood before her finished masterwork, hands clasped like a supplicant at a holy idol. A beatific smile spread across her somber features as her closed eyes welled over with abundant tears.  It was so rare to see her smile so brightly, rarer still to see her cry tears of joy, and they treasured the sight. Proudly they interlaced their fingers and embraced, drinking in the sight of their dear daughter happy.  Their grip on one another tightened as Threnody seemed to grow taller, and they realized that her feet were no longer touching the ground. The air snapped and popped around her as she rose, and her tears began to swirl like raindrops about her head.  Her eyes snapped open as she beheled her creation again, looking in its fabricated face as if it were a living thing.  It was then that her parents noticed that the bird's eyes were the same color as their daughter's, and just as alive. Both sets of eyes began to glow as Threnody stretched her hand out, and the bird miraculously came alive, moving its head to rest it in her hand, as if she were a fairytale princess. Hair-thin threads of electricity arced between them.  It was impossible to tell in that moment whether the girl or the newly animated bird were their source, but in a thunderclap of an instant the wind began to howl and the workshop began to shake.  The husband and wife held one another tightly as the sound of crackling lightning and shattering timber filled the air, and a blinding light filled their eyes.

Her mother awakened to thunder ringing in her ears and the smell of burnt timber and singed flesh, with the body of her husband draped across her chest. Cold rain and hot tears stung her face as she cast her eyes on a scene of utter devastation all around.  And in the center of it all was Threnody, outlined against a patch of tempestuous and clouded sky where the wind had torn away the workshop roof.  Her magnificent bird was now nothing more than a smoking heap... but she still smiled.  She smiled.  Even as her dead father, her distraught mother and her ruined masterpiece lay before her.  Lightning arched from her horns and weaved through her hair like the ribbons she had once braided into her hair.  Her mother screamed her name, but the storm swallowed the sound whole. 

The memories of the first time she and her husband had huddled beneath the rubble of their shattered life flooded back to her, and the devil's promise echoed in her mind.  She raised her voice again, this time screaming the words of the devil's contract that had now been violated.

"No storm born of the heavens shall ever harm you, your home, or your family."

As she shouted the final word, a realization hit her like a bolt from the blue. 

Even in his cruelty, the devil had been true to his word. The storm that had ripped apart their little family had come not from the heavens, but from within their own home. A storm channeled from the hells themselves in the form of a cursed daughter. She could only watch in despair as her daughter raised the wind and rain and lightning like a conductor of some hellish orchestra.  And in that moment, the unholy sound of hail beating against the wreckage of her home and the body of her beloved sounded almost like strident laughter. 

The young woman who emerged from this ordeal was no longer a beloved daughter, but an orphan of a storm of her own making. Her artisan's heart still beats within her, but it may be broken beyond repair. And if it cannot create, it will destroy.

[zamblam]

Background

Sasori and Deidara first met when Deidara was forcefully recruited into Akatsuki after being defeated by Itachi. Sasori needed a new partner after his previous partner, Orochimaru, defected from Akatsuki. Sasori commented on how Deidara seemed like someone who would die young. Sasori and Deidara would work together for about three years and nothing is really known about this time spent together. Both Sasori and Deidara consider themselves artists, though their artistic philosophies differed drastically. Sasori believed art was meant to last for an eternity for posterity and to leave something for the future. Deidara believed art was meant to last only for a moment, so that the artist can seek to create even greater art and even greater stimulation. These philosophies are reflected in their fighting techniques as Deidara uses detonating clay to explode enemies and Sasori uses puppets and even made his own body into a puppet so as to achieve immortality. Ironically Sasori prefers to end fights quickly and hates to keep people waiting, whereas Deidara likes to take his time with an opponent. This leads to frequent bickering between the two of them, even if they are being confronted by enemies. Deidara actually seems to respect Sasori’s art and his exceptional knowledge of it, referring to him as “Sasori no Danna” which means Master Sasori (in the English Anime it is translated as “Sasori my man”). Sasori has no respect for Deidara’s art, calling it a cheap pyrotechnics display and referring to him as a brat. Sasori often ends their arguments with threats to kill Deidara. In spite of threats to kill Deidara, Sasori often made efforts to protect him and often scolded him for not being more prepared in battle. Deidara seemed to enjoy getting an angry response out of his usually emotionless partner.

Kazekage Rescue Arc

Sasori and Deidara traveled towards Sunagakure, in which Sasori voiced concerns if Deidara was prepared enough to fight Gaara. Deidara assured Sasori that he brought his c3 clay just in case. They managed to infiltrate Sunagakure easily thanks to Sasori’s brainwashed ally Yura. Deidara makes a clay bird and asked what Sasori thought of his sculpture. Sasori replied by telling him not to keep him waiting. Deidara simply encouraged Sasori to watch the fight and enjoy the show. Though Deidara’s arms was destroyed in the fight, he managed to defeat Gaara and smiled at the thought of how angry Sasori would be for taking so long. They quickly left Sunagakure, but were confronted by Gaara’s brother Kankuro. After seeing Kankuro was a puppet master like himself, Sasori encouraged Deidara to go on ahead. Deidara smiled and confidently thought of how easily Sasori would defeat him. Kankuro attempted to attack Deidara before his departure, but Sasori quickly stopped the attack. Sasori defeated Kankuro and managed to catch up to Deidara, who seemed amused that Sasori was keeping him waiting for a change. They arrived at the Akatsuki headquarters and helped to seal the One Tailed Shukaku. They stayed behind to confront the team of ninjas that came to save Gaara. Deidara and Sasori get into an argument over who should fight Naruto. Sasori wanted to fight him so as to meet the quota of one jinchuriki each. Deidara wanted to fight him as he saw him as the perfect “canvas” for his art. This led to an argument about art, that didn’t stop even when Naruto, the person they were supposed to capture and were arguing about in the first place, attempted to attack them. Deidara created a clay bird and took off with Gaara’s body against Sasori’s wishes, to which Naruto and Kakashi followed. Sasori battled Chiyo and Sakura but was ultimately killed, though not before he informed them about a spy in among Orochimaru’s followers, revealing a grudge he held against his former partner. Meanwhile Deidara lost his other arm fighting Kakashi, and thought about how Sasori would be mad at him for not thinking ahead more carefully. Deidara hid as Chiyo and Sakura met up with Kakashi and Naruto. Shocked that Sasori was defeated, Deidara spoke to Sasori in his mind claiming “you relied too much on that puppet body of yours, even though it revealed your weak spot. Still it was a death worthy of an artist.” Deidara was then confronted by Team Guy, but managed to escape by faking his suicide by explosion.

Itachi Pursuit Arc

Now partnered with Tobi, Deidara learns of former Akatsuki member Orochimaru’s death. Deidara was seriously angered by this having wanted to kill Orochimaru in honor of Sasori. Sasori hated Orochimaru for betraying him and Akatsuki. Deidara decides the next best thing is to defeat Orochimaru’s killer Sasuke. Deidara becomes increasingly angry as Sasuke overcame each and every piece of art he threw at him, including his c4 Garuda which he was planning to use to kill Itachi. He ultimately uses his c0 “Ultimate Art”, which kills him in a massive suicide bombing but ultimately fails to kill Sasuke.

Shinobi World War Arc

Kabuto resurrects Sasori and Deidara for his army in the Fourth Shinobi War. He assigned them to the Surprise Attack and Diversion Platoon. Sasori and Deidara briefly argue about art, in which Sasori threatens to kill Deidara. Deidara replies that they are already dead so it didn’t matter. When they confront the Surprise Attack Division of the Allied Shinobi Forces. Deidara exclaims for them not to “underestimate this artistic duo”. Though they could not be killed do to the nature of the reanimation jutsu, Sasori still made attempts to protect Deidara from Omoi’s sword attack. They are quickly captured inside of two Black Ant Puppets belonging to Kankuro. Kankuro begins to tell Sasori how he has been immortalized because his soul carries on in his creations. Deidara becomes enraged, making fervent pleas for Sasori not to listen. He attempts to blow himself up with c0, but his explosion is stopped by Omoi’s lightning style. Sasori soul is released after he receives closure from Kankuro’s statement. This shocks Deidara, who yells out for Sasori to answer him. In an anime filler episode, Deidara manages to briefly escape from captivity with the help of Zetsu. While alone, Deidara reveals himself to be sad about how Sasori “went to soon” and how he was now alone. He is ultimately recaptured and his soul would be released after Kabuto undid the reincarnation jutsu.

