#kirikan

[rasshu-benaiokny]

Heres some Rasshu Exclusive Screenshots… (I’m making a small Modern AU pic too)

(Turns out some heavy lore is being switched around for Rasshu’s sake and Kirikans “if yall even remember or know who that this”. A parasitic relationship if you will)

[auroris-art]

my boy!!!

have my edgiest boy

[kogeiartkyoto]

Ai Imamura

Lidded Box with Kirikane Design: “Futaba Aoi”

I created a design of Futaba Aoi (a species of wild ginger) that grows in the woods around Shimogamo Shrine. Futaba Aoi is used in decorations for the Aoi Festival, an occasion to pray for abundant crops and peace.

[kafkasapartment]

A LACQUER WRITING BOX (SUZURIBAKO) EDO-MEIJI PERIOD (19TH CENTURY) The rectangular box decorated in gold hiramaki-e, takamaki-e and kirikane with autumn grasses and crescent moon inlaid in silver leaf set against roiro ground, interior of the cover and box decorated en-suite with cherry blossom and autumn grass on a nashiji ground, fitted with shibuichi saucer and water dropper and ink stone

[nobrashfestivity]

Juichimenkan Nonzo Eleven-faced Kannon statue

1 width, colored silk, hanging width, middle width, left and right, half width, length 169.0, width 90.0,

Heian period, 12th century

The eleven-faced Kannon is the most popular deity among the Henge Kannon, and has been actively created since the Nara period. This image is the only eleven-faced Kannon worship image on silk dating back to the Heian period, and is in an extremely good state of preservation. It is a masterpiece that represents Buddhist paintings in Japan, with its rich colors and large yet delicate kirikane pattern. At present, eleven faces are drawn above the head, including the Buddha face at the top, but near-infrared photographs and other sources have revealed that one face was altered during the production stage, and before the alteration, there were statues from the Nara period. It was a statue of ten faces above the head, which is common in Japan. In addition, unlike other Buddhist paintings in the late Heian period, the image of the principal image of Esoteric Buddhism is drawn diagonally to the left, unlike the usual front-facing image, and the special Yogan-in, with the palm of the right hand facing inward. It shows a distinctive image that cannot be seen. These iconographic features are thought to be based on the old iconography inherited in the land of Nara, and more specifically, there is a high possibility that the iconography established in the Nara period is the source. Another distinctive feature of this image is the strong vermillion kumadori applied to the Kannon's flesh, which is also thought to be a continuation of the tradition of old Buddhist paintings from the Nara period to the early Heian period. The Nara revival elements seen in this image can be said to be a common characteristic of Buddhist paintings related to Nara produced from the late Heian period to the Kamakura period. It is known from the ink inscription on the mounting that during the Edo period, it was considered the honjibutsu of Tatsuta Shingu, the guardian shrine of Horyu-ji Temple in Nara, and that it was also transmitted to Hoki-ji Temple near Horyu-ji Temple for a period of time.

Nara Museum

[mnovenia]

신동훈 목사님 - 29 October 2024 Alkitab & Geography

Mazmur 19:1

Belajar teologi berarti mengubah sudut pandang..

I. Pengaruh Geografi..

1. Koneksi & Pemutusan

-peraturan gaya hidup manusia

*Sulit sekali untuk mengalahkan kegelapan, bahkan api yg membakar pohon musa pun..

*Elia dipanggil lagi ke Gunung Horeb (tempat Allah bertemu Moses) dengan maksud tertentu..

*Coba pikirkan masalah & akar dari keluarga/background yg membuat sejarah dlm kehidupan Shella,, kenapa ada di RTS ini dan bagaimana anugerah Tuhan mengubahkan sy.. Lalu kirikan baik2 apa rencana Tuhan bagi Shella. Apa rencana Tuhan bagi bidang pelayanan Shella (dari segi penginjilan Tuhan).. daerah yg shella tinggali (kedungu), apa perspektif Tuhan untuk mengijinkan sy ada berada di area ini..

