A Frivolous Folly

ilikeartalot:

Ecstasy, 1993 by Wolfgang Alexander Kossuth

(via birdonwing)

missfolly:

Allegory of Sculpture by Gustav Klimt, 1889 

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disturbthebookmites:

Julian of Norwich, 14th C. English Mystic.

cleolinda:

all afternoon you’ve been buried in biography (by p2wy)

szymon:

Mehmet Ali Uysal in the Park Chaudfontaine (Belgium).

(via justbesplendid)

studyincontrasts:

rosebiar:

myaloysius:

missfolly:

Juan Martínez Montañés Cristo de la Clemencia o de los Cálices (attribution) - Immaculate Conception (la Purisma), ca. 1628 

Juan Martínez Montañés was known as ‘the Michelangelo of Wood’

18thcentury:

Green Tara
Tibet, 18th century

A Buddhist goddess, Tara is the female counterpoint of Avalokiteshvara, constituted by light rays of compassion which emanate from this god. Like him, she is said to protect the devotee from the eight great physical perils, including fire, floods and the attacks from predatory animals and bandits.

Seated in a graceful “royal ease” posture on a double lotus, she holds in each hand a lotus. According to popular legend, Tara was born out of a lotus germinated from the tears of Avalokitesvara as he lamented the world’s sufferings. Her right hand exhibits the gesture of charity (varada)

(Seen at the Museum of Fine Arts - St. Petersburg, FL)

fuckyeahtravelinspirations:

Loop, Chicago, Illinois, USA

(via sevenseassailed)

fuckyeahnorsemen:

artemisdreaming:

 Louvre - Ivory diptych of Emperor Justinian TigerPal

(via studyincontrasts)

agoodthinghappened:

Silent prayer / Stilles Gebet by xollob58 on Flickr.

“A prayer couched in the words of the soul, is far more powerful than any ritual.”
~ Paulo Coelho

(via rosebiar)

centuriespast:

Statuette of a Woman

Unknown 
Greek, Eastern Mediterranean, 100 - 1 B.C. 
Marble 

Getty Museum

(via beyondthegoblincity)

driftingfocus:

Chollima horse statue in Pyongyang - North Korea by Eric Lafforgue on Flickr.

reginasworld:

Yinka Shonibare’s works challenge assumptions about representation by playfully blurring the boundaries between stereotypically Western ideas about ‘high’ art and traditional categorisations of ‘African art.’

(via birdonwing)