Conclusions on Sasori and Deidara’s Relationship

Though the two of them are often fighting about their art, they seem to generally care for each other. Sasori constantly threatens to kill Deidara, but at the same time goes out of his way protect Deidara when they fight together such as from Kankuro in the Kazekage Rescue Arc and from Omoi in the Shinobi World War Arc. He also frequently lectures Deidara about being properly prepared in fights. Deidara seems enjoy getting Sasori angry at him, taking pleasure in making him wait and going against what Sasori wants when he takes Gaara’s body to lure Naruto away in the Kazekage Rescue Arc. Ironically he seems to display a lot more care for Sasori when he dies, like when he wanted to kill Orochimaru in honor of Sasori in the Itachi Pursuit Arc or in the Shinobi World War where he thought to himself how Sasori went to quickly and that he was now alone. Strangely enough when they are around each other they can’t seem to help but argue. Perhaps it was just too difficult for them to admit that they needed each other.

[tomasorban]

Devi: The Great Goddess

“The Great Goddess, known in India as Devi (literally 'goddess'), has many guises. She is 'Ma' the gentle and approachable mother. As Jaganmata, or Mother of the universe, she assumes cosmic proportions, destroying evil and addressing herself to the creation and dissolution of the worlds. She is worshiped by thousands of names that often reflect local customs and legends. She is one and she is many. She is celebrated in songs and poems.

Devi is all-important in Hinduism, but there are also forms of female divinity in Buddhism and Jainsim. Today millions of Hindu men and women conduct regular pujas to Devi through one of her many manifestations. For some she is their primary deity while for others she is part of a greater pantheon. All Hindu goddesses may be viewed as different manifestations of Devi. In some forms she is benign and gentle, while in other forms she is dynamic and ferocious, but in all forms she is helpful to her devotees... .

There are many approaches to looking at Devi: chronological, religious, or by function. Here we have chosen to observe Devi through her six main functions, beginning with her most forceful and dynamic form and moving toward less potent forms.

Devi is first seen as cosmic force, where she destroys demonic forces that threaten world equilibrium, and creates, annihilates, and recreates the universe. Next, in her gentle, radiant dayini form, she is the gracious donor of boons, wealth, fortune, and success. As heroine and beloved, Devi comes down to earth and provides inspiring models for earthly women.

Devi is then seen as a local protector of villages , towns, and individual tribal peoples, where she is concerned only with local affairs. In her fifth aspect, Devi appears as semi-divine force, manifesting herself through fertility spirits, and other supernatural forms. Finally, she is also represented in woman saints, who are born on earth but endowed with deep spirituality and other-worldly powers.”1

"By you this universe is borne, By you this world is created, O Devi, by you it is protected.” (Devi-Mahatmya).

Throughout India, devotees honour Devi in their temples and at wayside shrines. Flowers garland her image with brightness, the light of countless lamps illuminate her presence and the blood of thousands of animals stains the stones of her altars crimson.

The Goddess is older than time, yet time itself. She is formless, yet to be found in all forms. Her presence is in all things, yet she transcends all things. She is ever-changing, yet eternally changeless. She is both the womb from which all life flows forth and the tomb to which all life returns. Devi the Shining One source of the life-giving powers of the universe, who is experienced by her ecstatic worshipers as the Primal Cause and Mother of the World.

Roots Pre-dating the patriarchal Male Trinity by thousands of years, the Goddess was once worshipped throughout the ancient world. Now, only in India does her cult remain widespread and part of a vibrant, living tradition in which her presence empowers and stirs the hearts of her devotees with adoration and devotion.

The veneration of Devi can be traced as far back as 20,000 BC. A bone image of the Great Mother was discovered at Mirzapur in Uttar Pradesh dating back to that period. She was also revered at Harappa and Mohenjo-Daro in the Indus Valley from 2,500 BC. Closely associated with the land itself, villagers in rural India paid tribute to the Earth Goddess, adorning branches of trees and placing shrines within them which carried her image. Smooth, oval-shaped stones also marked her sacred sites.

Women were her channels and it was through them her rituals were performed, rites for the dead and ceremonies to promote fertility and fruitfulness of the land.

The Goddess reigned supreme until the patriarchal Aryans invaded the country in 1500 BC. The Harappan culture declined as these nomadic herding people initiated a new age in which their male Gods became predominent. But the worship of Devi could not be entirely suppressed. It was absorbed and transformed to accommodate the new situation.

The Goddess became united in a Divine Marriage with the Gods of the Male Trinity: Sarasvati with Brahma, Lakshmi with Vishnu, and Parvati, Kali and Durga with Siva. Once given a priestly blessing, veneration of the Goddess as the God's consort was incorporated in the regular rituals. As Sakti, she became the powerful spiritual energy without which the God was unable to act.

Facets The Goddess is multi-faceted, known by myriad names and personified in many forms. As well as responding to the names of Parvati, Lakshmi, Sarasvati and Sakti, she also manifests under the titles of Gauri, Uma, Sati, Aditi, Maya, Ganga, Prakriti, Gayatri, Tara, Minaksi, Mahadevi, Kundalini, Durga, Kali, Chamunda and in many other guises.

The great mountain peaks of the Himalayas Annapurna, Nanda Devi and Chomo-Lung-Ma (known to Westerners as the world's highest mountain, Everest) all testify to her divine presence. Like the facets of a diamond, these varying forms of the Great Universal Energy that is Devi are merely reflections of the countless aspects that make the whole, the Absolute.

Creator and Preserver As Virgin and Mother, the Goddess is considered to be the very spring from which every kind of love flows into the world. From the vast ocean of her being the morphogenetic field that produces all forms the Goddess gives birth to all living things. The pouring forth of this love-energy from her timeless, formless source into the field of time constitutes a sacred mystery.

Representations of the Goddess as a crouching woman giving birth to the manifold forms of her creation can be found in Indian art. As the Sky-Goddess Aditi, she pervades all space and is mother to the Gods so revered by the Indo-Aryans.

Maya the Sanskrit word for 'magic' and 'illusion' describes her role as the originator of all material things, all that is perceptible to the senses.

Displaying the protective and maternal side of her nature, she revels in her multitudinous manifestations and joyfully embraces the bounty of her gifts. Sculptures adorning Hindu temples frequently depict the Virgin Goddess as a young, beautiful and voluptuous woman. Sometimes she stands on her own, at others she is paired with her God-consort.

As Earth Mother, she is also a deity closely associated with Nature and fertility. Images of her priestesses, the Yoginis and Saktas, often incorporate organic forms such as branches or vines, symbolising Nature in its most instinctive form, proliferous and fruitful. Plants, leaves and flowers are commonly used in Indian medicine and, when they appear in portrayals of the Earth Mother they are considered to reflect the magical powers with which she is endowed.

Although on one level, her naked body signifies the physical beauty and attraction of the Eternal Feminine, it also symbolises the discarding of illusion and, therefore, freedom from attachment.

Adorned with jewels and ornaments, she represents all that is precious. She alone is the eternal jewel whose brilliance encompasses and illuminates the universe.

Carved images of the Goddess and her Yoginis formulate the visual language which conveys the essence of the philosophy lying at the core of her worship, which is so little understood by most Westerners. Gazing at sculptures depicting the joyous physical expression of love, they tend to miss the symbolism of the divine ecstasy associated with the union of male and female energies that transcend, transform and liberate the soul from the wheel of karma.

One of the most ancient cults of the Goddess is that of Sarasvati, who is both worshipped as a sacred river of the same name and as the instigator and protectress of the spoken word, as well as all intellectual and artistic pursuits.

One of the most recent forms of her manifestation is that of Bharat Mata, Mother India, a militant aspect of the Goddess that is much concerned with the cause of Hindu nationalism.

Another manifestation is that of the beneficent Lakshmi, bringer of prosperity and abundance. During the autumn festival of Diwali, people all over the country light lamps in her honour to guide her into their homes.

The Goddess is also revered as Sati the pre-Vedic Virgin Bride who epitomises the loyal and virtuous wife who is faithful to her husband even unto death. This idea of wifely perfection is dear to the Indian way of thinking. Although in a metaphysical sense it means Sati is totally at one with her own true being, it is also an ethical concept. Sadly, the idea of the 'perfect wife' who is faithful unto death developed into the practice of suttee, in which a dutiful spouse was expected to accompany her husband to the world beyond through self-immolation voluntarily or otherwise in the flames of his funeral pyre.

In her aspect of the Great Mother, Devi's devotees believe the presence of the Goddess exists within all her creations. She is their Mother. She gives them life. She nurtures them through her physical manifestations and she is present in their times of need. Through her worship, too, her devotees can transcend the world of illusion and reach out to her true being.

To know the Goddess is to experience Being-Consciousness and bliss itself. But Devi demands total surrender on the part of her followers before she condescends to reveal herself in her divine state. Her fervent devotees must learn to see her presence in all things. She must become the bedrock and the meaning of their life. Then, and only then, can they aspire to experience her blessings in their totality.