DAY 2 - Geografi & Kitab Kejadian (Zaman Para Leluhur) Kej 12 - 50

Abraham (dipilih & dibimbing Tuhan Allah secara langsung, Ayah nya adalah pembuat patung, jadi gaada alasan knp dia dipilih, hanya sesuai dg ), Ishak, Yakub (pembentuk umat Israel), Yusuf (menyelamatkan 1 masa) -> 4 tokoh ini menjalankan 1 cerita…

Demi memuliakan namaNya, Shella dipanggil.. Tuhan menaruh pengharapan pada Shella & berharap Shella bekerja.. tanah Bali ini mirip dg tanah dimana Abraham tinggal (banyak berhala)., lalu di Haram, ayah Abraham meninggal.. lalu mereka ke Shechem lalu ke Bethel dan mereka turun terus karena kekeringan.. Pilihan Abraham ke Mesir mengikuti keberadaan sungai pada saat kekeringan (menghadapi situasi yg sulit jadi melakukan hal2 yg mgkn tidak searah dg Tuhan Allah).. perjalanan Abraham ini menunjukkan betapa besar kasih Tuhan padanya.. bahkan Ia jg bekerja melalui Firaun, dan dia kembali melihat bgmn Tuhan bekerja & lalu dia kembali ketempat yg Tuhan tunjukkan.. Btw setiap dekat pantai/air, disitulah berkembang kota yg kuat..

Setelah perang, Tuhan memberikan harta begitu banyak pada Abraham.. tapi yg dia inginkan adalah anak (Ishak), lalu ia melihat kembali penjanjian dg Allah.. TUhan Allah tidak perlu kekuatan Shella, Ia akan bisa terus berjalan, tapi Ia punya rencana.. Abraham membuat kesalahan dg Hagar & memiliki Ismail (nenek moyang org Islam - org dr padang gurun).. dan dari sini lah muncul agama..

Janji Allah pada Abraham: 1. Tanah yg banyak 2. Perjanjian akan Bangsa & keturunan (since Ishak) -> keturunanMu akan banyak sperti bintang di langit & pasir di laut.. Abraham ga liat sebanyak itu keturunannya, tp melalui Ishak muncul Yesus (tergenapi) & yg mengakui Dia adl Allah, ini adalah penggenapan jadi Tuhan Allah pada Abraham..

Pada saat pencarian istri Ishak, dari kampung halaman Ayahnya, berdaasarkan doa Abraham jika ada wanita yg memberikan air & tepat ia menemukannya.. Ribka -> dan tepat sesuai doa Abraham.. sehingga inilah berkat dari orang yg berdoa, dia bisa melihat kebesaran Tuhan Allah sekali lagi.. dan pembantu Abraham ini bersaksi bgmn Tuhan bekerja pada Abraham & pertumbuhan rohaninya..

Rehoboth -> artinya berkembang, berlipaat, luas sampai bisa bernapas dg nyaman.. Lalu muncul lah Esau & Yakub, perjanjiannya yg kecil memberkati yg kecil..

Memegang perjanjian > onyak buchapgu

Apa yg Shella katakan pada Tuhan Allah, Tuhan dengarkan dengan baik.. (meski pembohong spt Yakub).. Kita mengakui iman, dimana batu sandungan pun bisa memberi kekuatan..orang2 yg masuk dalam perjanjian sungguh mendapatkan double berkat, seperti yg diberikan pada Yusuf..

Mendidik anak2 -> supaya menjadi Yusuf di masa depan. Kita harus membangun murid Kristus.. dan penjajian Tuhan harus disampaikan terus-menerus, sehingga anak2 bs menjadi seseorang yg bisa melawan dunia.. Tuhan bukan butuh org yg hebat, tp pengembara yg hanya membutuhkan/bergantung pada anugerah Tuhan Allah, fokusnya hanya pada Mesias yg dijanjikan itu datang & menyelesaikan semua masalah manusia (penyelamatan manusia di Bali ini). Di tanah Kanaan (tanah perjanjian) itulah Yesus akan datang kembali & dsitu lah Kristus tinggal di dalam Shella.. tugasnya: jadikalah semua bangsa milikku.. gembalakanlah domba2ku sampai akhir.. Tapi jika Shella pegang perjanjian ini dg baik, dimanapun Shella berada, Kerajaan Allah akan turun di tempat itu.. Shella akan menjadi orang yg membawa kedamaikan..

