Body Feels

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Images that widen the story.

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TheFamilyDoctorNov2 1889page146
TheFamilyDoctorNov2 1889page146Wikimedia Commons contributor · Public domain
"' Absence of Beauty was like Hell' " ) , by Erik Pevernagie (100 x 100 cm ) MEDITATION ON THE PAINTING When we encounter the spell of beauty, we can feel the wings of freedom. Beauty sets us free from the imprisonment of hideous tribulations and dreadful perceptions. We never come out untouched from the enchantment of beauty. Beauty challenges the ordinary while we break away from the commonplace, upscaling and veering from the trodden path. To encounter beauty is to experience an opening, widening our emotions' horizon and lifting us out of the narrow corridors of listlessness. It disarms the mechanisms of indifference and blindness, replacing them with awe, wonder, or a sense of transcendence. Beauty conjures poetry and infinity from the broken pieces of our humdrum lives. As beauty is in the eye of the beholder, we must heal our impaired vision, filter our perception, and sharpen the focus of our attention because willful blindness can never empower inspiring vibrations or awaken the twinkles of enlightenment. Beauty can transform the fragments of a lost heart into poetry, spiritually reconstruct it, and reimagine brokenness into a new reality. Just as in Kintsugi, the Japanese art of repairing pottery by embracing its breaks rather than concealing them, we celebrate its history and acclaim its imperfections. Beauty and art pull reality out of concealment, drawing us away from routine and predictability. They break patterns and shake our habitual perceptions. They don’t soothe but confirm reality and reconfigure it. But what do we do when the "sublime" is not found in nature but only in our ideas or minds, and beauty eludes us? Where do we turn when the allure of 'Botox' has faded? As many people are ready to die for beauty, they are prepared to go through an infernal desert of starvation. The absence of beauty means ultimate loneliness. The absence of beauty means guilt and exile into no-man's land. Life becomes an outcast's journey through a gloomy valley when beauty has forsaken." Beauty promises recognition, connection, and a sense of loftiness. It invites us to soar and transcend. Beauty lends magnitude to our lives, but we feel dislocated if we miss sense and substance. Its absence is like a fall from grace. Beauty is one of the last refuges against emptiness. Without it, we become void drifters in a barren world. Beauty is not a guarantee of well-being. So, happiness does not hinge on social success but is only legible via intricate, meandering discovery journeys in our minds. Beauty can dissipate swiftly, like a pair of trendy pants, or gradually fade with the weariness of age, the passage of time, the monotony of routine, or the harshness of mistreatment. If beauty connects us to the world and to ourselves, it also gives us a sense of belonging. It confers our place in the larger tapestry of life and fuels creative power and imagination, adding depth and meaning to our journey. If we don't cultivate beauty and recognize its transformative power in enriching our lives, our creative spirit shall wither, leaving our life patterns stagnant and barren. We must sink this in. Beauty empowers uplifting emotions and overwhelms us with spiritual fulfillment and transcendence. If we lack beauty, we remain disconnected and alienated, experiencing emptiness, sadness, or despair. This void creates emotional turmoil and plunges our lives into hell. When nature no longer enchants us, we must face disenchantment, the sense that the world has lost its wonder. If we suffer from the loss of authentic experience, it is because beauty has been commodified or simulated, and the sublime has become unreachable. Some display Potemkin's beauty and simulated happiness in the architecture of their lives. By hiding the dark features of their fair-weather condition, they prefer setting up a window dressing of fake satisfaction for fear of being rejected as emotional outcasts. Poet John Keats was fascinated by beauty. "A thing of beauty is a joy forever." Beauty is a source of recurring joy and happiness. Philosopher Emanuel Kant distinguishes the "beautiful" from the "sublime." The beautiful pleases universally. It is an object of constant delight. DESCRIPTION OF THE PAINTING "Absence of Beauty was like Hell" is a contemplation of the existential void that emerges when beauty ceases to serve as a compass for meaning. It is a meditation on absence—where structure remains, but spirit falters; where the aesthetic, once divine, becomes a silent geometry of loss. The artist explores the fragility of perception and the disquieting void left when aesthetic harmony is stripped away. This spatial tension suggests both architectural confinement and psychological distance, evoking a sense of isolation within order. Erik Pevernagie constructs a poignant meditation on the existential role of beauty—its presence as liberation, its absence as exile. The figure becomes an emblem of longing—for beauty, for identity, for presence, and appears suspended between vulnerability and longing, poised within a complex architecture of geometric corridors that seem to both frame and confine it. The surrounding maze of angular lines and layered color fields evokes a psychological interior rather than a physical space. These labyrinthine patterns suggest the mind’s own passageways, a structural metaphor for searching, yearning, and the inner wandering that ensues when beauty, meaning, or emotional nourishment is withheld. The figure is not lost—but neither is it free. It dwells in a threshold state, where the absence of beauty has hollowed out direction and infused the environment with emotional gravity. Two triangular shapes at the figure’s chest, rendered in bold red and green, become the painting’s emotional pulse: symbols of internal tension, the divided heart, the human capacity to hold contradictions. They might signify memory, desire, hope, or the remnants of beauty once encountered and now painfully recalled. Pevernagie often uses minimal markings to suggest maximal psychological depth, and here, these subtle geometric punctuations become the painting’s quiet cry. Beauty, in Pevernagie’s philosophy, is not superficial adornment but a force of emancipation—a gust of wind that sweeps open the caged psyche. When beauty strikes us, we are momentarily lifted above the monotony and hardship of the everyday, experiencing what he calls “the wings of freedom.” It challenges the ordinary, disrupts the habitual, and elevates our perception. It opens a path away from the commonplace, toward a more vivid engagement with life. But the inverse is devastating: without beauty, the world contracts. The absence of beauty becomes a form of hell—loneliness sharpened into emotional exile, a “no-man’s land” where connection, imagination, and hope dry up. The figure in this painting occupies that precarious zone, caught between yearning for transcendence and the weight of desolation. And yet, the painting is not devoid of promise. The angled lines, while tense, also guide the eye outward, hinting at escape routes. The luminous golden patch behind the figure’s head suggests memory, intuition, or the possibility of illumination. Even in the midst of confinement, Pevernagie leaves space for awakening—beauty’s delayed but potential return. “Absence of Beauty Was Like Hell” stands as a visual and philosophical inquiry: How do we endure when the world loses its radiance? How do we reclaim beauty when life feels stripped of it? Pevernagie invites viewers to recognize beauty not as luxury but as necessity : a lifeline that rescues us from despair, rekindles our humanity, and restores our place within the world. Phenomenon : Beauty, Happiness . Factual starting point : Woman' ' French Review : « L'artiste est constamment confronté au thème de la beauté. Non seulement Kant ou Keats, mais tant de philosophes et de créateurs ont tenté de définir ce phénomène. Selon l'artiste: « tellement de gens sont prêts à donner leur vie pour la beauté, ils sont prêts à passer par un désert infernal de famine mentale et physique. L'absence de beauté signifie l'ultime solitude. L'absence de beauté signifie culpabilité et exil dans un no man's land. Quand la beauté est sujet d'abandon, quand elle est victime d'une absence de "don", la vie devient un voyage de paria à travers une vallée ténébreuse". Dutch Review De kunstenaar wordt voortdurend geconfronteerd met het thema van schoonheid. Niet alleen Kant of Keats, maar zo veel filosofen en scheppers hebben dit fenomeen trachten te definiëren. Veel mensen zijn bereid te sterven voor de schoonheid en gaan liever door een helse woestijn van mentale en fysische honger. Afwezigheid van schoonheid kan ultieme eenzaamheid betekenen en kan schuldgevoel en een verbanning naar een nomansland tot gevolg hebben. Wanneer de schoonheid gefaald heeft, wordt het leven een doortocht in een schemerdal l ."
"' Absence of Beauty was like Hell' " ) , by Erik Pevernagie (100 x 100 cm ) MEDITATION ON THE PAINTING When we encounter the spell of beauty, we can feel the wings of freedom. Beauty sets us free from the imprisonment of hideous tribulations and dreadful perceptions. We never come out untouched from the enchantment of beauty. Beauty challenges the ordinary while we break away from the commonplace, upscaling and veering from the trodden path. To encounter beauty is to experience an opening, widening our emotions' horizon and lifting us out of the narrow corridors of listlessness. It disarms the mechanisms of indifference and blindness, replacing them with awe, wonder, or a sense of transcendence. Beauty conjures poetry and infinity from the broken pieces of our humdrum lives. As beauty is in the eye of the beholder, we must heal our impaired vision, filter our perception, and sharpen the focus of our attention because willful blindness can never empower inspiring vibrations or awaken the twinkles of enlightenment. Beauty can transform the fragments of a lost heart into poetry, spiritually reconstruct it, and reimagine brokenness into a new reality. Just as in Kintsugi, the Japanese art of repairing pottery by embracing its breaks rather than concealing them, we celebrate its history and acclaim its imperfections. Beauty and art pull reality out of concealment, drawing us away from routine and predictability. They break patterns and shake our habitual perceptions. They don’t soothe but confirm reality and reconfigure it. But what do we do when the "sublime" is not found in nature but only in our ideas or minds, and beauty eludes us? Where do we turn when the allure of 'Botox' has faded? As many people are ready to die for beauty, they are prepared to go through an infernal desert of starvation. The absence of beauty means ultimate loneliness. The absence of beauty means guilt and exile into no-man's land. Life becomes an outcast's journey through a gloomy valley when beauty has forsaken." Beauty promises recognition, connection, and a sense of loftiness. It invites us to soar and transcend. Beauty lends magnitude to our lives, but we feel dislocated if we miss sense and substance. Its absence is like a fall from grace. Beauty is one of the last refuges against emptiness. Without it, we become void drifters in a barren world. Beauty is not a guarantee of well-being. So, happiness does not hinge on social success but is only legible via intricate, meandering discovery journeys in our minds. Beauty can dissipate swiftly, like a pair of trendy pants, or gradually fade with the weariness of age, the passage of time, the monotony of routine, or the harshness of mistreatment. If beauty connects us to the world and to ourselves, it also gives us a sense of belonging. It confers our place in the larger tapestry of life and fuels creative power and imagination, adding depth and meaning to our journey. If we don't cultivate beauty and recognize its transformative power in enriching our lives, our creative spirit shall wither, leaving our life patterns stagnant and barren. We must sink this in. Beauty empowers uplifting emotions and overwhelms us with spiritual fulfillment and transcendence. If we lack beauty, we remain disconnected and alienated, experiencing emptiness, sadness, or despair. This void creates emotional turmoil and plunges our lives into hell. When nature no longer enchants us, we must face disenchantment, the sense that the world has lost its wonder. If we suffer from the loss of authentic experience, it is because beauty has been commodified or simulated, and the sublime has become unreachable. Some display Potemkin's beauty and simulated happiness in the architecture of their lives. By hiding the dark features of their fair-weather condition, they prefer setting up a window dressing of fake satisfaction for fear of being rejected as emotional outcasts. Poet John Keats was fascinated by beauty. "A thing of beauty is a joy forever." Beauty is a source of recurring joy and happiness. Philosopher Emanuel Kant distinguishes the "beautiful" from the "sublime." The beautiful pleases universally. It is an object of constant delight. DESCRIPTION OF THE PAINTING "Absence of Beauty was like Hell" is a contemplation of the existential void that emerges when beauty ceases to serve as a compass for meaning. It is a meditation on absence—where structure remains, but spirit falters; where the aesthetic, once divine, becomes a silent geometry of loss. The artist explores the fragility of perception and the disquieting void left when aesthetic harmony is stripped away. This spatial tension suggests both architectural confinement and psychological distance, evoking a sense of