Even as in the psychological process of accepting the dark side of our own nature to achieve a harmonious wholeness, it is necessary to understand the Goddess in her terrible aspect also. For even as she is the bestower of life, as Kali the personification of all-consuming Time she is also its destroyer, to whom, at the appointed time, all manifested things return. They are absorbed into her being, there to await rebirth in yet another cycle of cosmic creation.

Destroyer As Devimahatma, Mahadevi or Durga (one of her most ancient titles), the eternally existent mother who nurtures and protects her offspring, the Goddess's influence swept across North India and was particularly popular in the regions of Bengal and Rajasthan.

Famous for her prowess in battle, Durga the Unassailable used the strength of her will, her knowledge and force of action, to defeat the purveyors of evil and to vanquish the demonic forces upsetting the balance of the universe.

Riding on a lion or tiger, her multiple arms wielding auspicious weapons, she was Cosmic Energy personified. When her mission was fulfilled she returned to her mountain home, promising to nourish the earth and protect her worshipers, only returning should her divine force be needed again.

At the height of this great cosmic battle, Durga was aided by the awesome Kali, who burst from her forehead to devour or crush the army of demons. As Kali drank the seed-blood of her enemies, she rendered impotent the destructive phallic power of her assailants.

Black Kali represents the Crone aspect of the Triple Goddess. With her dishevelled hair and lolling blood-drenched tongue, she presents a fearsome figure.

As the active power of Time, her three eyes look to past, present and future. Her thin waist is encircled by a girdle of human hands, symbolising the accumulated deeds of karma. Around her neck hangs a rosary of fifty skulls, each one inscribed with a magic letter of the Sanskrit alphabet representing the sacred word, or mantra, which vibrates within the primordial creative energy of the universe.

The Dark Goddess's four hands are also symbolic of her function: one wields a sword to cleave the threads of bondage, another grasps a severed head, representing the annihilation of the ego. Her two remaining hands are poised in gestures to dispel fear and inspire her devotees with spiritual strength.

Paintings and sculptures sometimes depict the fearsome Goddess standing on the inert body of her consort, Siva, awakening him into action with her sheer primordial power and energy. As Smashanakali she resides in cremation grounds and her priestesses, the Dakinis or Skywalkers, undertake the role of Angels of Death. Terrible though her aspect as Destroyer undoubtedly is, the mystical experience of the Goddess in this form can liberate the devotee from ego-consciousness and spiritually unite him with the Goddess in her oceanic formless state. One of her most frequented temples is that of Kalighat in Kalikata, Anglicised to Calcutta, the city that derives its name from the Goddess. During the three-day-long annual autumn festival of Durga Puja, seven or eight hundred male goats are slaughtered in her honour at Kalighat alone. Before human sacrifice was prohibited in 1835, male children, too, were sometimes beheaded to placate Kali. In today's festivities, an image of Durga is fashioned from clay, painted and lavishly decorated, then paraded through the streets and cast into the waters of the holy Ganges.

Symbolic representations Abstract forms can also depict the Goddess in her various forms. As Creator she is symbolised by a downward pointing triangle, the yoni, representative of female sexuality. As Preserver, she takes the form of a straight line, and as Destroyer she is recognised in the form of the circle. In her unmanifested state as the Source of all life, the Goddess is depicted simply as a dot, the bindu, or seed-state of her being.

Sakti Tantric texts date back to about 600 AD, but the basis of many of their ideas go back to much earlier times. Even today, the worship of the Eternal Feminine as the cosmically creative energy of her consort Siva, is widely practised in Nepal, Bhutan and Tibet, as well as India. Tantrics practise the sexual adoration of the feminine life-force as Sakti and through controlled sexual intercourse maithuna seek to awaken the spirit within to a state of heightened awareness, breaking through the limiting physical boundaries to an ecstatic union with the divine in her Absolute and timeless state. To raise the kundalini, or serpent power, so that the spiritual energies ascend through their psychic channels and energy centres within the subtle body the chakras to culminate in enlightenment, involves a number of processes. Methods such as meditation, breath control, the saying of mantras, the contemplation of yantras, visual symbols which concentrate the mind, all play an important role. As Kundalini, the Goddess assumes the form of the ancient and powerful symbolic image of the serpent or snake, so shunned by Christianity. Yet, in whatever form, Devi's magic still remains. As the Great Triple Goddess she is today widely worshipped throughout India. To her followers, she is both the Energy which is life itself and the Source to whose depths all living things return. At the time of Kali Yurga, or cosmic dissolution, her devotees believe the physically manifested universe will once again withdraw itself into the formless depths of the Goddess until a new gestation period commences and the cyclic rhythm of creation is once again set into motion. "Who dares misery, love And hug the form of death, Dance in destruction's dance To him The Mother comes.”

[nataandreev]

Fragments from “The Pursuit of Art” by Martin Gayford

Being There 01 A Long Drive to Infinity: Brancusi’s Endless Column

This is a sculpture of infinity. It is thus a highly paradoxical thing: a solid three-dimensional representation of time. That is one reason why, like a lot of good art, it is hard to photograph. The result is a picture of a long, thin object sticking up in the air.

Originally, the column and the other Brancusi works at Targu Jiu were commissioned by the Women’s League of Gorj - the surrounding region - to honor the fallen of the First World War.

In reality, the sculpture had developed in Brancusi’s mind over many years: it was something he was driven to make. He carved his first column from an oak tree in 1918; it stood over 20-feet high in the garden of the American photographer Edward Steichen.

‘The individual beads are also just the right height and shape so you don’t read the column as narrowing towards the top, which you would expect to.’ ‘So’, King had gone on, ‘it remains an abstract line in space, almost a shaft of light, with a strange anti-perspective, and anti-mass.’

Actually, in a way, when you are next to it, you understand it even less, while simultaneously experiencing it more strongly.

Under the postwar Communist regime, the Column was ordered to be demolished, as an example of ‘bourgeois decadence.’

Brancusi carefully anchored his masterpiece in the earth. He had a shaft of steel embedded deep in the ground and welded each of the cast-iron beads to that.

There followed a long and controversial restoration in which the original steel core was replaced by a new one of stainless steel.

A sort of modernist Arc de Triomphe, but with imagery of love, not war.

But again, as with the column, Brancusi had taken a traditional form and made it radically new.

Being There 02 In the Land of the Dancing Lord

This, surely, was what much of the world, including Europe, was like before the idea of art was invented: packed with figures made by people not to be admired but to be worshipped.

There is a paradox here: the purpose of a great number of the things we call ‘works of art’ was and is religious. But when we encounter them in the circumstances for which they were made our reaction - or at least mine -  is to feel awkward, a bit embarrassed a being there under false pretenses. This is, perhaps, the mirror image of the bewilderment felt by a true believer at finding a sacred image in a museum, lined up with pictures of landscapes and kitchen tables.

Once they are taken out of the temple, and put in a museum, for this pious artist-craftsman, the bronzes lose their divinity.

Nataraja is also a three-dimensional image of time, the universe surrounding the god in a ring of eternity, perpetually created and destroyed. It represents an idea - that movement and rhythmic energy are fundamental to the universe - echoed by modern physics. 

‘perfect expression of the rhythmic  movement in the world.’

Being There 03 An Audience with Marina Abramović

I must admit that at first, I found it hard to comprehend a frame of mind in which one would freeze and lacerate one’s own body, but draw the line at, say, a glass of Prosecco.

But when you are doing a performance you can use the energy of the public, which is enormous, to push your limits much further and do whatever you want.’

So if young artists can re-perform my old pieces, who cares if it’s “mine”? Let it happen.

‘That’s why’, she added unexpectedly, ‘I’m thinking an astronaut is my best choice as a husband because he’d be space doing anti-gravitational experiments. and I could work undisturbed.’

[rosotravel]

Royal Castle Warsaw – Top Attraction in Warsaw

The Royal Castle in Warsaw is a baroque-classicist residence, the former house of many Polish monarchs and kings. Nowadays it performs museum and representative functions. Originally it was the residence of the Dukes of Mazovia, and since the 16th century, it was the seat of the authorities of the First Polish Republic: the King and the Parliament.

In its long history, the Royal Castle was repeatedly plundered and devastated by Swedish, Brandenburg, German and Russian troops, during wars and occupations.

In 1980, the Royal Castle along with the Old Town were included in the UNESCO World Heritage list, and in 1994 together with the historical town complex, the Royal Route and Royal Wilanów, it was considered a historical monument.

The Collection

The collection at the Castle includes paintings, sculptures, drawings, graphics, furniture, ceramics, glassware, textiles, clocks, weapons, numismatic items and objects of archaeological value.

In the chapel of the Royal Castle in Warsaw, the royal insignia of Stanisław August Poniatowski are kept such as the Chain of the Order of the White Eagle and the ceremonial sword of the Order of St. Stanisław. In the chapel, there is also a casket with the heart of Tadeusz Kosciuszko.