BAGIAN 3 - Perjalanan & Pemukiman di Kanaan

Hakim-hakim 17: 6 _ Pada zaman itu tidak ada raja diantar org Israel, setiap orang berbuat apa yg benar menurut pandangannya masing2..

Hidup menurut pandangan kita saja.. kl salah diukirkan, itu bisa kekal, menentukan hidup sy seterusnya.. cari luka yg terukir yg berlawanan dg Tuhan Allah, ukir ulang dg perjanjian dengan Allah..

Pengakaran: yg mengakar pada roh Shella & dimana Shella berakar disitulah shella berada.. Sudah dapat keselamatan, tapi akarnya belum berubah, ujungnya ada kekacauan dan iman yg sempurna/benar sulit diraih. Gerakan penginjilan ini bukan datang dr keluarga/latar belakang Shella, tapi ini adalah karya Allah.. gerakan gereja Yewon bali sedang membuat gerakan yg akan menyelamatkan dunia, merancang..

Natur: kehidupan.. ukiran & akar sudah berubah tapi kok kehidupan belum berubah? Tanpa kita sadari kita masih melakukan hal yg jahat.. sama2 anak Tuhan Allah tp bisa berbeda2 kehidupannya..

Ketika mengikuti Tuhan Allah ga boleh protes & bertanya2 juga tidak taat.. Kejadian penaklukan tanah kanaan menunjukkan bahwa raja apapun tidak ada yg bisa menaklukan daerah itu, sampai raja Daud yg mengandalkan kekuatan Tuhan Allah.. dan jika Tuhan Allah memberikan tanah kpd Shella, tidak ada yg akan bisa rebut..

Tapi apa yg Shella punya: hanya firman dan iman saja -> diberikan pada Shella (Caleb).. Tuhan memberikan kesusahan & orang2 kuat yg mengitari sebelum akhirnya org2 bertobat & kembali pada Tuhhan Allah..

1. Edit perjanjian

2. P

3.

4

BAB 4

Samuel berdoa pd Tuhan saat org2 minta raja yg ‘terlihat’, jadi saat itu terpilihlah Saul yg tinggi & ganteng tp tidak sesuai dg hati Tuhan.. lalu Samuel menghindari Raja Saul sampai ia mencari dukun.. Perjalanan misi adalah mengalahkan kegelapan.. milikilah iman seperti Daud, dosa2 itu harus beres dan itu hanya bisa melalui Kristus.. doa yg paling besar bagi Tuhan Allah adalah saat kita menempatkan hal lain di atas Tuhan Allah.. menanamkan yg lain lebih dari TUhan Allah (Jeroboam)..

DAY 3 - ZAMAN KEKAISARAN - Penyampaian Perjanjian zaman 237

500th Tuhan Allah tidak berbicara (antara perjanjian lama & baru), zaman Daniel, dimana dianggap melalui dia sebenarnya Tuhan ga diam, tapi bernubuat melalui Daniel..

1. Asyur

2. Babilonia

3. Hellas (Yunani)

4. Roma

Semua di perjanjian lama kembali berpatokan pada bangsa Israel..

Saat itu Yesus mengusir setan & membuang ke babi2, dan pemilik bisnis itu merasa rugi secara ekonomi krn babi2 itu jatuh ke tebin.. begitulah manusia melihat ‘kerugian’, mreka mengusir Yesus atas kerugian ekonomi tanpa melihat pemulihan jiwa pada orang yg kerasukan saat itu.. begitulah manusia berpikir, melihat dan bertindak.. berdoalah agar Shella tidak bertindak demikian..

Jadi lah orang yang berperan dalam pemulihan bait suci yang sejati.. menjadi rumah untuk segala bangsa.. bagi semua background, tempat yg paling tinggi ke tempat yg paling rendah.. Yesus Kristus yg memberikan perjanjian 237 bangsa..

BAB 6 PERJALANAN MISI PAULUS

Orang yg bijaksana adalah orang yg tau kapan harus pergi..