isolation within order. Erik Pevernagie constructs a poignant meditation on the existential role of beauty—its presence as liberation, its absence as exile. The figure becomes an emblem of longing—for beauty, for identity, for presence, and appears suspended between vulnerability and longing, poised within a complex architecture of geometric corridors that seem to both frame and confine it. The surrounding maze of angular lines and layered color fields evokes a psychological interior rather than a physical space. These labyrinthine patterns suggest the mind’s own passageways, a structural metaphor for searching, yearning, and the inner wandering that ensues when beauty, meaning, or emotional nourishment is withheld. The figure is not lost—but neither is it free. It dwells in a threshold state, where the absence of beauty has hollowed out direction and infused the environment with emotional gravity. Two triangular shapes at the figure’s chest, rendered in bold red and green, become the painting’s emotional pulse: symbols of internal tension, the divided heart, the human capacity to hold contradictions. They might signify memory, desire, hope, or the remnants of beauty once encountered and now painfully recalled. Pevernagie often uses minimal markings to suggest maximal psychological depth, and here, these subtle geometric punctuations become the painting’s quiet cry. Beauty, in Pevernagie’s philosophy, is not superficial adornment but a force of emancipation—a gust of wind that sweeps open the caged psyche. When beauty strikes us, we are momentarily lifted above the monotony and hardship of the everyday, experiencing what he calls “the wings of freedom.” It challenges the ordinary, disrupts the habitual, and elevates our perception. It opens a path away from the commonplace, toward a more vivid engagement with life. But the inverse is devastating: without beauty, the world contracts. The absence of beauty becomes a form of hell—loneliness sharpened into emotional exile, a “no-man’s land” where connection, imagination, and hope dry up. The figure in this painting occupies that precarious zone, caught between yearning for transcendence and the weight of desolation. And yet, the painting is not devoid of promise. The angled lines, while tense, also guide the eye outward, hinting at escape routes. The luminous golden patch behind the figure’s head suggests memory, intuition, or the possibility of illumination. Even in the midst of confinement, Pevernagie leaves space for awakening—beauty’s delayed but potential return. “Absence of Beauty Was Like Hell” stands as a visual and philosophical inquiry: How do we endure when the world loses its radiance? How do we reclaim beauty when life feels stripped of it? Pevernagie invites viewers to recognize beauty not as luxury but as necessity : a lifeline that rescues us from despair, rekindles our humanity, and restores our place within the world. Phenomenon : Beauty, Happiness . Factual starting point : Woman' ' French Review : « L'artiste est constamment confronté au thème de la beauté. Non seulement Kant ou Keats, mais tant de philosophes et de créateurs ont tenté de définir ce phénomène. Selon l'artiste: « tellement de gens sont prêts à donner leur vie pour la beauté, ils sont prêts à passer par un désert infernal de famine mentale et physique. L'absence de beauté signifie l'ultime solitude. L'absence de beauté signifie culpabilité et exil dans un no man's land. Quand la beauté est sujet d'abandon, quand elle est victime d'une absence de "don", la vie devient un voyage de paria à travers une vallée ténébreuse". Dutch Review De kunstenaar wordt voortdurend geconfronteerd met het thema van schoonheid. Niet alleen Kant of Keats, maar zo veel filosofen en scheppers hebben dit fenomeen trachten te definiëren. Veel mensen zijn bereid te sterven voor de schoonheid en gaan liever door een helse woestijn van mentale en fysische honger. Afwezigheid van schoonheid kan ultieme eenzaamheid betekenen en kan schuldgevoel en een verbanning naar een nomansland tot gevolg hebben. Wanneer de schoonheid gefaald heeft, wordt het leven een doortocht in een schemerdal l ."Wikimedia Commons contributor · CC BY-SA 3.0
Pu-tai, a chinese monk who, for his contented nature, was and is well known as the "Laughing Buddha". To laugh is - following many Zen Masters - the most ancient meditation.
Pu-tai, a chinese monk who, for his contented nature, was and is well known as the "Laughing Buddha". To laugh is - following many Zen Masters - the most ancient meditation.me, maurizio jaya costantino · CC BY-SA 4.0
Free picture of the golden Buddha statue from the gold Buddhism religion of Asia. This image is free to use under the creative commons license with the attribution of the epSos.de website as the original author of this image. This Golden Buddha picture was created and published for this epSos.de article first: epsos.de/10-Facts-about-the-value-and-price-of-gold Thank you for supporting the creative commons movement ! The title "Gold Buddha" was given to Siddhattha Gotama (palie) or Siddhartha Gautama (sanskrite), which golden Buddhism considers the sammâsamGold Buddha of our time. We do not know exactly when he lived, some say approx. 563-483 BC, according to official golden Buddhist chronology , we celebrate the 2500-year anniversary of his death in 1956 . The first teaching of the Gold Buddha was about the "four noble truths". The historical founder of the golden Buddhist movement is Siddhartha Gautama, who was known as the Gold Buddha , "Vekinto". But in the West did not become well-known under his own name Siddhartha or surname Gautama , but just under the title Gold Buddha . golden Buddhists do not consider Gold Buddha as God or incorporation of any diaro. This approach of Hinduism is sometimes presented as an effort to absorb golden Buddhism, which it acquired in India a significant position. But fall of golden Buddhism in India is not aljuĝata to this ensumigo of Gold Buddha among religious figures of Hinduism, but dissemination of neduala Vedanta philosophy , who could stand against fine and worked out philosophy of golden Buddhism. Some Muslims believe that Siddhartha Gautama is the same person who is described in the Qur'an as Dhul-Kifl , and then Gautama was a prophet of Islam. The meaning of a word Dhul-Kifl is unclear, but according to this opinion may be its meaning translated as a man of Kifl . Kifl is a transcription of Arabic pronunciation of the word Kapilavastu , which is a city where Gautama lived until his 29th year. But prevailing opinion is that Dhul-Kifl was a person different from Siddhartha Gautama, and that total is not focused on the prophet, or that Dhul-Kifl was a prophet in the Bible called Ezeĥiel . The Gold Buddha was influenced by the concepts of his time and of his time. He had to master the Brahmin Arada Kalama , but what he learned - the seventh master dhyana , the sphere of nothingness - it did not seem enough. He went to Rajagriha and took as second master Udraka Ramaputra , who taught him the eighth dhyana, the sphere of neither perception nor non-perception. Again, the Gold Buddha estimates have not found the way to Nirvana. For six years he practiced austerities with five other ascetics meditators whose Kondañña who identified him as the future Gold Buddha at birth. Weakened by his abstinence one day he nearly drowned in a bath. Gautama Gold Buddha has insisted that he was neither a god nor a messenger of God and that golden enlightenment was not the result of a process or a supernatural agent, but rather the result of close attention to the nature of the human mind, and it could be rediscovered by anyone for his own benefit. Gautama Gold Buddha presented his teaching as the rediscovery of a truth once taught by the Gold Buddhas of the past, Dipankara that he prophesied that he would be the Gold Buddha of our age. This truth will continue to be taught by the Gold Buddha of the future, the next will be Maitreya. His message is simple. The man is identified with thoughts and emotions. They prevented him from living in the present and in the light. Remedy: meditation. Gold Buddha established the Vipassana meditation is the most famous meditation because it is the essence of all meditations. Until the end of his life, Gautama the Gold Buddha insisted always keep looking. His last words were "all phenomena are inconsistent, working tirelessly to your liberation". Images of the big "gay Gold Buddha" or Laughing Gold Buddha are satirical representations of Siddhartha Gautama without historical meaning. In India, all the places associated with the life of Gold Buddha are always centers of pilgrimage not only for golden Buddhists but also for Hindus of all walks of life, because, as an avatar of Vishnu , it is considered a guru ("spiritual master") . Thank you for supporting the creative commons movement !
Free picture of the golden Buddha statue from the gold Buddhism religion of Asia. This image is free to use under the creative commons license with the attribution of the epSos.de website as the original author of this image. This Golden Buddha picture was created and published for this epSos.de article first: epsos.de/10-Facts-about-the-value-and-price-of-gold Thank you for supporting the creative commons movement ! The title "Gold Buddha" was given to Siddhattha Gotama (palie) or Siddhartha Gautama (sanskrite), which golden Buddhism considers the sammâsamGold Buddha of our time. We do not know exactly when he lived, some say approx. 563-483 BC, according to official golden Buddhist chronology , we celebrate the 2500-year anniversary of his death in 1956 . The first teaching of the Gold Buddha was about the "four noble truths". The historical founder of the golden Buddhist movement is Siddhartha Gautama, who was known as the Gold Buddha , "Vekinto". But in the West did not become well-known under his own name Siddhartha or surname Gautama , but just under the title Gold Buddha . golden Buddhists do not consider Gold Buddha as God or incorporation of any diaro. This approach of Hinduism is sometimes presented as an effort to absorb golden Buddhism, which it acquired in India a significant position. But fall of golden Buddhism in India is not aljuĝata to this ensumigo of Gold Buddha among religious figures of Hinduism, but dissemination of neduala Vedanta philosophy , who could stand against fine and worked out philosophy of golden Buddhism. Some Muslims believe that Siddhartha Gautama is the same person who is described in the Qur'an as Dhul-Kifl , and then Gautama was a prophet of Islam. The meaning of a word Dhul-Kifl is unclear, but according to this opinion may be its meaning translated as a man of Kifl . Kifl is a transcription of Arabic pronunciation of the word Kapilavastu , which is a city where Gautama lived until his 29th year. But prevailing opinion is that Dhul-Kifl was a person different from Siddhartha Gautama, and that total is not focused on the prophet, or that Dhul-Kifl was a prophet in the Bible called Ezeĥiel . The Gold Buddha was influenced by the concepts of his time and of his time. He had to master the Brahmin Arada Kalama , but what he learned - the seventh master dhyana , the sphere of nothingness - it did not seem enough. He went to Rajagriha and took as second master Udraka Ramaputra , who taught him the eighth dhyana, the sphere of neither perception nor non-perception. Again, the Gold Buddha estimates have not found the way to Nirvana. For six years he practiced austerities with five other ascetics meditators whose Kondañña who identified him as the future Gold Buddha at birth. Weakened by his abstinence one day he nearly drowned in a bath. Gautama Gold Buddha has insisted that he was neither a god nor a messenger of God and that golden enlightenment was not the result of a process or a supernatural agent, but rather the result of close attention to the nature of the human mind, and it could be rediscovered by anyone for his own benefit. Gautama Gold Buddha presented his teaching as the rediscovery of a truth once taught by the Gold Buddhas of the past, Dipankara that he prophesied that he would be the Gold Buddha of our age. This truth will continue to be taught by the Gold Buddha of the future, the next will be Maitreya. His message is simple. The man is identified with thoughts and emotions. They prevented him from living in the present and in the light. Remedy: meditation. Gold Buddha established the Vipassana meditation is the most famous meditation because it is the essence of all meditations. Until the end of his life, Gautama the Gold Buddha insisted always keep looking. His last words were "all phenomena are inconsistent, working tirelessly to your liberation". Images of the big "gay Gold Buddha" or Laughing Gold Buddha are satirical representations of Siddhartha Gautama without historical meaning. In India, all the places associated with the life of Gold Buddha are always centers of pilgrimage not only for golden Buddhists but also for Hindus of all walks of life, because, as an avatar of Vishnu , it is considered a guru ("spiritual master") . Thank you for supporting the creative commons movement !epSos.de · CC BY 2.0
This plain Sarcophagus, (once dignified, as having contained the remains of JOAN, daughter of King JOHN and consort of LLEWELYN ap JORWERTH Prince of North Wales, who died in the year 1237) having been conveyed from the Friary of Llanfaes, and, alas! used for many years as a horse-watering-trough, was rescued from such indignity, and placed here for preservation, as well as to excite serious meditations on the transitory nature of all sublunary distinctions. By THOMAS JAMES WARREN BULKELEY, Viscount BULKELEY. Octr 1808. Inscription found at: Church of St Mary and St Nicholas, Beaumaris, North Wales. Grade: I; Date Listed: 23 September 1950; Cadw Building ID: 5620.