The insignia of the President of the Republic of Poland are kept in the Royal Castle: stamps of the President of the Republic, Flag of the Republic and state documents. In 1994, Countess Karolina Lanckorońska donated 37 paintings to the Royal Castle. The collection contains two paintings (portraits) of Rembrandt: Scholars at the pulpit and Girl in the frame of the painting, both paintings were originally in the collection of Stanisław August Poniatowski. In December 2018, the violin, made by Antonio Stradivari, was deposited in the Castle deposit. This is the first such instrument in postwar Poland, it was created in 1685 and received the name Polonia.

The History

Setting of a wooden and ground castle in the 14th century on the Vistula embankment at the mouth of the Kamionka river was connected with the founding of the city of Warsaw. Both initiatives are attributed to the prince Bolesław II of Mazovia.

In the first half of the 14th century, the original castle-watchtower was transformed into the center of the Mazovian dukes.

In 1526, the last Mazovian noblemen died childlessly and the Czersk-Warsaw district was included in the Kingdom of Poland. King Zygmunt I came for the first time to Warsaw and took the oath of the Mazovian Parliament and took over the Castle.

In 1563, a decision about expanding the Castle was made, but the works started in 1569. By virtue of the resolution of the Union Parliament of Lublin, Warsaw and the Castle were recognized as a permanent place of meetings of the Seym of the Polish-Lithuanian Commonwealth.

The extension of the Castle, according to the design of the architect Giovanni Battista Quadro, slightly changed its external shape, much more interior.

Almost from the beginning of the reign of King Zygmunt III Waza Warsaw and the Castle, due to its convenient location, became the place of longer stays of the royal court.

After 1598, the pursuit of regaining the native crown became an important goal of Zygmunt’s policy. In such circumstances, he decided to move the mansion permanently to Warsaw and make an essential extension of the Castle.

The period of the Swedish Deluge and the three occupations of Warsaw by the Swedish and Transylvanian armies brought the castle plunder and devastation of interiors. The Swedes took not only a significant part of the artistic collections gathered in the Castle (including 200 paintings), but also permanent elements of interior design (marble floors, fireplaces) and garden architecture (sculptures, fountains). Parts were burned down and the Clock Tower was damaged.

However, the interior was substantially reconstructed relatively quickly so residential and public functions were restored to the Castle.

Castle’s greatness

During the reign of Stanisław August Poniatowski, the last Polish monarch, the Royal Castle had a period of its greatest splendor. The amounts deposited from the royal treasury and the private royal box were enormous. The king surrounded by patronage artists and craftsmen. All of the above, as well as political views and the artistic taste of the ruler, allowed the transformation of the “ancient seat of Polish kings” into a representative royal residence, taking into account the aesthetic and ideological concepts of the European Enlightenment.

The building of the Royal Library was built from scratch, using the area next to the east wing of the Castle. Inside, a royal collection was collected, which in 1795 had more than 16 thousand volumes.

In the 19th century, Emperor Napoleon Bonaparte visited the Castle. Here in 1807 he decided to create the Principality of Warsaw. Soon afterwards, in 1815, the Kingdom of Poland was established and the capital was moved from Cracow to Warsaw.

Wars and occupations

After the January Uprising, the Russian army completely destroyed the royal garden from the side of the Vistula, building several brick barracks. During the years 1915-1939, restoration works were carried out at the Castle.

In the interwar period, many outstanding conservators of art worked at the Castle, which made the Royal Castle in Warsaw one of the most important conservation centers in contemporary Poland. Since 1926, the Royal Castle served as the residence of the Polish president.

In September 1939, the Royal Castle burnt after German bombing. Plunder of art from the Castle began after the occupation of Warsaw by German troops. The final destruction of the building took place during the Warsaw Uprising.

In 1949, the Legislative Parliament unanimously passed a resolution to rebuild the Royal Castle. Until 1974, the castle was rebuilt in its raw basic shape. Interior furnishing (furniture, paintings, collections of works of art, etc.) and finishing works lasted until 1988.

in the 21st century, comprehensive repairs of various parts of the Castle were taking place to get the most out of its original appearance.

Royal Castle Sightseeing

There are several permanent expositions and seasonal/temporary exhibitions.

Permanent exhibitions:

● The Tin-Roofed Palace:

○ Prince Józef Poniatowski’s Apartment

○ Exhibition of eastern carpets from the Teresa Sahakian Foundation collection

● The Kubicki Arcades

● The Upper Garden

● The Lanckoroński Collection – Rembrandt’s Paintings. Gallery of Paintings, Sculpture and the Decorative Arts

● The Royal Castle – from Destruction to Reconstruction

● The Numismatic Cabinet

● Stefan Żeromski’s Apartment

You can choose the Royal Castle Route that includes:

● The Royal Castle – from Destruction to Reconstruction exhibition

● Rooms on the ground floor: The Lanckoroński Collection – Rembrandt’s Paintings. Gallery of Paintings, Sculpture and the Decorative Arts, The Royal Library

● Rooms on the first floor: The Great Apartment, The King’s Apartment, The Four Seasons’ Gallery, The Parliament Chambers, The Matejko Rooms

● Rooms on the second floor: The Numismatic Cabinet, Stefan Żeromski’s Apartment

Royal Castle Opening Hours

● Monday:

○ (1 September – 30 April): closed

○ (1 May – 31 August): 10:00-18:00

● Tuesday, Wednesday, Thursday, Saturday: 10:00-18:00

● Friday: 10:00-20:00

● Sunday: 11:00-18:00

Royal Castle Tickets The Royal Castle Route:

● normal ticket – 30 PLN

● reduced ticket – 20 PLN

● children up to 16 years old – 1 PLN

Guided tours:

● headsets required for a guided group – can be rented for 5 PLN per person

Audioguide:

● normal ticket – 17 PLN

● reduced ticket – 12 PLN

Language versions: Polish, English, German, Russian, French, Spanish, Italian

The Royal Castle – from Destruction to Reconstruction exhibition:

● FREE admission

The Numismatic Cabinet:

● normal ticket – 7 PLN

● reduced ticket – 5 PLN

● children up to 16 years old – 1 PLN

Stefan Żeromski’s Apartment:

● available during weekdays on request based on a ticket for the Royal Castle Route or a ticket to the Numismatic Cabinet

The Kubicki Arcades:

● FREE admission

The Tin-Roofed Palace:

● normal ticket – 15 PLN

● reduced ticket – 10 PLN

● children up to 16 years old – 1 PLN

The Upper Garden:

● FREE admission

IMPORTANT: Tickets can be bought on the spot at the ticket office or online. During the Summer season there might very long queues, sometimes waiting time reaches up to 2h. It is advised to buy tickets in advance during the high season.

Royal Castle Tours

If you don’t feel like organising everything on your own, our great guided tour to Royal Castle will be the perfect option for you!

It will give you unique chance to explore the Royal Castle and area around with local professional guide. All of our guides are licenced and official, and have huge knowledge but also a passion to what they do. You will learn everything you want about Castle’s history and hear interesting curiosities about this place that you wouldn’t find in any guidebook! Choosing our tour, you won’t have to wait in line at ticket office, skip the line entry is always guaranteed and included in price.

There are 2 options that you can choose from, and both of them can be arranged in private or shared version:

1. Royal Castle Guided Tour – 2 hours tour that includes sightseeing the Warsaw Royal Castle. You will have a proper introduction outside the Castle and chance to admire its beautiful architecture. Then you will see the Castle’s interior during the Royal Castle Route.

2. Royal Castle and Warsaw Old Town Guided Tour – 3 hours option that includes everything from shorter version and in addition you will be taken around the charming Warsaw Old Town. The Royal Castle is placed at the beginning of the Old Town, so you will have a chance to see the tiny streets with colorful buildings along them and learn this area’s rich history.

Private version is a great choice if you’re coming to Warsaw with a group of friends or family. Your private guide will be only at your group’s service and will answer all of your questions. We offer our tour in 7 different languages: Polish, English, German, French, Russian, Spanish and Italian. Private guided tours take place every day (except Monday and Wednesday) at 11:15am and 4:15pm.

If you’re traveling alone or in a very small group, then a shared group version of this tour will be the best for you. You will have a chance to meet new interesting people from all over the world with whom you will be sharing this tour. No worries about the crowds though, the group will be up to 15 people only. Group tour is held only in English and takes place every day (except Monday and Wednesday) at 11:15am.