KIS 20:24

Orang2 bilang pada Paulus jika dia ke yerusalem, tapi Paulus bilang inilah jalanku, sy matipun tidak apa jika demi membawa injil ini.

Ketahui amanat Tuhan itu lebih penting dari apapun, meskipun kita kurang pintar & ga punya background ataupun bakat… Dimulai di gereja Antiokia yg merupakan gereja Global dg orang2 yg berbeda2 background…

Dalam perjalanan Paulus, dia bertemu orang2 dg natur yg sangat kuat dg ukiran yg gabisa berubah -> sama dg skrg.. kl kita gabisa mengubahkan natur kita, maka akan sulit bagi Tuhan untuk bekerja atas hidup Shella.. terus lah berusaha untuk menerima bimbingan roh kudus, bahkan jika itu harus membuat Shella berdebat dg orang2 dunia.. seperti Paulus pilih tempat mana untuk bermisi (perjalanan ke 2), kl gaada ketenangan & bimbingan roh kudus dia ga pergi, sampe ke tempat dimana dia ketemu Lydia & jemat korintus..

Perjalanan 3 dia mengulangi perjalanan misi yg ke 2 untuk konfirmasi & menguatkan jemaat2 di tempat2 tsb..

Perjalanan terakhir dia menemui banyak perlawanan sampai terakhir di spanyol..

Ciri penginjilan Paulus:

-mengikuti bimbingan roh kudus

-bersama dg rekan pelayanan (tapi harus dg sama2 orang yg dipenuhi Roh Kudus)

-keyakinan thdp panggilan & pesan (jgn goyah, kl ga pasti galau terus, percaya: Yesus panggil Shella sbg gereja & diatas Shella akan dibangun murid2 Tuhan)

Penginjilan sy: (misi 237 Marshella)

-injil saya (bersaksi bgmn inijl itu sgt bisa dinikmati, makna hidup sebelum & setelah bertemu dg Yesus)

-with immanuel oneness (bersatu dg Tuhan Allah selalu)

-pelatihan untuk mendapat bimbingan Roh Kudus

[citylifeorg]

The Metropolitan Museum of Art Acquires Two Important Medieval Japanese Religious Sculptures

Left: Intan (Japanese, active 13th century). The Bodhisattva Jizō (Kshitigarbha). Kamakura period (1185–1333), dated 1291. Japanese cypress wood (hinoki) with polychrome pigments, gold paint (kindei), cutgold leaf (kirikane), and rock crystal eyes. Height (with pedestal): 53 1/2 in. (135.9 cm); Width: 11 in. (27.9 cm). Purchase, Florence and Herbert Irving Acquisitions Fund for Asian Art,…

[ricmlm]

The only artist in the world to embed gold leaves in glass; kirikane | Y...

[penhero]

These are two urushi coated and decorated Yotsubishi safety shut-off eyedropper fountain pens c. 1955-1957. The top pen is decorated with cherry blossoms and has a long tapered section with a small 14 karat gold nib, a similar design to late 1940s to early 1950s Waterman Taperite pens. YOTUBISI is stamped on the face of the clip. The name means four diamonds, thus the logo. The base pen is coated with urushi lacquer and then decorated with cherry blossoms using the Kirikane technique, a Buddhist decorative art used on statues and paintings, where gold leaf is glued to the surface of the object. The pen would then be overcoated with clear urushi. The lower pen is painted with a highly detailed tiger image that runs the length of the cap and barrel that was then overcoated with clear urushi. #pencollecting #fountainpen #yotsubishi #yotubisi #urushi #eyedropper #kirikane #artpen #penhero #tiger https://www.instagram.com/p/B_ipEgejeuB/?igshid=1bm8xwy609lt1

[lesschnouffes]

THAILAND  | PRACHUAP KIRIKAN

[auroris-art]

June 2024 Gotta be one of my top 10 most miserable OCs, he is having a wretched time. And he deserves the time he is having :) Kirikan is a combo platter of the worst person you have every met and also there is something pitiable about that. I love ruining his life. :) Also he is a dragon but only like 5% of the time because unlike the others he prefers the smaller form. Just on some edgelord shit I guess LMAO

commissions | portfolio | socials

[kogeiartkyoto]

Ai Imamura

Octagonal Lidded Box with Kirikane Design: “Sprouting”

My mental image for this piece was that of the moment a plant sprouts. A small sprout in no time sends roots down into the earth so that the plant can gather the blessings of heaven and earth. As signs of spring appear, the spout blooms into a beautiful form that is fully of life. That is the image I wanted to create.