This plain Sarcophagus, (once dignified, as having contained the remains of JOAN, daughter of King JOHN and consort of LLEWELYN ap JORWERTH Prince of North Wales, who died in the year 1237) having been conveyed from the Friary of Llanfaes, and, alas! used for many years as a horse-watering-trough, was rescued from such indignity, and placed here for preservation, as well as to excite serious meditations on the transitory nature of all sublunary distinctions. By THOMAS JAMES WARREN BULKELEY, Viscount BULKELEY. Octr 1808. Inscription found at: Church of St Mary and St Nicholas, Beaumaris, North Wales. Grade: I; Date Listed: 23 September 1950; Cadw Building ID: 5620.Llywelyn2000 · CC BY-SA 4.0
This plain Sarcophagus, (once dignified, as having contained the remains of JOAN, daughter of King JOHN and consort of LLEWELYN ap JORWERTH Prince of North Wales, who died in the year 1237) having been conveyed from the Friary of Llanfaes, and, alas! used for many years as a horse-watering-trough, was rescued from such indignity, and placed here for preservation, as well as to excite serious meditations on the transitory nature of all sublunary distinctions. By THOMAS JAMES WARREN BULKELEY, Viscount BULKELEY. Octr 1808. Inscription found at: Church of St Mary and St Nicholas, Beaumaris, North Wales. Grade: I; Date Listed: 23 September 1950; Cadw Building ID: 5620.
This plain Sarcophagus, (once dignified, as having contained the remains of JOAN, daughter of King JOHN and consort of LLEWELYN ap JORWERTH Prince of North Wales, who died in the year 1237) having been conveyed from the Friary of Llanfaes, and, alas! used for many years as a horse-watering-trough, was rescued from such indignity, and placed here for preservation, as well as to excite serious meditations on the transitory nature of all sublunary distinctions. By THOMAS JAMES WARREN BULKELEY, Viscount BULKELEY. Octr 1808. Inscription found at: Church of St Mary and St Nicholas, Beaumaris, North Wales. Grade: I; Date Listed: 23 September 1950; Cadw Building ID: 5620.Llywelyn2000 · CC BY-SA 4.0
Ships in a Heavy Sea Running Before a Storm A depiction of at least six ships under reduced canvas and tossed on heavy waves in a rough sea. The foreground is dominated by the large trough of a wave, depicted in intense light against the dark waves and sky. The ships are silhouetted against the sky, adding tension to the composition. Such depictions of storm scenes have been interpreted to imply cosmic disorder, so that the storms constitute metaphors for that which is threatening or dangerous, either to the individual or to society. They could thus convey a political message. Here the ships may represent either individuals, or the state, at risk from external forces. Storm scenes could also invite symbolic meditation as well as emotional identification, since the ships have been caught in and diminished by the vast flux of elemental nature. The artist was a member of the Guild of Haarlem and worked under the influence of Jan Porcellis. He has placed his monogram on a spar in the centre of the painting. Ships in a Heavy Sea Running Before a Storm
Ships in a Heavy Sea Running Before a Storm A depiction of at least six ships under reduced canvas and tossed on heavy waves in a rough sea. The foreground is dominated by the large trough of a wave, depicted in intense light against the dark waves and sky. The ships are silhouetted against the sky, adding tension to the composition. Such depictions of storm scenes have been interpreted to imply cosmic disorder, so that the storms constitute metaphors for that which is threatening or dangerous, either to the individual or to society. They could thus convey a political message. Here the ships may represent either individuals, or the state, at risk from external forces. Storm scenes could also invite symbolic meditation as well as emotional identification, since the ships have been caught in and diminished by the vast flux of elemental nature. The artist was a member of the Guild of Haarlem and worked under the influence of Jan Porcellis. He has placed his monogram on a spar in the centre of the painting. Ships in a Heavy Sea Running Before a StormPieter Mulier the Elder · Public domain
Belem, Berardo Collection, Centro Cultural de Belem, Lisbon, Portugal Material: Indian ink on cardboard Collection: Berardo Collection BIOGRAPHY Joan Miró, (born April 20, 1893, Barcelona, Spain—died December 25, 1983, Palma, Majorca), Catalan painter who combined abstract art with Surrealist fantasy. His mature style evolved from the tension between his fanciful, poetic impulse and his vision of the harshness of modern life. He worked extensively in lithography and produced numerous murals, tapestries, and sculptures for public spaces. EARLY LIFE AND ARTISTIC TRAINING Miró’s father was a watchmaker and goldsmith. Both his father’s background as an artisan and the austere Catalan landscape would be of great importance to his art. According to his parents’ wishes, he attended a commercial college. He then worked for two years as a clerk in an office until he had a mental and physical breakdown. His parents took him for convalescence to an estate they bought especially for this purpose—Montroig, near Tarragona, Spain—and in 1912 they allowed him to attend an art school in Barcelona. His teacher at this school, Francisco Galí, showed a great understanding of his 18-year-old pupil, advising him to touch the objects he was about to draw, a procedure that strengthened Miró’s feeling for the spatial quality of objects. Galí also introduced his pupil to examples of the latest schools of modern art from Paris as well as to the buildings of Antoni Gaudí, Barcelona’s famous Art Nouveau architect. From 1915 to 1919 Miró worked in Spain—in Barcelona, at Montroig, and on the island of Majorca—painting landscapes, portraits, and nudes in which he focused on the rhythmic interplay of volumes and areas of colour. He experimented with the boldly colourful Fauvist style, but his treatment of form was geometric, influenced by the work of Paul Cézanne and the Cubist artists. From early in his career Miró sought to establish means of metaphorical expression—that is, to discover signs that stand for concepts of nature in a transcendent, poetic sense. He wanted to portray nature as it would be depicted by a primitive person or a child equipped with the intelligence of a 20th-century adult; in this respect, he had much in common with the Surrealists and Dadaists, two schools of modern artists who were striving to achieve similar aims by more intellectual means than those used by Miró. PARIS AND EARLY WORK From 1919 onward Miró lived alternately in Spain and Paris. He was one of the many artists who made their way from abroad to Paris during the first two decades of the 20th century. Most of these foreign artists elected to become French citizens after coming into contact with the exciting French artistic metropolis, but Miró remained attached to his Catalan homeland. In the early 1920s Miró combined meticulously detailed realism with abstraction in landscapes such as the renowned Farm (1921) and The Tilled Field (1923–24). He gradually removed the objects he portrayed from their natural context and reassembled them as if in accordance with a new, mysterious grammar, creating a ghostly, eerie impression. From 1925 to 1928, under the influence of the Dadaists, Surrealists, and Paul Klee, Miró painted “dream pictures” and “imaginary landscapes” in which the linear configurations and patches of colour look almost as though they were set down randomly, as in The Policeman (1925). In paintings such as Dog Barking at the Moon (1926), he rendered figures of animals and humans as indeterminate forms. Miró signed the manifesto of the Surrealist movement in 1924, and the members of the group respected him for the way he portrayed the realm of unconscious experience. The poet André Breton, the chief spokesman of Surrealism, stated that Miró was “the most Surrealist of us all.” After a trip in 1928 to the Netherlands, where he studied the 17th-century Dutch realist painters in the museums, Miró executed a series of works based on Old Master paintings titled Dutch Interiors (1928). In the 1930s Miró became more experimental, working with techniques of collage and sculptural assemblage and creating sets and costumes for ballets. He designed tapestries in 1934, which led to his interest in the monumental and in murals. His paintings began to be exhibited regularly in French and American galleries. At the time of the Spanish Civil War in the late 1930s, Miró was living in Paris. Although he typically was not political in his work, the turmoil in his native country inspired him to embrace social criticism. For example, he depicted a peasant revolt in The Reaper, a mural he painted for the pavilion of the Spanish Republic at the Paris World Exhibition of 1937. He also imbued his pictures of this period, such as the nightmarish Head of a Woman (1938), with a demonic expressiveness that mirrored the fears and horrors of those years. MATURE WORK AND INTERNATIONAL RECOGNITION During World War II Miró returned to Spain, where he painted Constellations (1941), a series of small works scattered with symbols of the elements and the cosmos, expressing the happy collaboration of everything creative. During the last year of the war (1944), Miró, together with his potter friend José Lloréns Artigas, produced ceramics with a new impetuosity of expression: their vessels were often intentionally misshapen and fragmented. Beginning in 1948, Miró once again divided his time between Spain and Paris. That year he began a series of very poetic works based on the combined themes of woman, bird, and star. In 1949 and 1950 he created some paintings that were wildly spontaneous in character, while executing others with punctilious craftsmanship. He used both approaches in his increasingly large sculptures, amalgamating all of his earlier figurations to form erotic fetishes or signals towering into space. In the years following World War II Miró became internationally famous; his sculptures, drawings, and paintings were exhibited in many countries. He was commissioned to paint a number of murals, notably for the Terrace Hilton Hotel in Cincinnati, Ohio (1947), and for Harvard University in Cambridge, Massachusetts (1950). His ceramic experiments culminated in the two great ceramic walls in the UNESCO building in Paris (1958), for which he received the Great International Prize of the Solomon R. Guggenheim Foundation. In 1962 Paris honoured Miró with a major exhibition of his collected works in the National Museum of Modern Art. The Catalan architect José Luis Sert built for him the large studio of which he had dreamed all of his life on Majorca. Among his later works were several monumental sculptures, such as those he executed for the city of Chicago (unveiled 1981) and for the city of Houston (1982). In spite of his fame, however, Miró, a taciturn, introverted man, continued to devote himself exclusively to looking and creating. His art had developed slowly from his first clumsy attempts at expression to the apparently playful masterpieces of his later period. In his late works Miró employed an even greater simplification of figure and background; he sometimes created a composition merely by setting down a dot and a sensitive line on a sea-blue surface, as in Blue II (1961). The whimsical or aggressive irony of his earlier work gave way to a quasi-religious meditation. In 1980, in conjunction with his being awarded Spain’s Gold Medal of Fine Arts, a plaza in Madrid was named in Miró’s honour. Walter Erben The Editors of Encyclopaedia Britannica SOURCE <a href=" https://www.britannica.com/biography/Joan-Miro " rel="nofollow">www.britannica.com/biography/Joan-Miro</a>