[angrycollectordaze-me-blog]

Essay代写：Rob grier

下面为大家整理一篇优秀的essay代写范文- Rob grier，供大家参考学习，这篇论文讨论了罗伯·格里耶。罗伯·格里耶是著名的法国新小说运动创始人，在20世纪60年代开始转向电影创作，如今也已成为法国新电影的代表人物，无论是他的小说还是电影，他都坚持认为作品并不反映社会现实，而是反射叙述自身，与传统的现实主义作家不同。罗伯·格里耶认为���者或观众并不仅仅是接受一个已完成的作品，而是要求他的读者或观众参与到作品的创作过程中去，这种观众参与式的创作，是理解他的电影的一个关键所在。

Rob, is a famous French new novel movement founder, turning to the film creation in the 1960 s, France is the representative figure of new movie, his novels and films, he has insisted that the work does not reflect the social reality, but reflect narration itself, different from the traditional realism writer. Rob grier believes that the reader or viewer is not just accepting a completed work, but asking his readers or viewers to participate in the creation process of the work, which is a key to understanding his film.

When rob grier turned to filmmaking, he conducted a series of artistic experiments, including experiments on narrative techniques, montage and picture cutting, which undoubtedly made his films difficult to understand. The film "beautiful girl" written by him in 1983 adheres to his bold innovation and experiment in novel creation. It is an experimental and explorative work that integrates elegance, suspense, fantasy, vampire and conjuring, which makes people confused and reflects rob grier's usual difficult and obscure style. This highlights his use of multiple narrative techniques and multiple narrative traps.

As a versatile writer of novels and films, rob grier makes his novels and films influence and permeate each other, forming interwoven intertextual relations. In his novels and movies, intertextuality relationship is like interwoven network is alive and well, literature, architecture, painting, sculpture, music and other similar name, situations and objects, and even some sentences interact with each other, such as symbols, from his early works frequently appeared in his novels and movies, while in the film "the beautiful NvFu," painting "the beautiful NvFu" is not only a mutual Wen Yuansu, even has become a vital meaningful, become the key of narrative producer, in the film "beautiful NvFu string up the imagination and the connection of death.

Generally speaking, there are two modes of narrative generation, language generation and situation generation. The narrative of language generation mainly appears in the novel text, which mainly relies on the use of language, sentences and paragraphs, etc. The narrative of situation generation can be either a metaphorical event and story, or a montage editing picture, etc. They are presented in different ways in the text to promote the process of narrative. Therefore, context-generating narration can be found in both novels and movies. Of course, the difference between the two is not absolute, the context-generating narrative can be formed independently without the aid of language reinforcement and image, and exists as a pure function. In the film beautiful girl, rob grier breaks through the two methods of narrative production and boldly adopts the image-generating narration under the dream-making machine. That is to say, grier has another image-generating narrative embedded in the film's second narrative, the dream-machine narrative, specifically, using footage adapted from magritte's painting "the beautiful captive" and Sarah on a motorcycle in black leather. Through image processing and using a new movie "text", in this text, by calling a seems to be no associated with previous narrative paintings "beautiful NvFu", seems to be an external break in the image to generate a narrative, as a result, dreaming narrative and paintings as well as the image of the machine are intertwined and nested.

Beautiful NvFu in the film, began a series of lenses to switch back and forth between the two scenarios, one is driving the motorcycle, and then the lens is a lens frame on the beach, through the lens, we can see the distant part of the sea, the second lens for no more than one seconds, immediately aroused the few, Margaret also known as "the beautiful NvFu" picture. Thus in the paintings, Margaret and a dream machine from external established visual contact between each of the painting, Margaret will evoke images of interaction, on the screen, a frame holds up a curtain, followed by the sea and the sky, as if the curtain open they will appear, paintings and make the connection between the dream machine has been a series of switching between two lenses strengthened, until the third camera "I" and the emergence of the blonde nightclub scene, and later through an upward sloping lens and lens show that the rider wears a black leather jacket is a woman of her hair, Sarah, the hero's boss.

Freud put forward the famous theory of personality structure in his later years. He assumes that the personality structure consists of the id, the ego and the superego. The id is a deep part of the personality structure, which is composed of human instinct impulses and desires. It follows the "happiness principle" and blindly seeks satisfaction. The ego is the surface of the personality structure and the intermediary between the id and the external world. It represents human rationality and pursues the "reality principle". On the one hand, it suppresses the blind impulse of id; on the other hand, it makes some of the id impulse be satisfied in a form acceptable to the real world. The transpersonal development from the ego, on behalf of all the first restrictions and social and cultural norms, mainly consists of conscience and self-ideal, which ACTS in accordance with the principle of "perfection" and leads people to the ideal spiritual realm.

Influenced by Freud's psychoanalysis, rob, "under the robots build dream narrative, for the audience to portray a full of romantic dreams, stimulation, according to the theory of Freud's interpretation of dreams, the dream machine that made sexual dream is the hero of pent-up instinct impulse and desire, is the" I "in Freud's personality structure, is a principle of the pursuit of pleasure and satisfaction" this me ". From the beginning of the film, "I" and the blonde, the black biker Sarah, the painting "beautiful girl" always accompany each other. Almost every scene in which "I" is with a blonde is necessarily accompanied by the scene of Sarah on a black motorcycle and the painting "beautiful girl capture" in whole or in part. These sets of images in the film respectively represent different desires and different worlds in the human subconscious.

The third narrator is rob grier himself. Rob grier once said that his works do not reflect real life, but reflect themselves, referring to the creation itself and the narration itself, that is, the film involves the production process such as narrative construction, narrative strategy, and so on, having a clear awareness and deliberately presenting these manipulative processes in front of the audience. In the process of watching the film, the audience is sometimes separated from the film, aware of the existence of the director and the existence of the narrative itself, and participate in the construction of the film.

The self-reflection in the film beautiful girl is first embodied in the extensive use of recognizable intertexes. Rob grier depends on objects, paintings, music and so on in his previous works to form intertextuality with the film. Greek legends, for example, "Collins bride" by rob Gerry and reworked the dreams of the hero into the "I", the early and the cooperation of the novel, Margaret pretty captive cover is looming in the movie, the brown suitcase is on the cover of the book three times appeared in the films of different scenarios, "beautiful NvFu" music works in the film "beautiful NvFu" also mentioned. Most important of all is "the beautiful girl", which appears frequently in the film. On the surface of the intertextuality look like something ridiculous, such as the brown suitcase three appear in different places, but with the help of the dream background, and makes everything seem less absurd, more important is the intertextuality everywhere embodies the rob Gerry and personal traces, as if to remind the audience jump out from the story, always self expose its narrative fiction.

Secondly, rob grier deliberately presents the process of manipulating the narrative in front of the audience, and uncovers the trap of the narrative face to face, making the audience aware of the imaginary reality and reminding the audience of the imaginary and imagination of the story. When rob grier shows viewers a scene where the hero's head is covered with electrodes, he is essentially self-revealing his narrative strategy, dispelling the dream-making machine's narrative.

Rob in the works, including his fiction and film all have an inner source structure, which is derived from his understanding of the world and imagination, he often combines the understanding of the science and art of perception, so his works often can form a double seemingly contradictory phenomenon, a kind of cognitive construction seems to be in another kind of cognitive, cognitive down in such witness rob Gerry "created by the world as if is a fantastic world. This also makes his works reflect not the reality but his subjective imagination and surrealism. Meanwhile, it also makes his works' narration on the one hand construct and on the other hand destroy the structure. Imagination creates everything, and imagination destroys everything.

Therefore, in the end, when the audience is rob Gerry debunked the self made dream machine after digestion all fiction, rob Gerry and surprised everyone again to make the hero's dream into reality, realized his construction of dispelling the narrative of the game at the same time, once again to play with, subversion, and challenges the imagination of the audience, the audience in his narrative trap carefully constructed and mystery. On the other hand, audiences have to pay attention to and think about the narration itself, and participate in the narrative construction process of the director. Participate in its narrative experiment, in this process completed the audience's narrative construction.

All this is not lost. Rob grier has already hinted at the end. When the hero walks into Collins' house, he is found dead, and looks exactly like the hero, implying the hero's fate. When the audience sees the ending and then turns back to push the whole narrative process backward, they will participate in the elaborate narrative trap created by rob grier to speculate on the hero's fate. If the audience can see through rob grier's identity as a narrator, it will be found that the hero always imagines his own death. It is grier who is imagining his own death, and the subsequent scenes of execution constantly confirm and reinforce this imagination. At the end of the film, it seems reasonable that the hero is executed by a group of men in black under Sarah's supervision.