[fujiwara57]

Les plus belles œuvres des artisans japonais.

“Boîte avec une cigale” - kobako 小箱

Petite boîte ornementale de forme rectangulaire ornée à l'extérieur d'une cigale, du début de l'automne, en or sur une feuille déchirée et colorée. En laque noire avec maki-e 蒔絵 et takamaki-e 高蒔絵, rehaussées d'or, d'argent et de couleurs , des paillettes de kirikane 切金 incrustées d'or sur les feuilles, le revers en laque nashiji 梨子地 en paillettes d'or et l'intérieur en de fins nuages ​​de la laque nashiji en paillettes d'or. Dimensions : 5,3 cm de haut  x 12,75 cm de long x 7,60 cm de profondeur

Travail non signé du studio de Shibata Zeshin 柴田是真 (1807 - 1891) ou de l'un de ses élèves. Meiji jidai 明治時代 (1868-1912).

[baursakpenkulpinai]

[panicinthestudio]

Kujaku Myouō, 12th century

Heian period, Japan

Hanging scroll; colour on silk

147.9 x 98.9 cm

Kujaku Myôô (Skt. Mahamayuri vidyaraja) is the deified form of a peacock that eats poisonous snakes and insects. He is represented here in compassionate form, an aspect unusual for Radiant Wisdom Kings (Skt. Vidyaraja, J. Myôô). Kujaku Myôô is the principal deity of an esoteric Buddhist ritual based on the Kujaku Myôô sutras that is performed to bring or stop rain, to ward off calamities, and so on.

The Myôô sits on a peacock with a wide plume of tail feathers. In the first right hand he holds a lotus flower, and in the second right a fruit that resembles a watermelon. In his first left hand is a pomegranate, and in the second left five peacock feathers. The picture plane is filled with the Myôô and the peacock presented in full frontal pose, together with the jeweled vases placed in the four corners. In some respects, this is much like the painting style of a mandala and displays the traditional composition of works brought from China by the founder of the Shingon sect, Kûkai (774-835).

The body of the Myôô is white, to which in places faint pink has been applied and outlined in vermilion. His clearly shaded, contoured robes are in colors including peach, orange, vermilion, and green. Moreover, gold foil has been cut thinly and applied as lines to the robes, which are also studded with patterns of delicate cut gold (J. kirikane). Cut gold is also employed in his adornments and elsewhere. The peacock and the mandorla are painted with various opaque colors including green, blue, vermilion, and gold. This excellent and beautifully refined technique of color application developed during the Insei era at the end of the Heian period (794-1185).

Collection of the Tokyo National Museum

Sources: Open Museum, Taiwan; Google Arts & Culture

[themuseumwithoutwalls]

MWW Artwork of the Day (1/29/22) Kaikei (Japanese, active 1183–1223) Fudo Myoo (Achala Vidyaraja), The Immovable Wisdom King (early 13th c.) Japanese cypress w/ lacquer, color, gold, cut gold leaf (kirikane) & inlaid crystal eyes, 53.3 x 42.5 x 38.1 cm. The Metropolitan Museum of Art, New York (Mary Griggs Burke Collection)

This ferocious-looking deity, Fudo Myoo, is known in India as Achala or Achalanatha. He is one of the many manifestations of Shiva, the Hindu god of destruction and reincarnation. Both his Sanskrit and Japanese names mean "the unshakable or immovable one," and true to his name, he came to be considered the indomitable and militant protector of Buddha's Law. In keeping with scriptural descriptions, this example, created in the workshop of the leading sculptor Kaikei, portrays a full-bodied, menacing figure biting his lower lip, with his hair bound and falling over his left shoulder.