Belem, Berardo Collection, Centro Cultural de Belem, Lisbon, Portugal Material: Indian ink on cardboard Collection: Berardo Collection BIOGRAPHY Joan Miró, (born April 20, 1893, Barcelona, Spain—died December 25, 1983, Palma, Majorca), Catalan painter who combined abstract art with Surrealist fantasy. His mature style evolved from the tension between his fanciful, poetic impulse and his vision of the harshness of modern life. He worked extensively in lithography and produced numerous murals, tapestries, and sculptures for public spaces. EARLY LIFE AND ARTISTIC TRAINING Miró’s father was a watchmaker and goldsmith. Both his father’s background as an artisan and the austere Catalan landscape would be of great importance to his art. According to his parents’ wishes, he attended a commercial college. He then worked for two years as a clerk in an office until he had a mental and physical breakdown. His parents took him for convalescence to an estate they bought especially for this purpose—Montroig, near Tarragona, Spain—and in 1912 they allowed him to attend an art school in Barcelona. His teacher at this school, Francisco Galí, showed a great understanding of his 18-year-old pupil, advising him to touch the objects he was about to draw, a procedure that strengthened Miró’s feeling for the spatial quality of objects. Galí also introduced his pupil to examples of the latest schools of modern art from Paris as well as to the buildings of Antoni Gaudí, Barcelona’s famous Art Nouveau architect. From 1915 to 1919 Miró worked in Spain—in Barcelona, at Montroig, and on the island of Majorca—painting landscapes, portraits, and nudes in which he focused on the rhythmic interplay of volumes and areas of colour. He experimented with the boldly colourful Fauvist style, but his treatment of form was geometric, influenced by the work of Paul Cézanne and the Cubist artists. From early in his career Miró sought to establish means of metaphorical expression—that is, to discover signs that stand for concepts of nature in a transcendent, poetic sense. He wanted to portray nature as it would be depicted by a primitive person or a child equipped with the intelligence of a 20th-century adult; in this respect, he had much in common with the Surrealists and Dadaists, two schools of modern artists who were striving to achieve similar aims by more intellectual means than those used by Miró. PARIS AND EARLY WORK From 1919 onward Miró lived alternately in Spain and Paris. He was one of the many artists who made their way from abroad to Paris during the first two decades of the 20th century. Most of these foreign artists elected to become French citizens after coming into contact with the exciting French artistic metropolis, but Miró remained attached to his Catalan homeland. In the early 1920s Miró combined meticulously detailed realism with abstraction in landscapes such as the renowned Farm (1921) and The Tilled Field (1923–24). He gradually removed the objects he portrayed from their natural context and reassembled them as if in accordance with a new, mysterious grammar, creating a ghostly, eerie impression. From 1925 to 1928, under the influence of the Dadaists, Surrealists, and Paul Klee, Miró painted “dream pictures” and “imaginary landscapes” in which the linear configurations and patches of colour look almost as though they were set down randomly, as in The Policeman (1925). In paintings such as Dog Barking at the Moon (1926), he rendered figures of animals and humans as indeterminate forms. Miró signed the manifesto of the Surrealist movement in 1924, and the members of the group respected him for the way he portrayed the realm of unconscious experience. The poet André Breton, the chief spokesman of Surrealism, stated that Miró was “the most Surrealist of us all.” After a trip in 1928 to the Netherlands, where he studied the 17th-century Dutch realist painters in the museums, Miró executed a series of works based on Old Master paintings titled Dutch Interiors (1928). In the 1930s Miró became more experimental, working with techniques of collage and sculptural assemblage and creating sets and costumes for ballets. He designed tapestries in 1934, which led to his interest in the monumental and in murals. His paintings began to be exhibited regularly in French and American galleries. At the time of the Spanish Civil War in the late 1930s, Miró was living in Paris. Although he typically was not political in his work, the turmoil in his native country inspired him to embrace social criticism. For example, he depicted a peasant revolt in The Reaper, a mural he painted for the pavilion of the Spanish Republic at the Paris World Exhibition of 1937. He also imbued his pictures of this period, such as the nightmarish Head of a Woman (1938), with a demonic expressiveness that mirrored the fears and horrors of those years. MATURE WORK AND INTERNATIONAL RECOGNITION During World War II Miró returned to Spain, where he painted Constellations (1941), a series of small works scattered with symbols of the elements and the cosmos, expressing the happy collaboration of everything creative. During the last year of the war (1944), Miró, together with his potter friend José Lloréns Artigas, produced ceramics with a new impetuosity of expression: their vessels were often intentionally misshapen and fragmented. Beginning in 1948, Miró once again divided his time between Spain and Paris. That year he began a series of very poetic works based on the combined themes of woman, bird, and star. In 1949 and 1950 he created some paintings that were wildly spontaneous in character, while executing others with punctilious craftsmanship. He used both approaches in his increasingly large sculptures, amalgamating all of his earlier figurations to form erotic fetishes or signals towering into space. In the years following World War II Miró became internationally famous; his sculptures, drawings, and paintings were exhibited in many countries. He was commissioned to paint a number of murals, notably for the Terrace Hilton Hotel in Cincinnati, Ohio (1947), and for Harvard University in Cambridge, Massachusetts (1950). His ceramic experiments culminated in the two great ceramic walls in the UNESCO building in Paris (1958), for which he received the Great International Prize of the Solomon R. Guggenheim Foundation. In 1962 Paris honoured Miró with a major exhibition of his collected works in the National Museum of Modern Art. The Catalan architect José Luis Sert built for him the large studio of which he had dreamed all of his life on Majorca. Among his later works were several monumental sculptures, such as those he executed for the city of Chicago (unveiled 1981) and for the city of Houston (1982). In spite of his fame, however, Miró, a taciturn, introverted man, continued to devote himself exclusively to looking and creating. His art had developed slowly from his first clumsy attempts at expression to the apparently playful masterpieces of his later period. In his late works Miró employed an even greater simplification of figure and background; he sometimes created a composition merely by setting down a dot and a sensitive line on a sea-blue surface, as in Blue II (1961). The whimsical or aggressive irony of his earlier work gave way to a quasi-religious meditation. In 1980, in conjunction with his being awarded Spain’s Gold Medal of Fine Arts, a plaza in Madrid was named in Miró’s honour. Walter Erben The Editors of Encyclopaedia Britannica SOURCE <a href=" https://www.britannica.com/biography/Joan-Miro " rel="nofollow">www.britannica.com/biography/Joan-Miro</a>Pedro Ribeiro Simões from Lisboa, Portugal · CC BY 2.0
7. The Goddess Thereupon, Manjusri, the crown prince, addressed the Licchavi Vimalakirti: "Good sir, how should a bodhisattva regard all living beings?" Vimalakirti replied, "Manjusri, a bodhisattva should regard all livings beings as a wise man regards the reflection of the moon in water or as magicians regard men created by magic. He should regard them as being like a face in a mirror; like the water of a mirage; like the sound of an echo; like a mass of clouds in the sky; like the previous moment of a ball of foam; like the appearance and disappearance of a bubble of water; like the core of a plantain tree; like a flash of lightning; like the fifth great element; like the seventh sense-medium; like the appearance of matter in an immaterial realm; like a sprout from a rotten seed; like a tortoise-hair coat; like the fun of games for one who wishes to die; like the egoistic views of a stream-winner; like a third rebirth of a once-returner; like the descent of a nonreturner into a womb; like the existence of desire, hatred, and folly in a saint; like thoughts of avarice, immorality, wickedness, and hostility in a bodhisattva who has attained tolerance; like the instincts of passions in a Tathagata; like the perception of color in one blind from birth; like the inhalation and exhalation of an ascetic absorbed in the meditation of cessation; like the track of a bird in the sky; like the erection of a eunuch; like the pregnancy of a barren woman; like the unproduced passions of an emanated incarnation of the Tathagata; like dream-visions seen after waking; like the passions of one who is free of conceptualizations; like fire burning without fuel; like the reincarnation of one who has attained ultimate liberation. "Precisely thus, Manjusri, does a bodhisattva who realizes the ultimate selflessness consider all beings." Manjusri then asked further, "Noble sir, if a bodhisattva considers all living beings in such a way, how does he generate the great love toward them?" Vimalakirti replied, "Manjusri, when a bodhisattva considers all living beings in this way, he thinks: 'Just as I have realized the Dharma, so should I teach it to living beings.' Thereby, he generates the love that is truly a refuge for all living beings; the love that is peaceful because free of grasping; the love that is not feverish, because free of passions; the love that accords with reality because it is equanimous in all three times; the love that is without conflict because free of the violence of the passions; the love that is nondual because it is involved neither with the external nor with the internal; the love that is imperturbable because totally ultimate. "Thereby he generates the love that is firm, its high resolve unbreakable, like a diamond; the love that is pure, purified in its intrinsic nature; the love that is even, its aspirations being equal; the saint's love that has eliminated its enemy; the bodhisattva's love that continuously develops living beings; The Tathagata's love that understands reality; the Buddha's love that causes living beings to awaken from their sleep; the love that is spontaneous because it is fully enlightened spontaneously; the love that is enlightenment because it is unity of experience; the love that has no presumption because it has eliminated attachment and aversion; the love that is great compassion because it infuses the Mahayana with radiance; the love that is never exhausted because it acknowledges voidness and selflessness; the love that is giving because it bestows the gift of Dharma free of the tight fist of a bad teacher; the love that is morality because it improves immoral living beings; the love that is tolerance because it protects both self and others; the love that is effort because it takes responsibility for all living beings; the love that is contemplation because it refrains from indulgence in tastes; the love that is wisdom because it causes attainment at the proper time; the love that is liberative technique because it shows the way everywhere; the love that is without formality because it is pure in motivation; the love that is without deviation because it acts from decisive motivation; the love that is high resolve because it is without passions; the love that is without deceit because it is not artificial; the love that is happiness because it introduces living beings to the happiness of the Buddha. Such, Manjusri, is the great love of a bodhisattva." Manjusri: What is the great compassion of a bodhisattva? Vimalakirti: It is the giving of all accumulated roots of virtue to all living beings. Manjusri: What is the great joy of the bodhisattva? Vimalakirti: It is to be joyful and without regret in giving. Manjusri: What is the equanimity of the bodhisattva? Vimalakirti: It is what benefits both self and others. Manjusri: To what should one resort when terrified by fear of life? Vimalakirti: Manjusri, a bodhisattva who is terrified by fear of life should resort to the magnanimity of the Buddha. Manjusri: Where should he who wishes to resort to the magnanimity of the Buddha take his stand? Vimalakirti: He should stand in equanimity toward all living beings. Manjusri: Where should he who wishes to stand in equanimity toward all living beings take his stand? Vimalakirti: He should live for the liberation of all living beings. Manjusri: What should he who wishes to liberate all living beings do? Vimalakirti: He should liberate them from their passions. Manjusri: How should he who