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[travelguideworldtour-blog]

14 Best Places to Visit in Israel

For a country the size of New Jersey, Israel is diverse. Anywhere you traveling into this Middle Eastern nation, you are guaranteed to encounter religious websites. You encounter other ruins in addition to ancient ruins dating back to a long time. Israel has several fantastic beaches, good chances, and also a complex scene, if things are not your cup of java. A Synopsis of the greatest places to See at Israel:

Jerusalem

The core of Israel beats ardently at Jerusalem, certainly one among the earliest cities on the planet. It’s a history, though it’s referred to as the town of Peace. Itdestroyed,’s been assaulted 52 times and besieged 2 3 times. It’s regarded as a sacred city by three big religions: Christianity, Judaism and Islam. Its Old City is divided into four quarters: Armenian, Christian, Jewish and Muslim. Here you can stroll about the Via Dolorosa’ beg in the Western Wall into Jesus’ footsteps; tour the Tower of David, a citadel, and also visit that the Church of the Holy Sepulcher, where Christians think Jesus is murdered.

  Eilat

Eilat is an excellent destination to curl up, after travel around Israel, shooting in culture, nature and history. Designed with a range of hotels and hotels, many pursuits are offered by this heaven at the south of Israel.

Visitors may enjoy courses and revel in this Red Sea’s magnificent world. Tasks include using a trip to the shore or the swimming pool, appreciating fantastic food, or swimming with dolphins. Throughout summer time, temperatures can reach levels of 40 degrees Celsius, and lows of 19 degrees Celsius throughout winter months.

  Sea of Galilee

The Sea of Galilee, or as Israelis call it can be the biggest freshwater river, an important water supply, in addition to, at Israel. This lake’s annals extends far backagain. As stated by the New Testament, a lot of Jesus’ miracles happened here, for example his walk onto the water. Tourists see the ocean of Galilee clinic water pursuits, have pleasure construction rafts, or to savor the lake.

  Nazareth

Located at the Galilee, Nazareth can be a significant sacred destination for all most Christians across the universe. Along with its price that is amazing, Nazareth is a city full of history and culture, and of course interesting archaeology, most which will reveal a side to middle-eastern charm to people.

  Haifa

Israel might be considered described as a country, however it’s just another faith that attracts traffic to Haifa, the third biggest city of the country. On the Mediterranean, this city’s greatest tourist attraction is that the Baha’i World Center using its shrine of the gardens.

Haifa is industrial city and a port, however it delivers many different matters todo. Technology, Science and Space’s Israel Museum is the museum. The arts are all crucial together with Ein Hod artists and artists. Haifa has beaches and is still just a fantastic place to sail and surf.

  Caesarea

Caesarea is both fresh and classical. It was established by Herod the Great in honour of Caesar Augustus, that gave the town to him. In Israel it became the only real city Back in 1952 to become dominated by a business. Park is where you will come across destroys.

Additionally you will find destroys by walking throughout the city that is older or you are going to need to take at a re enactment of horse races at the hippodrome. The Caesarea that is brand newest is up scale and modern. Maybe play golf, you are going to wish to sun bathe on the shores or enjoy from the jazz festival.

  Tel Aviv

Tel-aviv joins relaxing culinary joys, a vibrant nightlife markets, shores and more. The society is, and so everybody else should find a way to get their place . Since Israel’s centre of entertainment, tel-aviv also supplies the complete calendar of events all through the entire season . These contain TelAviv Fashion-week, PU RIM Street Party and the Gay Pride Parade.

  Tiberias

Do not be tricked by the name of this Red Sea, located in Eilat, is just one such as both snorkeling and snorkeling. Expect to find schools of bass and rugs of coral reefs. For certainly one of the pristine shores of Eilat or go to the Underwater Observatory set into the background of granite slopes. Go to also the Aqaba Archaeological Museum, the Yotvata Hai-Bar Nature Reserve, and also Timna Valley when you receive your land legs back.

  Ramon Crater

Located in Mitzpe Ramon is That Currently the Ramon Crater, or, as it is called in Hebrew. This could be the most significant makteshim (erosion crater) from the Earth, measuring 40 kilometers in total and 10 kilometers in its broadest point. Visitors may see the crater from segway Jeep, and helicopter, but heat balloon flights offer you the very spectacular views from above.

  Beit She’an

Beit She’an is among the most treasured city, which played an essential role as a result of the area of Israel. It’s really a variety of contemporary buildings and ancient ruins where travellers may see with its National Park and ramble throughout Kohav HaYarden’s Crusader fortress.

  Garden of Gethsemene

May be the Garden of Gethsemane, ascended to heaven and famous to be the site. Whether you are on the pilgrimage of sorts or a visitor enthusiastic about visiting a site of trees using an importance, then this really can be a stop whilst at Israel. Arrive early to beat the crowds also to observe that the trees in light, if you proceed.

  Bat Yam

Have a rest and then head an town famous with sculptures round the sand, to Bat-Yam. Adventure lovers will adore Bat-Yam being a base for para gliding, windsufing, and surfing. Spending some time walking the board walk along with promenade over go inland into the museums of the town for the Havayedda science center and also contemporary art.

  Dead Sea

The Dead Sea got its name. It’s nearly 10 times as salty as the sea, which makes it a unpleasant atmosphere for whatever. And it is the best altitude in your earth. For centuries; minerals and the salt out of the own water are employed in makeup. Dead seawater and lavender have clinically proven advantages, putting joint issues and skin infections . Of the luxury hotels along the shore have spas, which are booked solid for weeks.

  Golan Heights

You are able to find Golan Heights, a region with landscapes, nature reservations that are wonderful and historical attractions. The Golan region provides a variety of difficulty if you should be interested in trekking. It’s particularly notable during spring, when flowers are blooming as well as the areas are green. The Hermon Mountain can be the perfect destination for sailors.

14 Best Places to Visit in Israel

[golockhart]

Instagram is changing the way we experience art, and that's a good thing

by Adam Suess and Kylie Budge

An Instagram post from Gerhard Richter’s exhibition at the Queensland Gallery of Modern Art. Instagram/@gracie_yu

With 800 million users and growing, it was perhaps inevitable that Instagram would shake up the art world. The social photo platform has been accused by the media of fanning a narcissistic selfie culture. But in galleries, research is showing that the negative aspects are far outweighed by the positive. Instagram is changing the way we experience and share our visits to exhibitions, and how we perceive art.

In fact, arts institutions are now actively courting Instagram users. The Museum of Ice Cream in the US is considered one of the most Instagrammed exhibitions, with over 125,000 hashtagged posts. The show included such Insta-friendly displays as giant cherries, suspended bananas, and a rainbow sprinkle pool, inviting the visitor into a colourful space of neatly guided photo opportunities.

Closer to home, the current Triennial at the National Gallery of Victoria features several large, Insta-friendly installations. Visitors are invited to lie on Alexandra Kehayoglou’s carpet work, Santa Cruz River (which depicts a river in Argentina that is at the centre of a contentious damming proposal), and take their photo in a mirror on the ceiling.

Artist Yayoi Kusama, also at the Triennial, uses light, space, colour and patterns and attracts a strong Instagram fanbase to her exhibitions. Kusama’s obliteration room, currently being exhibited in Queensland, is another popular, Instagrammed experience, which invites visitors to stick colourful dots all over a white room. A similar work at the NGV covers the interior of a house with flowers.

Perils and possibilities

Increased visitor photography at galleries and museums has proved controversial at times. Recently a visitor to Los Angeles pop-up art gallery The 14th Factory destroyed $200,000 worth of crown sculptures. The sculptures rested on top of a series of plinths, and while attempting a selfie the visitor fell, knocking the plinths down in a domino style chain reaction.

In another instance visitors damaged an 800-year-old coffin at the Prittlewell Priory Museum in the UK. The visitors had lifted a child over a protective barrier into the coffin in pursuit of the perfect photo. Their actions caused the ancient artefact to be knocked off its stand resulting in a large piece of the coffin breaking off.

Many exhibitions still place restrictions on photography, and most galleries still prohibit selfie sticks. Reasons often cited for these restrictions include copyright considerations, concerns over the visitor experience, and potential for damage to works caused by manoeuvring selfie sticks and flash lighting (although it is debatable whether flashes do damage art).

Banning photography on the basis that it interferes with the visitor’s experience could be seen as cultural elitism; expressing a view that art can only be appreciated in an orthodox manner. It also ignores the potential of Instagram to bring a new dimension to artists, curators, exhibition designers and visitors.

Recent research at Queensland’s Gallery of Modern Art Gerhard Richter exhibition showed that visitors use Instagram as part of their aesthetic experience. A number of participants posted Richter’s art works on Instagram creatively immersing themselves in the image, wearing clothes matching the art, and copying Richter’s signature blurred style.

Another study at the Museum of Applied Arts and Sciences’ Recollect: Shoes exhibition in Sydney found that audiences used Instagram primarily to engage with exhibition content; not by taking selfies. Visitors mostly photographed the intricate details of the shoes’ design.

This finding was echoed in a larger study that focused on Sydney’s Museum of Contemporary Art. Far from the narcissistic selfie-obsessive behaviour that much media coverage insists is occurring, Instagram offers visitors authority and agency in sharing their experience.