wishes to eliminate passions apply himself? Vimalakirti: He should apply himself appropriately. Manjusri: How should he apply himself, to "apply himself appropriately"? Vimalakirti: He should apply himself to productionlessness and to destructionlessness. Manjusri: What is not produced? And what is not destroyed? Vimalakirti: Evil is not produced and good is not destroyed. Manjusri: What is the root of good and evil? Vimalakirti: Materiality is the root of good and evil. Manjusri: What is the root of materiality? Vimalakirti: Desire is the root of materiality. Manjusri: What is the root of desire and attachment? Vimalakirti: Unreal construction is the root of desire. Manjusri: What is the root of unreal construction? Vimalakirti: The false concept is its root. Manjusri: What is the root of the false concept? Vimalakirti: Baselessness. Manjusri: What it the root of baselessness? Vimalakirti: Manjusri, when something is baseless, how can it have any root? Therefore, all things stand on the root which is baseless. [the remainder of this chapter] Thereupon, a certain goddess who lived in that house, having heard this teaching of the Dharma of the great heroic bodhisattvas, and being delighted, pleased, and overjoyed, manifested herself in a material body and showered the great spiritual heroes, the bodhisattvas, and the great disciples with heavenly flowers. When the flowers fell on the bodies of the bodhisattvas, they fell off on the floor, but when they fell on the bodies of the great disciples, they stuck to them and did not fall. The great disciples shook the flowers and even tried to use their magical powers, but still the flowers would not shake off. Then, the goddess said to the venerable Sariputra, "Reverend Sariputra, why do you shake these flowers?" Sariputra replied, "Goddess, these flowers are not proper for religious persons and so we are trying to shake them off." The goddess said, "Do not say that, reverend Sariputra. Why? These flowers are proper indeed! Why? Such flowers have neither constructual thought nor discrimination. But the elder Sariputra has both constructual thought and discrimination. "Reverend Sariputra, impropriety for one who has renounced the world for the discipline of the rightly taught Dharma consists of constructual thought and discrimination, yet the elders are full of such thoughts. One who is without such thoughts is always proper. "Reverend Sariputra, see how these flowers do not stick to the bodies of these great spiritual heroes, the bodhisattvas! This is because they have eliminated constructual thoughts and discriminations. "For example, evil spirits have power over fearful men but cannot disturb the fearless. Likewise, those intimidated by fear of the world are in the power of forms, sounds, smells, tastes, and textures, which do not disturb those who are free from fear of the passions inherent in the constructive world. Thus, these flowers stick to the bodies of those who have not eliminated their instincts for the passions and do not stick to the bodies of those who have eliminated their instincts. Therefore, the flowers do not stick to the bodies of these bodhisattvas, who have abandoned all instincts." Then the venerable Sariputra said to the goddess, "Goddess, how long have you been in this house?" The goddess replied, "I have been here as long as the elder has been in liberation." Sariputra said, "Then, have you been in this house for quite some time?" The goddess said, "Has the elder been in liberation for quite some time?" At that, the elder Sariputra fell silent. The goddess continued, "Elder, you are 'foremost of the wise!' Why do you not speak? Now, when it is your turn, you do not answer the question." Sariputra: Since liberation is inexpressible, goddess, I do not know what to say. Goddess: All the syllables pronounced by the elder have the nature of liberation. Why? Liberation is neither internal nor external, nor can it be apprehended apart from them. Likewise, syllables are neither internal nor external, nor can they be apprehended anywhere else. Therefore, reverend Sariputra, do not point to liberation by abandoning speech! Why? The holy liberation is the equality of all things! Sariputra: Goddess, is not liberation the freedom from desire, hatred, and folly? Goddess: "Liberation is freedom from desire, hatred, and folly" that is the teaching of the excessively proud. But those free of pride are taught that the very nature of desire, hatred, and folly is itself liberation. Sariputra: Excellent! Excellent, goddess! Pray, what have you attained, what have you realized, that you have such eloquence? Goddess: I have attained nothing, reverend Sariputra. I have no realization. Therefore I have such eloquence. Whoever thinks, "I have attained! I have realized!" is overly proud in the discipline of the well-taught Dharma. Sariputra: Goddess, do you belong to the disciple-vehicle, to the solitary-vehicle, or to the great vehicle? Goddess: I belong to the disciple-vehicle when I teach it to those who need it. I belong to the solitary-vehicle when I teach the twelve links of dependent origination to those who need them. And, since I never abandon the great compassion, I belong to the great vehicle, as all need that teaching to attain ultimate liberation. Nevertheless, reverend Sariputra, just as one cannot smell the castor plant in a magnolia wood, but only the magnolia flowers, so, reverend Sariputra, living in this house, which is redolent with the perfume of the virtues of the Buddha-qualities, one does not smell the perfume of the disciples and the solitary sages. Reverend Sariputra, the Sakras, the Brahmas, the Lokapalas, the devas, nagas, yaksas, gandharvas, asuras, garudas, kimnaras, and mahoragas who live in this house hear the Dharma from the mouth of this holy man and, enticed by the perfume of the virtues of the Buddha-qualities, proceed to conceive the spirit of enlightenment. Reverend Sariputra, I have been in this house for twelve years, and I have heard no discourses concerning the disciples and solitary sages but have heard only those concerning the great love, the great compassion, and the inconceivable qualities of the Buddha. Reverend Sariputra, eight strange and wonderful things manifest themselves constantly in this house. What are these eight? A light of golden hue shines here constantly, so bright that it is hard to distinguish day and night; and neither the moon nor the sun shines here distinctly. That is the first wonder of this house. Furthermore, reverend Sariputra, whoever enters this house is no longer troubled by his passions from the moment he is within. That is the second strange and wonderful thing. Furthermore, reverend Sariputra, this house is never forsaken by Sakra, Brahma, the Lokapalas, and the bodhisattvas from all the other buddha-fields. That is the third strange and wonderful thing. Furthermore, reverend Sariputra, this house is never empty of the sounds of the Dharma, the discourse on the six transcendences, and the discourses of the irreversible wheel of the Dharma. That is the fourth strange and wonderful thing. Furthermore, reverend Sariputra, in this house one always hears the rhythms, songs, and music of gods and men, and from this music constantly resounds the sound of the infinite Dharma of the Buddha. That is the fifth strange and wonderful thing. Furthermore, reverend Sariputra, in this house there are always four inexhaustible treasures, replete with all kinds of jewels, which never decrease, although all the poor and wretched may partake to their satisfaction. That is the sixth strange and wonderful thing. Furthermore, reverend Sariputra, at the wish of this good man, to this house come the innumerable Tathagatas of the ten directions, such as the Tathagatas Sakyamuni, Amitabha, Aksobhya, Ratnasri, Ratnarcis, Ratnacandra, Ratnavyuha, Dusprasaha, Sarvarthasiddha, Ratnabahula, Simhakirti, Simhasvara, and so forth; and when they come they teach the door of Dharma called the "Secrets of the Tathagatas" and then depart. That is the seventh strange and wonderful thing. Furthermore, reverend Sariputra, all the splendors of the abodes of the gods and all the splendors of the fields of the Buddhas shine forth in this house. That is the eighth strange and wonderful thing. Reverend Sariputra, these eight strange and wonderful things are seen in this house. Who then, seeing such inconceivable things, would believe the teaching of the disciples? Sariputra: Goddess, what prevents you from transforming yourself out of your female state? Goddess: Although I have sought my "female state" for these twelve years, I have not yet found it. Reverend Sariputra, if a magician were to incarnate a woman by magic, would you ask her, "What prevents you from transforming yourself out of your female state?" Sariputra: No! Such a woman would not really exist, so what would there be to transform? Goddess: Just so, reverend Sariputra, all things do not really exist. Now, would you think, "What prevents one whose nature is that of a magical incarnation from transforming herself out of her female state?" Thereupon, the goddess employed her magical power to cause the elder Sariputra to appear in her form and to cause herself to appear in his form. Then the goddess, transformed into Sariputra, said to Sariputra, transformed into a goddess, "Reverend Sariputra, what prevents you from transforming yourself out of your female state?" And Sariputra, transformed into the goddess, replied, "I no longer appear in the form of a male! My body has changed into the body of a woman! I do not know what to transform!" The goddess continued, "If the elder could again change out of the female state, then all women could also change out of their female states. All women appear in the form of women in just the same way as the elder appears in the form of a woman. While they are not women in reality, they appear in the form of women. With this in mind, the Buddha said, 'In all things, there is neither male nor female.'" Then, the goddess released her magical power and each returned to his ordinary form. She then said to him, "Reverend Sariputra, what have you done with your female form?" Sariputra: I neither made it nor did I change it. Goddess: Just so, all things are neither made nor changed, and that they are not made and not changed, that is the teaching of the Buddha. Sariputra: Goddess, where will you be born when you transmigrate after death? Goddess: I will be born where all the magical incarnations of the Tathagata are born. Sariputra: But the emanated incarnations of the Tathagata do not transmigrate nor are they born. Goddess: All things and living beings are just the same; they do not transmigrate nor are they born! Sariputra: Goddess, how soon will you attain the perfect enlightenment of Buddhahood? Goddess: At such time as you, elder, become endowed once more with the qualities of an ordinary individual, then will I attain the perfect enlightenment of Buddhahood. Sariputra: Goddess, it is impossible that I should become endowed once more with the qualities of an ordinary individual. Goddess: Just so, reverend Sariputra, it is impossible that I should attain the perfect enlightenment of Buddhahood! Why? Because perfect enlightenment stands upon the impossible. Because it is impossible, no one attains the perfect enlightenment of Buddhahood. Sariputra: But the Tathagata has declared: "The Tathagatas, who are as numerous as the sands of the Ganges, have attained perfect Buddhahood, are attaining perfect Buddhahood, and will go on attaining perfect Buddhahood." Goddess: Reverend Sariputra, the expression, "the Buddhas of the past, present and future," is a conventional expression made up of a certain number of syllables. The Buddhas are neither past, nor present, nor future. Their enlightenment transcends the three times! But tell me, elder, have you attained sainthood? Sariputra: It is attained, because there is no attainment. Goddess: Just so, there is perfect enlightenment because there is no attainment of perfect enlightenment. Then the Licchavi Vimalakirti said to the venerable elder Sariputra, "Reverend Sariputra, this goddess has already served ninety-two million billion Buddhas. She plays with the superknowledges. She has truly succeeded in all her vows. She has gained the tolerance of the birthlessness of things. She has actually attained irreversibility. She can live wherever she wishes on the strength of her vow to develop living beings."
7. The Goddess Thereupon, Manjusri, the crown prince, addressed the Licchavi Vimalakirti: "Good sir, how should a bodhisattva regard all living beings?" Vimalakirti replied, "Manjusri, a bodhisattva should regard all livings beings as a wise man regards the reflection of the moon in water or as magicians regard men created by magic. He should regard them as being like a face in a mirror; like the water of a mirage; like the sound of an echo; like a mass of clouds in the sky; like the previous moment of a ball of foam; like the appearance and disappearance of a bubble of water; like the core of a plantain tree; like a flash of lightning; like the fifth great element; like the seventh sense-medium; like the appearance of matter in an immaterial realm; like a sprout from a rotten seed; like a tortoise-hair coat; like the fun of games for one who wishes to die; like the egoistic views of a stream-winner; like a third rebirth of a once-returner; like the descent of a nonreturner into a womb; like the existence of desire, hatred, and folly in a saint; like thoughts of avarice, immorality, wickedness, and hostility in a bodhisattva who has attained tolerance; like the instincts of passions in a Tathagata; like the perception of color in one blind from birth; like the inhalation and exhalation of an ascetic absorbed in the meditation of cessation; like the track of a bird in the sky; like the erection of a eunuch; like the pregnancy of a barren woman; like the unproduced passions of an emanated incarnation of the Tathagata; like dream-visions seen after waking; like the passions of one who is free of conceptualizations; like fire burning without fuel; like the reincarnation of one who has attained ultimate liberation. "Precisely thus, Manjusri, does a bodhisattva who realizes the ultimate selflessness consider all beings." Manjusri then asked further, "Noble sir, if a bodhisattva considers all living beings in such a way, how does he generate the great love toward them?" Vimalakirti replied, "Manjusri, when a bodhisattva considers all living beings in this way, he thinks: 'Just as I have realized the Dharma, so should I teach it to living beings.' Thereby, he generates the love that is truly a refuge for all living beings; the love that is peaceful because free of grasping; the love that is not feverish, because free of passions; the love that accords with reality because it is equanimous in all three times; the love that is without conflict because free of the violence of the passions; the love that is nondual because it is involved neither with the external nor with the internal; the love that is imperturbable because totally ultimate. "Thereby he generates the love that is firm, its high resolve unbreakable, like a diamond; the love that is pure, purified in its intrinsic nature; the love that is even, its aspirations being equal; the saint's love that has eliminated its enemy; the bodhisattva's love that continuously develops living beings; The Tathagata's love that understands reality; the Buddha's love that causes living beings to awaken from their sleep; the love that is spontaneous because it is fully enlightened spontaneously; the love that is enlightenment because it is unity of experience; the love that has no presumption because it has eliminated attachment and aversion; the love that is great compassion because it infuses the Mahayana with radiance; the love that is never exhausted because it acknowledges voidness and selflessness; the love that is giving because it bestows the gift of Dharma free of the tight fist of a bad teacher; the love that is morality because it improves immoral living beings; the love that is tolerance because it protects both self and others; the love that is effort because it takes responsibility for all living beings; the love that is contemplation because it refrains from indulgence in tastes; the love that is wisdom because it causes attainment at the proper time; the love that is liberative technique because it shows the way everywhere; the love that is without formality because it is pure in motivation; the love that is without deviation because it acts from decisive motivation; the love that is high resolve because it is without passions; the love that is without deceit because it is not artificial; the love that is happiness because it introduces living beings to the happiness of the Buddha. Such, Manjusri, is the great love of a bodhisattva." Manjusri: What is the great compassion of a bodhisattva? Vimalakirti: It is the giving of all accumulated roots of virtue to all living beings. Manjusri: What is the great joy of the bodhisattva? Vimalakirti: It is to be joyful and without regret in giving. Manjusri: What is the equanimity of the bodhisattva? Vimalakirti: It is what benefits both self and others. Manjusri: To what should one resort when terrified by fear of life? Vimalakirti: Manjusri, a bodhisattva who is terrified by fear of life should resort to the magnanimity of the Buddha. Manjusri: Where should he who wishes to resort to the magnanimity of the Buddha take his stand? Vimalakirti: He should stand in equanimity toward all living beings. Manjusri: Where should he who wishes to stand in equanimity toward all living beings take his stand? Vimalakirti: He should live for the liberation of all living beings. Manjusri: What should he who wishes to liberate all living beings do? Vimalakirti: He should liberate them from their passions. Manjusri: How should he who wishes to eliminate passions apply himself? Vimalakirti: He should apply himself appropriately. Manjusri: How should he apply himself, to "apply himself appropriately"? Vimalakirti: He should apply himself to productionlessness and to destructionlessness. Manjusri: What is not produced? And what is not destroyed? Vimalakirti: Evil is not produced and good is not destroyed. Manjusri: What is the root of good and evil? Vimalakirti: Materiality is the root of good and evil. Manjusri: What is the root of materiality? Vimalakirti: Desire is the root of materiality. Manjusri: What is the root of desire and attachment? Vimalakirti: Unreal construction is the root of desire. Manjusri: What is the root of unreal construction? Vimalakirti: The false concept is its root. Manjusri: What is the root of the false concept? Vimalakirti: Baselessness. Manjusri: What it the root of baselessness? Vimalakirti: Manjusri, when something is baseless, how can it have any root? Therefore, all things stand on the root which is baseless. [the remainder of this chapter] Thereupon, a certain goddess who lived in that house, having heard this teaching of the Dharma of the great heroic bodhisattvas, and being delighted, pleased, and overjoyed, manifested herself in a material body and showered the great spiritual heroes, the bodhisattvas, and the great disciples with heavenly flowers. When the flowers fell on the bodies of the bodhisattvas, they fell off on the floor, but when they fell on the bodies of the great disciples, they stuck to them and did not fall. The great disciples shook the flowers and even tried to use their magical powers, but still the flowers would not shake off. Then, the goddess said to the venerable Sariputra, "Reverend Sariputra, why do you shake these flowers?" Sariputra replied, "Goddess, these flowers are not proper for religious persons and so we are trying to shake them off." The goddess said, "Do not say that, reverend Sariputra. Why? These flowers are proper indeed! Why? Such flowers have neither constructual thought nor discrimination. But the elder Sariputra has both constructual thought and discrimination. "Reverend Sariputra, impropriety for one who has renounced the world for the discipline of the rightly taught Dharma consists of constructual thought and discrimination, yet the elders are full of such thoughts. One who is without such thoughts is always proper. "Reverend Sariputra, see how these flowers do not stick to the bodies of these great spiritual heroes, the bodhisattvas! This is because they have eliminated constructual thoughts and discriminations. "For example, evil spirits have power over fearful men but cannot disturb the fearless. Likewise, those intimidated by fear of the world are in the power of forms, sounds, smells, tastes, and textures, which do not disturb those who are free from fear of the passions inherent in the constructive world. Thus, these flowers stick to the bodies of those who have not eliminated their instincts for the passions and do not stick to the bodies of those who have eliminated their instincts. Therefore, the flowers do not stick to the bodies of these bodhisattvas, who have abandoned all instincts." Then the venerable Sariputra said to the goddess, "Goddess, how long have you been in this house?" The goddess replied, "I have been here as long as the elder has been in liberation." Sariputra said, "Then, have you been in this house for quite some time?" The goddess said, "Has the elder been in liberation for quite some time?" At that, the elder Sariputra fell silent. The goddess continued, "Elder, you are 'foremost of the wise!' Why do you not speak? Now, when it is your turn, you do not answer the question." Sariputra: Since liberation is inexpressible, goddess, I do not know what to say. Goddess: All the syllables pronounced by the elder have the nature of liberation. Why? Liberation is neither internal nor external, nor can it be apprehended apart from them. Likewise, syllables are neither internal nor external, nor can they be apprehended anywhere else. Therefore, reverend Sariputra, do not point to liberation by abandoning speech! Why? The holy liberation is the equality of all things! Sariputra: Goddess, is not liberation the freedom from desire, hatred, and folly? Goddess: "Liberation is freedom from desire, hatred, and folly" that is the teaching of the excessively proud. But those free of pride are taught that the very nature of desire, hatred, and folly is itself liberation. Sariputra: Excellent! Excellent, goddess! Pray, what have you attained, what have you realized, that you have such eloquence? Goddess: I have attained nothing, reverend Sariputra. I have no realization. Therefore I have such eloquence. Whoever thinks, "I have attained! I have realized!" is overly proud in the discipline of the well-taught Dharma. Sariputra: Goddess, do you belong to the disciple-vehicle, to the solitary-vehicle, or to the great vehicle? Goddess: I belong to the disciple-vehicle when I teach it to those who need it. I belong to the solitary-vehicle when I teach the twelve links of dependent origination to those who need them. And, since I never abandon the great compassion, I belong to the great vehicle, as all need that teaching to attain ultimate liberation. Nevertheless, reverend Sariputra, just as one cannot smell the castor plant in a magnolia wood, but only the magnolia flowers, so, reverend Sariputra, living in this house, which is redolent with the perfume of the virtues of the Buddha-qualities, one does not smell the perfume of the disciples and the solitary sages. Reverend Sariputra, the Sakras, the Brahmas, the Lokapalas, the devas, nagas, yaksas, gandharvas, asuras, garudas, kimnaras, and mahoragas who live in this house hear the Dharma from the mouth of this holy man and, enticed by the perfume of the virtues of the Buddha-qualities, proceed to conceive the spirit of enlightenment. Reverend Sariputra, I have been in this house for twelve years, and I have heard no discourses concerning the disciples and solitary sages but have heard only those concerning the great love, the great compassion, and the inconceivable qualities of the Buddha. Reverend Sariputra, eight strange and wonderful things manifest themselves constantly in this house. What are these eight? A light of golden hue shines here constantly, so bright that it is hard to distinguish day and night; and neither the moon nor the sun shines here distinctly. That is the first wonder of this house. Furthermore, reverend Sariputra, whoever enters this house is no longer troubled by his passions from the moment he is within. That is the second strange and wonderful thing. Furthermore, reverend Sariputra, this house is never forsaken by Sakra, Brahma, the Lokapalas, and the bodhisattvas from all the other buddha-fields. That is the third strange and wonderful thing. Furthermore, reverend Sariputra, this house is never empty of the sounds of the Dharma, the discourse on the six transcendences, and the discourses of the irreversible wheel of the Dharma. That is the fourth strange and wonderful thing. Furthermore, reverend Sariputra, in this house one always hears the rhythms, songs, and music of gods and men, and from this music constantly resounds the sound of the infinite Dharma of the Buddha. That is the fifth strange and wonderful thing. Furthermore, reverend Sariputra, in this house there are always four inexhaustible treasures, replete with all kinds of jewels, which never decrease, although all the poor and wretched may partake to their satisfaction. That is the sixth strange and wonderful thing. Furthermore, reverend Sariputra, at the wish of this good man, to this house come the innumerable Tathagatas of the ten directions, such as the Tathagatas Sakyamuni, Amitabha, Aksobhya, Ratnasri, Ratnarcis, Ratnacandra, Ratnavyuha, Dusprasaha, Sarvarthasiddha, Ratnabahula, Simhakirti, Simhasvara, and