This connects audiences with museum content in a way that they can control and is meaningful to them. New research shows how this activity is also tied to place - the museum, and the city beyond it.

Using Instagram in public spaces like museums and galleries is complex. It’s tied to broader research that shows how social media use in public spaces is challenging a range of social norms.

As researchers working in this emerging area, we see much value in curators and exhibition designers making use of Instagram to inform how they plan exhibitions. It could help build new audiences and strengthen connections with existing visitors. While removing all visitor photography restrictions is not possible, it is our view that visitor expectations and experiences have now changed. The future of cultural institutions needs to include Instagram.

Adam Suess is a PhD candidate in Education at Griffith University and Kylie Budge is a Senior Research Fellow in the Urban Living & Society at Western Sydney University.

This article was originally published on The Conversation.

[silverspun-fr]

WHOOP, it’s these two again lol. I love them to pieces though. This is just a little story about how they meet. The rest, as they say, is history.

~~~

Things have changed since Thorim Rift’s founding, and the election that won his seat in the Triumviri. Tugging stealthily at his fur-lined collar, Raphael surveyed the pomp surrounding him on all sides. Lost in a sea of fanciful dresses and suits in his military uniform, catered specifically for himself as Commandant of the army and all its branches. It was the cloak that bothered him most, the fur lighter on his neck than he would have liked, causing a slight tickle that nagged him until he had to itch. He may maim the one who sowed this damnable thing, and were she not the Charge of one of his general’s son, he may have followed through with the threat. But he’ll endure.

Turning lightning-struck eyes towards said members of his government branch, Raphael spotted his three generals loitering about the refreshment table. Zenthra, in her black uniform, appeared as disinterested as ever, magenta eyes scanning the crowd while her husband shuffled about the desserts without a care in the world, trying to get her attention off of work no doubt. Nearer the drinks stood Vizanti, her uniform likewise black but trimmed in the rich pink of the arcane, over which she resided in the military. Her quick remarks and firm hand were perfect to tame the mages that vied to join in her ranks.

Lastly, Cassian, the odd one, devoid of any real magic and a wonder to even be alive, he enjoyed showing off his oddity to any who would care to try him magically. He seemed to absorb it, in a way, nullifying any trick thrown at him. A tactical genius and almost too well personable, Raphael contained a mild suspicious that the guardian was actually a very well programed mechanical product that had gained its own freedom and personality. Whatever the case, Raphael could not imagine his military without Cassian, or the women. Practically brothers and sisters, the four of them.

But reverie didn’t cure boredom for very long. Moving on from his fellows, Raphael dropped his hand from his neck, mindful not to rake a hand through his black hair and destroy the gelled sculpture Vizanti had kindly, and secretly, done for him for tonight. Not his usual waves and curled edges but supposedly the slicked style made him look more dignified and fierce. He’ll take Vizanti’s word for it.

Across the Conference Hall he spotted Mireya, their illustrious and ever gracious Chancellor of State. How she managed to maintain such brief conversations with everyone in the room and yet keep their guests equally as happy Raphael did not understand. He admired it, as he admired her, but he did not understand it.

A slight smirk tugged the corner of his mouth, which he hid behind a perfectly timed sip from his glass. Mireya was as beautiful as they came, and twice as intelligent. Her way with people astounded him, and yet for all his boldness, Raphael never caught the warmed look of affection from her beyond that of a most excellent friend and fellow leader. His quiet pursuit of her had perhaps been too gentle in not wanting to upset the balance the three powers upheld, but if by now she expressed no inclination towards such attachment, Raphael knew well enough to just as quietly let her go.

In the meantime, he could ensure that Malkiah’s intentions, whatever they were, remained just as pure, but honestly Raphael had his suspicions about that imperial. Too clever for his own good, that one, as he now schmoozed a pretty skydancer who arrived from the Starfall Isles not long before. Malkiah seemed sincere enough, just as he did in most everything.

Before Raphael could reach a firm conclusion on the matter, a scent hit him sharp in the nose, turning his head before he’d even realized it. Startled him, pretty much. It was a…some manner of floral smell he couldn’t name—they weren’t really his thing, flowers, but whatever they were had such a wonderful….

He saw the back of her head first as she walked away from him. White hair cascading in artful waves down her back, woven with feathers that matched the soft silver and white of her dress. She must have walked by right behind him for the smell of her perfume to catch him so acutely. How he could have missed her until just now was unfathomable. All other conversation seemed to dim as the wondrous creature tipped her head back and laughed, clear as a fine-tuned bell. Each graceful motion of her arms as she touched this person and that, engaging her conversations as if they alone were all she desired to speak to. (And yet, despite the similarity, Raphael did not find himself comparing her to Mireya; she never even crossed his mind as he stared transfixed.) Her footsteps seemed light almost to the point of airiness, carrying her about like a swan gliding across water.

Dumbfounded, Raphael had no recollection of how long he watched her as this nameless beauty flitted across the room, stopping here and there for conversation. Only a gentle clearing of a throat snapped him from his observation. Looking a tad guilty, Raphael’s gaze snapped downwards to Mireya now standing at his side, her dark and rich violet gown complimenting the accents in her hair perfectly. As beautiful as ever, particularly when she smiled—but it somehow all seemed a little dimmer to him.

“Have you been introduced yet?” Mireya inquired, her already velvet tone a tad dark as she spoke lowly to keep the conversation private.

“To who?” he blinked, mild sarcasm slipping out involuntarily. “Her? No.”

Undeterred by his cover up, Mireya tilted her head in the woman’s direction. “You should. She’s quite charming, as you can tell. Her family hails from further north, closer to the Ruins. It’s a small city, but Malkiah is keen on their illumination technology trade. They’re looking for close relations.”

Surprised, Raphael again turned his gaze to her, suddenly overcome with the oddest sensation of nerves. He stood before warriors and faced the fury of the Tempest decked in full metal armor, but to approach a lady when he never properly expressed his intentions to his former interest? Unfathomable.

“How long is she here for?”

“A couple of days after tonight.”

To approach a lady when he had so little time. That made it even worse. Already he felt the world slipping by him a little too quickly, and he must have looked it too because Mireya huffed a soft laugh. “She’s as sweet as they come, too. Very easy to talk to. Come on. We won’t know until you at least try.”

Before he could think of a decent protest, Mireya slipped her arm through his and pulled him across the floor. He followed mechanically, zeroed in on the woman in question until the two of them stood before her and she turned expecting dusty aqua eyes on Mireya, then himself.

Her smile was perhaps the brightest thing in the Expanse; lightning could not compare. He heard Mireya introduce him as Commandant Raphael, and he saw the delight in the woman’s eyes as she realized his position in Thorim Rift. When she extended her hand he automatically reached out to take it as if he cradled the sharp end of a sword. Not too tight, lest he hurt himself, or in this case her.

“I’ve seen you about,” she said with a slightly embarrassed laugh. “But never placed you. I’m sorry for not introducing myself earlier.”

“That’s fine,” he rumbled, the corner of his mouth twitching like it wanted to smile. “I don’t usually make myself very available.”

“Right? The military never sleeps. Oh, I’m Desiree. I almost forgot again!”

Her laugh was infectious enough that even Mireya found herself smiling, easing a step back to slowly disengage from the conversation and leave the two of them to themselves. If nothing came of it, that was quite alright; the two cities could form some other agreement. But first she wanted to give them a chance at least.

Neither of them realized that Mireya had slipped away, or that Raphael still lightly clasped her delicate fingers in his own, many of them scarred and far from the smooth softness that he felt of her. “Desiree,” he rumbled again, certainly not letting the syllables roll off his tongue as when she said it. “It’s truly a pleasure.”

Though manicured and clearly a woman very conscious of her appearance, loving to dress splendidly and look her absolute best, it could not be said of Desiree that she sought after a mate of similar standards. Oh, Raphael looked quite handsome in his uniform, indeed, but one could not miss the roughness in his eyes, in the way he spoke and carried himself. He was not a sideline leader, or a general who took a backseat in leading. Actually, that ruggedness was quite fetching in a man, she thought, and it was all Desiree could do not to let herself dissolve into a riot of flushed giggles. Rather difficult, though, when his bright aqua gaze was so very intense!

“So…” she began slowly, a little shyly and almost melting into the floor. “I’ve enjoyed your city, Commandant. It’s astounding. I’ve never seen anything like it.”

“Yes, it’s a…feat. A lot of it was already done before I arrived.” Not to sound bland, but Raphael’s response was rather safe, if informative at least. He wracked his mind for something, anything he might add to extend the conversation. “Actually, one of my generals was here before a single thing was built, when all this was untouched. If you are interested in that sort of thing, she could tell you a bit of history of the place.”

Desiree perked. “I would like that! I’m sure it’s absolutely fascinating. I just love how you’ve incorporated the energy absorption into the buildings themselves. Genius! And being so close to the Tempest, but still able to enjoy a cloudless sky now and again. There cannot be such a perfect alignment anywhere else in the Expanse, I’m so sure of it. Oh! I must ask you; is the Eye—it is the Eye, isn’t it? This conference hall? Yes? Oh, good. We entered through the main gates when we arrived, but I keep hearing that all the Flights are represented inside the wheel. Is there any way myself and my people could have a tour of the facility before we leave? My parents wanted to come, but regrettably were unable to travel this time.”