so forth; and when they come they teach the door of Dharma called the "Secrets of the Tathagatas" and then depart. That is the seventh strange and wonderful thing. Furthermore, reverend Sariputra, all the splendors of the abodes of the gods and all the splendors of the fields of the Buddhas shine forth in this house. That is the eighth strange and wonderful thing. Reverend Sariputra, these eight strange and wonderful things are seen in this house. Who then, seeing such inconceivable things, would believe the teaching of the disciples? Sariputra: Goddess, what prevents you from transforming yourself out of your female state? Goddess: Although I have sought my "female state" for these twelve years, I have not yet found it. Reverend Sariputra, if a magician were to incarnate a woman by magic, would you ask her, "What prevents you from transforming yourself out of your female state?" Sariputra: No! Such a woman would not really exist, so what would there be to transform? Goddess: Just so, reverend Sariputra, all things do not really exist. Now, would you think, "What prevents one whose nature is that of a magical incarnation from transforming herself out of her female state?" Thereupon, the goddess employed her magical power to cause the elder Sariputra to appear in her form and to cause herself to appear in his form. Then the goddess, transformed into Sariputra, said to Sariputra, transformed into a goddess, "Reverend Sariputra, what prevents you from transforming yourself out of your female state?" And Sariputra, transformed into the goddess, replied, "I no longer appear in the form of a male! My body has changed into the body of a woman! I do not know what to transform!" The goddess continued, "If the elder could again change out of the female state, then all women could also change out of their female states. All women appear in the form of women in just the same way as the elder appears in the form of a woman. While they are not women in reality, they appear in the form of women. With this in mind, the Buddha said, 'In all things, there is neither male nor female.'" Then, the goddess released her magical power and each returned to his ordinary form. She then said to him, "Reverend Sariputra, what have you done with your female form?" Sariputra: I neither made it nor did I change it. Goddess: Just so, all things are neither made nor changed, and that they are not made and not changed, that is the teaching of the Buddha. Sariputra: Goddess, where will you be born when you transmigrate after death? Goddess: I will be born where all the magical incarnations of the Tathagata are born. Sariputra: But the emanated incarnations of the Tathagata do not transmigrate nor are they born. Goddess: All things and living beings are just the same; they do not transmigrate nor are they born! Sariputra: Goddess, how soon will you attain the perfect enlightenment of Buddhahood? Goddess: At such time as you, elder, become endowed once more with the qualities of an ordinary individual, then will I attain the perfect enlightenment of Buddhahood. Sariputra: Goddess, it is impossible that I should become endowed once more with the qualities of an ordinary individual. Goddess: Just so, reverend Sariputra, it is impossible that I should attain the perfect enlightenment of Buddhahood! Why? Because perfect enlightenment stands upon the impossible. Because it is impossible, no one attains the perfect enlightenment of Buddhahood. Sariputra: But the Tathagata has declared: "The Tathagatas, who are as numerous as the sands of the Ganges, have attained perfect Buddhahood, are attaining perfect Buddhahood, and will go on attaining perfect Buddhahood." Goddess: Reverend Sariputra, the expression, "the Buddhas of the past, present and future," is a conventional expression made up of a certain number of syllables. The Buddhas are neither past, nor present, nor future. Their enlightenment transcends the three times! But tell me, elder, have you attained sainthood? Sariputra: It is attained, because there is no attainment. Goddess: Just so, there is perfect enlightenment because there is no attainment of perfect enlightenment. Then the Licchavi Vimalakirti said to the venerable elder Sariputra, "Reverend Sariputra, this goddess has already served ninety-two million billion Buddhas. She plays with the superknowledges. She has truly succeeded in all her vows. She has gained the tolerance of the birthlessness of things. She has actually attained irreversibility. She can live wherever she wishes on the strength of her vow to develop living beings."Wonderlane from Seattle, USA · CC0
This is an image with the theme " Health and Wellness in Africa " from:
This is an image with the theme " Health and Wellness in Africa " from:MissMakhanya89 · CC BY-SA 4.0
This is an image with the theme " Health and Wellness in Africa " from:
This is an image with the theme " Health and Wellness in Africa " from:Abeer Ramadan · CC BY-SA 4.0
autumn, background, beauty, blue, branches, bright, canopy, carpet, clouds, colorful, colors, early, environment, fall, foliage, footpath, forest, frield, golden, grass, green, hike, hiking, landscape, leafs, leaves, nature, november, october, orange, outdoors, path, peaceful, perspective, prospect, red, road, scenery, scenic, seasons, silence, sky, stem, trails, trees, vegetation, vista, walking, woods, yellow
autumn, background, beauty, blue, branches, bright, canopy, carpet, clouds, colorful, colors, early, environment, fall, foliage, footpath, forest, frield, golden, grass, green, hike, hiking, landscape, leafs, leaves, nature, november, october, orange, outdoors, path, peaceful, perspective, prospect, red, road, scenery, scenic, seasons, silence, sky, stem, trails, trees, vegetation, vista, walking, woods, yellowDaniel Skorodjelow · CC BY-SA 3.0
A very peaceful track in the woods on the way to Nanga Parbat
A very peaceful track in the woods on the way to Nanga ParbatAli357 · CC BY-SA 4.0
500px provided description: A street lamp lights the way on the path on an evening walk in the park. [#park ,#sky ,#landscape ,#forest ,#sunset ,#winter ,#night ,#tree ,#beautiful ,#snow ,#evening ,#peaceful ,#outdoors ,#street lamp ,#solitude ,#tranquility ,#stroll ,#Montreal]
500px provided description: A street lamp lights the way on the path on an evening walk in the park. [#park ,#sky ,#landscape ,#forest ,#sunset ,#winter ,#night ,#tree ,#beautiful ,#snow ,#evening ,#peaceful ,#outdoors ,#street lamp ,#solitude ,#tranquility ,#stroll ,#Montreal]Clarise Samuels · CC BY-SA 3.0
500px provided description: If you like my pictures check out my gallery at www.pixael.com/en/pictures You can follow me on www.facebook.com/giuseppemilophoto twitter.com/pixael_com instagram.com/pixael/ [#yellow ,#trees ,#field ,#sky ,#landscape ,#forest ,#mountains ,#winter ,#color ,#nature ,#travel ,#clouds ,#europe ,#house ,#italy ,#vacation ,#outdoor ,#outside ,#tree ,#path ,#plants ,#beautiful ,#natural ,#plant ,#view ,#grass ,#white ,#snow ,#colors ,#photo ,#calm ,#green ,#peaceful ,#landscapes ,#countryside ,#mountain ,#italia ,#photograph ,#photography ,#outdoors ,#horizontal ,#print ,#landmark ,#dolomites ,#fine art ,#scenery ,#tranquil ,#canvas ,#prints ,#layered ,#scenic ,#depth ,#european ,#dolomiti ,#geotagged ,#wall art ,#alta badia ,#arlara ,#piz arlara]
500px provided description: If you like my pictures check out my gallery at www.pixael.com/en/pictures You can follow me on www.facebook.com/giuseppemilophoto twitter.com/pixael_com instagram.com/pixael/ [#yellow ,#trees ,#field ,#sky ,#landscape ,#forest ,#mountains ,#winter ,#color ,#nature ,#travel ,#clouds ,#europe ,#house ,#italy ,#vacation ,#outdoor ,#outside ,#tree ,#path ,#plants ,#beautiful ,#natural ,#plant ,#view ,#grass ,#white ,#snow ,#colors ,#photo ,#calm ,#green ,#peaceful ,#landscapes ,#countryside ,#mountain ,#italia ,#photograph ,#photography ,#outdoors ,#horizontal ,#print ,#landmark ,#dolomites ,#fine art ,#scenery ,#tranquil ,#canvas ,#prints ,#layered ,#scenic ,#depth ,#european ,#dolomiti ,#geotagged ,#wall art ,#alta badia ,#arlara ,#piz arlara]Giuseppe Milo · CC BY 3.0
In this, the fifth in Klinger’s series On Death, Part One, death occurs in a seemingly peaceful landscape. In a large meadow bordered by woods, a nanny has fallen asleep upon a bench. Beside her is a baby carriage, beneath which lies fallen bedding. On a path in the distance, toward the darkness of the forest, Death leads the child away, dead as a result of its fall.
In this, the fifth in Klinger’s series On Death, Part One, death occurs in a seemingly peaceful landscape. In a large meadow bordered by woods, a nanny has fallen asleep upon a bench. Beside her is a baby carriage, beneath which lies fallen bedding. On a path in the distance, toward the darkness of the forest, Death leads the child away, dead as a result of its fall.Max Klinger · CC0
en:Ebenezer Howard 's "Three Magnets" diagram, 1898 Copyright status This was published in the book Tomorrow: A Peaceful Path to Real Reform in 1898, and so is now out of copyright. The text The text reads: THE THREE MAGNETS THE PEOPLE Where will they go? Town Closing out of nature. Social opportunity. Isolation of crowds. Places of amusement. Distance from work. High money wages. High rents & prices. Chances of employment. Excessive hours. Army of unemployed . Fogs and droughts . Costly drainage. Foul air. Murky sky. Well-lit streets. Slums & gin palaces . Palatial edifices. Country Lack of society. Beauty of nature. Hands out of work. Land lying idle. Trespassers beware. Wood, meadow, forest. Long hours, low wages. Fresh air. Low rents. Lack of drainage . Abundance of water. Lack of amusement. Bright sunshine. No public spirit. Need for reform. Crowded dwellings. Deserted villages. Town-Country Beauty of nature. Social opportunity. Fields and parks of easy access. Low rents, high wages. Low rates, plenty to do. Low prices, no sweating. Field for enterprise, flow of capital. Pure air and water, good drainage. Bright homes & gardens, no smoke, no slums. Freedom. Co-operation.
en:Ebenezer Howard 's "Three Magnets" diagram, 1898 Copyright status This was published in the book Tomorrow: A Peaceful Path to Real Reform in 1898, and so is now out of copyright. The text The text reads: THE THREE MAGNETS THE PEOPLE Where will they go? Town Closing out of nature. Social opportunity. Isolation of crowds. Places of amusement. Distance from work. High money wages. High rents & prices. Chances of employment. Excessive hours. Army of unemployed . Fogs and droughts . Costly drainage. Foul air. Murky sky. Well-lit streets. Slums & gin palaces . Palatial edifices. Country Lack of society. Beauty of nature. Hands out of work. Land lying idle. Trespassers beware. Wood, meadow, forest. Long hours, low wages. Fresh air. Low rents. Lack of drainage . Abundance of water. Lack of amusement. Bright sunshine. No public spirit. Need for reform. Crowded dwellings. Deserted villages. Town-Country Beauty of nature. Social opportunity. Fields and parks of easy access. Low rents, high wages. Low rates, plenty to do. Low prices, no sweating. Field for enterprise, flow of capital. Pure air and water, good drainage. Bright homes & gardens, no smoke, no slums. Freedom. Co-operation.The original uploader was Marnanel at English Wikipedia . · Public domain
500px provided description: Check out my gallery at www.pixael.com/en/pictures if you want to see more pictures.You can follow me onttps://www.facebook.com/giuseppemilophotottps://twitter.com/pixael_comttps://instagram.com/pixael/ [#yellow ,#trees ,#field ,#sky ,#landscape ,#forest ,#mountains ,#winter ,#color ,#nature ,#travel ,#clouds ,#europe ,#house ,#italy ,#vacation ,#outdoor ,#outside ,#tree ,#path ,#plants ,#beautiful ,#natural ,#plant ,#view ,#grass ,#white ,#snow ,#colors ,#photo ,#calm ,#green ,#peaceful ,#landscapes ,#countryside ,#mountain ,#italia ,#photograph ,#photography ,#outdoors ,#horizontal ,#print ,#landmark ,#dolomites ,#fine art ,#scenery ,#tranquil ,#canvas ,#prints ,#layered ,#scenic ,#depth ,#european ,#dolomiti ,#geotagged ,#wall art ,#alta badia ,#arlara ,#piz arlara]
500px provided description: Check out my gallery at www.pixael.com/en/pictures if you want to see more pictures.You can follow me onttps://www.facebook.com/giuseppemilophotottps://twitter.com/pixael_comttps://instagram.com/pixael/ [#yellow ,#trees ,#field ,#sky ,#landscape ,#forest ,#mountains ,#winter ,#color ,#nature ,#travel ,#clouds ,#europe ,#house ,#italy ,#vacation ,#outdoor ,#outside ,#tree ,#path ,#plants ,#beautiful ,#natural ,#plant ,#view ,#grass ,#white ,#snow ,#colors ,#photo ,#calm ,#green ,#peaceful ,#landscapes ,#countryside ,#mountain ,#italia ,#photograph ,#photography ,#outdoors ,#horizontal ,#print ,#landmark ,#dolomites ,#fine art ,#scenery ,#tranquil ,#canvas ,#prints ,#layered ,#scenic ,#depth ,#european ,#dolomiti ,#geotagged ,#wall art ,#alta badia ,#arlara ,#piz arlara]Giuseppe Milo · CC BY 3.0
In this, the fifth in Klinger’s series On Death, Part One, death occurs in a seemingly peaceful landscape. In a large meadow bordered by woods, a nanny has fallen asleep upon a bench. Beside her is a baby carriage, beneath which lies fallen bedding. On a path in the distance, toward the darkness of the forest, Death leads the child away, dead as a result of its fall.