Somewhere along the line, Desiree had slipped her hand from his to use it in expression, the silver bangles on her arm adding a sort of chiming melody to her words. Raphael didn’t mind, though. Not even her talkativeness. He gladly gave her his ear, his arm for escort, and his full attention for the remainder of the evening.

[krissysbookshelf]

Free Ebooks (6/11/17)

    PLEASE REMEMBER THAT THE FREE PRICING IS ONLY A SPECIAL FOR THE DIGITAL FORMAT OF THE BOOK THAT IS LISTED AND IS ONLY AVAILABLE FOR A LIMITED TIME, SO BE SURE TO PURCHASE THE E-BOOKS BEFORE THE PRICE RETURNS TO ITS NORMAL LISTING. (Unless you want to buy them at full price:)

  Don't forget to check my Free Ebook page on Pinterest for more Free Ebook titles and genres not listed below!

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  The Amun Chamber by Daniel Leston: The first book of the David Manning archaeological thriller series, where he seeks the greatest ancient treasure of all time.

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[archpopculture-blog]

“The word ‘culture’ is sometimes used to refer to the highest intellectual endeavours and the pursuit of perfection and beauty” (Stenning, 1). Cultural heritage can be thought of as the best  the world has had to offer. Buildings monuments and sculptures that have cultural roots have been a primary target of terrorist groups. These monuments tend to have cultural value or religious values such as temples or museums. During times of war these well respected building and monuments often become the target for all out destruction and looting. The museums for example are a vital form of preservation of artifacts but also respecting and educating people on the importance specific artifacts to the individuals who lived there. An example  of the destruction and looking is the Buddhas of Bamiyan in Central Afghanistan. These two sandstone statues of Buddha standing at 175 ft were destroyed by the Taliban. To complete the destruction fully the Taliban would drill hole into the statue's chest just to ensure full destruction. After the destruction local people experiencing poverty begin to start looting making a generation of looters of their own culture. Scientist and anthropology have been pushing preserving these sites virtually before more damage can be done.

[angrycollectordaze-me-blog]

Essay代写：Urban public art

下面为大家整理一篇优秀的essay代写范文- Urban public art，供大家参考学习，这篇论文讨论了城市公共艺术。公共艺术是一座城市的文化体现和标志，是艺术的共同表现，带有人文气息的。城市公共艺术不仅是艺术家们创造的公共艺术作品，同时也是表现人们生活文化水平的公共艺术作品，它是一座城市的标志性建筑，是一座城市的风向标，是一座城市的形象建筑。城市公共艺术展现的是城市魅力，是一个增强城市身份认同的公共艺术建筑作品。

Public art is the culture of a city reflect and logo, I think of the art of public art should be for joint performance, can be done by people to participate in, is a cultural atmosphere, this is not only the artists to create public works of art, is also a performance culture people's life level of public art, it is the symbol of the city, is an indicator of a city, is a city's image construction. It is an architectural work of public art that shows the charm of the city, enhances the confidence of the citizens and enhances the identity of the city.

In China, some public art construction in cities is too elusive to be integrated into public life and understood and felt by the public. Unable to give the public a more realistic feeling and difficult to produce urban identity. Some of the public art in the city is used for commercial purposes, which is not surprising. However, if excessive pursuit of economic interests destroys the unique features of the city, it will undoubtedly be another kind of harm to the city, and I think it is not friendly to the development of the city. The lack of effective ways and methods for people to participate makes public art seem inappropriate to people's life. Moreover, the public art forms in China are relatively simple, mostly sculpture. Many of them are similar but lack the unique regional characteristics and the unique cultural atmosphere of the city. We should have more innovations and more creative ideas that are more appropriate to people's lives, so that people can feel the artistic and cultural atmosphere around them more intuitively. Public art is still in the early stage of development in China, and there are still some problems in the construction of public art, which need to be further improved.

First of all, the development of public art is inseparable from the support of the relevant government, which is a necessary condition for the development of public art in every city. We can compare the development of public art at home and abroad. Just like our national culture, funding plays an important role in the development of urban public art, and there are favorable policies. In addition to actively promoting public art talents, we should also strengthen the national identity of public art in China, the innovative forms of public art, and the breath of life. Make people feel the different feeling brought by public art in reality and life, and make people get the sense of identity and sense of belonging in this city. Therefore, I will actively participate in the construction of urban public art in China. These are my Suggestions and insights on how to develop public art in China.

In China, there are differences in the history, culture, national characteristics and development experience of various cities and regions. Public art is produced in its unique environment and trend of The Times, and it has its own characteristics. It cannot be transformed or appropriated at will, and public art works that are overtransformed will lose their color. That's not what we want. We should pay more attention to the regional characteristics of public art so as to carry forward our regional and national characteristics. So that the public art culture in various regions shows a charm, which is exactly the public art needed in this era. The public art will reflect the local culture through the materials, construction techniques and forms. What we really pursue is something that can give people the deep soul and trigger people's heart. As an excellent public art work, it is an art work with the flavor of hometown and worth proud of.

Undoubtedly, urban public art construction needs some economic input, and the development of urban public art is also driven by economic development to some extent. Therefore, it is beyond reproach to increase the economic investment in public art construction. However, while increasing economic input, we should also pay attention to the harmonious development of the environment. We should not arbitrarily destroy the local natural environment in order to develop public art, which is not worth the loss. It's irrevocable. The destruction of public art is also common. We need to formulate more reasonable and perfect management methods to ensure that public art is not destroyed. For example, it is particularly important to add some warning slogans, promote civic morality, improve the quality of the people, and maintain the public art in the later stage and clean up the site. In general, it means to improve the management of public art.

In an excellent public art work, certain public participation is essential, and it has its significance to strengthen public participation, which can guide people's national cohesion, enhance people's sense of national identity, and enhance people's national confidence. So that people pay more attention to and care about the development of China's cities, enhance people's enthusiasm to participate in China's public art construction. Promote the development of public art in China, and then show the steady and continuous rising state. Our healthy development of public art in the city at the same time, also reflect the regional geographical features and custom features, combining with the characteristics of regional geographical features and customs for the construction of public art and creation, strengthen local people for the manufacturing of the identity of the public art, public art into the local culture, increase the identification of local public art.

Modern public art has a variety of style features and significance, some have commemorative significance, cultural carrier significance, and some have folk art heritage significance and entertainment significance. At the present stage, most of China's urban public art appears in a single form, most of which are sculptures. But the lack of innovation, we need to explore more. Now public art is the display of some cultural phenomena in life, as well as the implication of social phenomena. Therefore, the innovation of public art, social aesthetic level and cultural phenomenon in social life are of great significance. Paying attention to innovation is an important way to develop and inherit local culture. Without innovation, cities will lose their life. Only innovation can sustain development and better inherit local culture. Public art is a cultural carrier. We have to explore more public art forms, to develop it, to improve it, this is the city with a good public art system essential factors.

The development of public art in China is still in its infancy, so it is very important to strengthen the new generation's cognition of public art, which is related to the future development path and prospect of public art in China. Strengthen the education of a new generation for public art from the personal interest and the class began, and strengthen the propaganda, let people know more about the field of cognition, making public art no longer strange for people, make people more understand the public art, so that more public art in people's lives, it is no longer distant. We need more such talents. When you want to develop a certain kind of education, you can only strengthen it, publicize it, integrate it into people's lives, so as to be more conducive to its development. Yes, we need to strengthen the publicity and education of public art and lead more people into the road of public art construction. Make our country's public art more healthy sustained rapid development. We can also learn from the experience of foreign countries, take its essence, go to its bad situation, learn from the experience of foreign education, reference to the actual situation of our country, integration of teaching use. I think this is very useful for strengthening the cognitive education of the new generation of public art in China.

The construction and healthy and sustainable development of urban public art depend on relevant policies, laws and regulations, and are inseparable from cultural characteristics and economic development. It is of equal importance to enhance the public's participation enthusiasm and public art cognition. As an important cultural landmark in urban space, public art plays a special role in beautifying urban environment, displaying urban features, inheriting regional culture and disseminating commercial information. How to express the cultural characteristics of a city and highlight its character through public art while meeting the aesthetic needs of the public? I think this is undoubtedly a process that needs to be explored in a certain period of time.

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