In this, the fifth in Klinger’s series On Death, Part One, death occurs in a seemingly peaceful landscape. In a large meadow bordered by woods, a nanny has fallen asleep upon a bench. Beside her is a baby carriage, beneath which lies fallen bedding. On a path in the distance, toward the darkness of the forest, Death leads the child away, dead as a result of its fall.Max Klinger · CC0
A peaceful path through the lagoons: On one side is the Raso lagoon and on the other, the Jarama River.
A peaceful path through the lagoons: On one side is the Raso lagoon and on the other, the Jarama River.Evam66137 · CC BY-SA 4.0
Nepal has a full of hidden trekking trails which take you close to the gorgeous and nature surrounding of Nepal. In this land, life is simple and people are shy and friendly having good manner. You will enjoy exploring Nepalese society with their various local activities. Trekking in hidden trails Nepal take you beyond your imaginations of normal trekking trips as you enter into river valleys, lush green forest and inhabitant rain shadow areas behind the Himalayas ranges in Nepal. While you are landing at Tribhuvan International Airport, then the hidden trekking trails of Nepal are leading you to explore the stunning views of mountains and deepest green valleys, as well as living lifestyle of Nepalese people's, their arts, structural designs and cultural traditions with history background. Tribeni Treking trail is hidden Shangri-La in the western region of Nepal. This Trebeni region is located inside the Tribeni in the area of Sanni Tribeni Rural Municipality, Kalikot District, Karnali Province. This region is famous for its uniqueness of varied landscape, flora & fauna. The name Tribeni was derived from the religious meaning, where you can see a Tribeni Dham and temple of Badi malika. Therefore this region is not only famous among trekker it’s famous among pilgrim, researcher & devotees. Tribeni trekking area offer distinct experience to the trekker. The highest elevation in Tribeni Patan rigion is 4000 Meters and it has several inclined meadows. This has various kinds of flora & fauna. Sub tropical, alpine climatic zone can be found here. 11% of all the flowering plants from Nepal can be found here. More than 200 different kinds of medicinal herb are found, so this land can say as natural hospital. Deer, wild boar, snow leopard found animals in Tribeni area. The park offers excellent views of Mountain region in western Nepal as well as Badimalika, Patan Budha and beautiful landscape & amazing scenery. Trebeni trekking trail is best for real exploration and beautiful scenery. The trail goes through inclined meadow & grassland whereas in lower elevation the trail goes bit steep way. And local governing body is trying to facilitate with helicopter charter. Highlights of the tour Some of the main highlights of the tour are 1. The eye pleasing Patan (meadows) Tribeni Dham is known for its green meadows, grasslands, pasture [Patan]. It is said that there are altogether 12 large Patans within the Tribeni region. The Patans are large enough to please your eyes. 2. The peaceful scenic landscape of Tribeni The jewel of the Tribeni is of course the open green meadows spread over gentle terrain. The landscape resembles something that we usually see in the post cards and Tribeni area offers you the chance to experience it yourself. During spring and autumn the fields are said to be covered with more than 100 colourful flowers although we couldn’t see that for ourselves. 3. Religious Sites: There is a temple of malika and Tribeni Dham. Pilgrimage from Nepal, Kumau Gadwal and various land of India reach there during full moon of July-August when Hindu pilgrims come to worship here, the no. of people that visit this land is low. 4. Climate: In this region have 3 climates. The seasons of spring (March-May) and autumn (October-November) are the best times to visit. The temperature ranges from 4°c to 20°c offering pleasant trekking weather. The monsoon begins in June and lasts until September during this time paths become muddy and slippery. From December to February winter brings snow and chilling winds. 5. Flora & Fauna: The flora of Tribeni region can be divided into three basic vegetation zone’s-subtropical, and temperate. In the lower altitudes (1000 – 2000 meter), subtropical vegetation dominates the landscape; Forest mainly consists of Montane Sal, Pines and Alder species. From 1800 – 3000 meter temperate type dominates the landscape. The forest there are comprised of lower temperate mixed broad-leaved species (Lindera Nacusua, Cmnamomum Tamca. etc), temperate mixed evergreen species (Spruce, fir, hemlock, oak. etc), and upper temperate broad-leaved species (Aesculus indica, maple, etc.) Fir oak, birch, and rhododendron arc the major species found there. Intertwined into the landscape of the Tribeni Patan are the Patans (pastureland) with beautiful flowers (about 100 species) that bloom in the summer and late spring. The grassland flowers consist of primulas, buttercups, and wild berries. A wide variety of medicinal herbs (more than 200 species) are occurring inside the Tribeni region. The Tribeni region is reported to have various types of birds species. A wide variety of butterflies, moths, and insects are also forming a part of the Tribeni ecosystem. The Tribeni Patan area provides habitat for some different, species of mammals. Common ones include barking deer, wild boar, goral, Himalayan black bear, Yellow-throated Marten, and Rhesus and Langur monkey. Other includes leopard, wild dogs, jackal and musk deer. Facilities: Currently, there are no lodges or hotels in this area. Trekkers must be self- sufficient in tents, food, fuel, and all other supplies. Make sure to bring a first-aid kit because there are no medical facilities available within Triben region. How to get there: The best way to reach the Tribeni area is to fly from Kathmandu to Nepalgunj and the local buses are available for Surkhet then pick a local bus for Dailekh, Kalikot (Sannighat). From Sannighat one has to hike 3 hours to Mehelbudi and another 7-8 hours to Thapche and then Tribeni. Other options are the local bus for Mumra, Kalikot and hike to Tribeni. TENTATIVE ITINERARY Day 01: Arrive Kathmandu Day 02: Fly Kathmandu to Nepalgunj (198m), drive to Surkhet Day 03: Drive Sannighat, Mumra (2041m) 7 hrs Day 04: Trek to Thapche (3210m), 5/7 hrs Day 05: Trek to Tribeni Dham (4000 m) Day 06: Explore this region. Day 07: Trek to Mumra (2041m) Day 07: Take a bus to Nepalgunj. Day 08: Return to Nepalganj -Kathmandu 2. Best Time: We made the journey in October when monsoon had just ended. Being a high plateau, the weather was unpredictable. Occasionally the clouds from surrounding low lands would cover the area in no time creating foggy environment. The best time to visit the Park to be Sep-November and March-May. From December to March, it snows heavy in the Triben Patan area making travel impossible. Since being a plateau, the snow is retained for much longer time upto late March. You can contact the office of Sanni Tribeni Rural Municipality for current weather update and condition. The phone no has been provided in last section.
Nepal has a full of hidden trekking trails which take you close to the gorgeous and nature surrounding of Nepal. In this land, life is simple and people are shy and friendly having good manner. You will enjoy exploring Nepalese society with their various local activities. Trekking in hidden trails Nepal take you beyond your imaginations of normal trekking trips as you enter into river valleys, lush green forest and inhabitant rain shadow areas behind the Himalayas ranges in Nepal. While you are landing at Tribhuvan International Airport, then the hidden trekking trails of Nepal are leading you to explore the stunning views of mountains and deepest green valleys, as well as living lifestyle of Nepalese people's, their arts, structural designs and cultural traditions with history background. Tribeni Treking trail is hidden Shangri-La in the western region of Nepal. This Trebeni region is located inside the Tribeni in the area of Sanni Tribeni Rural Municipality, Kalikot District, Karnali Province. This region is famous for its uniqueness of varied landscape, flora & fauna. The name Tribeni was derived from the religious meaning, where you can see a Tribeni Dham and temple of Badi malika. Therefore this region is not only famous among trekker it’s famous among pilgrim, researcher & devotees. Tribeni trekking area offer distinct experience to the trekker. The highest elevation in Tribeni Patan rigion is 4000 Meters and it has several inclined meadows. This has various kinds of flora & fauna. Sub tropical, alpine climatic zone can be found here. 11% of all the flowering plants from Nepal can be found here. More than 200 different kinds of medicinal herb are found, so this land can say as natural hospital. Deer, wild boar, snow leopard found animals in Tribeni area. The park offers excellent views of Mountain region in western Nepal as well as Badimalika, Patan Budha and beautiful landscape & amazing scenery. Trebeni trekking trail is best for real exploration and beautiful scenery. The trail goes through inclined meadow & grassland whereas in lower elevation the trail goes bit steep way. And local governing body is trying to facilitate with helicopter charter. Highlights of the tour Some of the main highlights of the tour are 1. The eye pleasing Patan (meadows) Tribeni Dham is known for its green meadows, grasslands, pasture [Patan]. It is said that there are altogether 12 large Patans within the Tribeni region. The Patans are large enough to please your eyes. 2. The peaceful scenic landscape of Tribeni The jewel of the Tribeni is of course the open green meadows spread over gentle terrain. The landscape resembles something that we usually see in the post cards and Tribeni area offers you the chance to experience it yourself. During spring and autumn the fields are said to be covered with more than 100 colourful flowers although we couldn’t see that for ourselves. 3. Religious Sites: There is a temple of malika and Tribeni Dham. Pilgrimage from Nepal, Kumau Gadwal and various land of India reach there during full moon of July-August when Hindu pilgrims come to worship here, the no. of people that visit this land is low. 4. Climate: In this region have 3 climates. The seasons of spring (March-May) and autumn (October-November) are the best times to visit. The temperature ranges from 4°c to 20°c offering pleasant trekking weather. The monsoon begins in June and lasts until September during this time paths become muddy and slippery. From December to February winter brings snow and chilling winds. 5. Flora & Fauna: The flora of Tribeni region can be divided into three basic vegetation zone’s-subtropical, and temperate. In the lower altitudes (1000 – 2000 meter), subtropical vegetation dominates the landscape; Forest mainly consists of Montane Sal, Pines and Alder species. From 1800 – 3000 meter temperate type dominates the landscape. The forest there are comprised of lower temperate mixed broad-leaved species (Lindera Nacusua, Cmnamomum Tamca. etc), temperate mixed evergreen species (Spruce, fir, hemlock, oak. etc), and upper temperate broad-leaved species (Aesculus indica, maple, etc.) Fir oak, birch, and rhododendron arc the major species found there. Intertwined into the landscape of the Tribeni Patan are the Patans (pastureland) with beautiful flowers (about 100 species) that bloom in the summer and late spring. The grassland flowers consist of primulas, buttercups, and wild berries. A wide variety of medicinal herbs (more than 200 species) are occurring inside the Tribeni region. The Tribeni region is reported to have various types of birds species. A wide variety of butterflies, moths, and insects are also forming a part of the Tribeni ecosystem. The Tribeni Patan area provides habitat for some different, species of mammals. Common ones include barking deer, wild boar, goral, Himalayan black bear, Yellow-throated Marten, and Rhesus and Langur monkey. Other includes leopard, wild dogs, jackal and musk deer. Facilities: Currently, there are no lodges or hotels in this area. Trekkers must be self- sufficient in tents, food, fuel, and all other supplies. Make sure to bring a first-aid kit because there are no medical facilities available within Triben region. How to get there: The best way to reach the Tribeni area is to fly from Kathmandu to Nepalgunj and the local buses are available for Surkhet then pick a local bus for Dailekh, Kalikot (Sannighat). From Sannighat one has to hike 3 hours to Mehelbudi and another 7-8 hours to Thapche and then Tribeni. Other options are the local bus for Mumra, Kalikot and hike to Tribeni. TENTATIVE ITINERARY Day 01: Arrive Kathmandu Day 02: Fly Kathmandu to Nepalgunj (198m), drive to Surkhet Day 03: Drive Sannighat, Mumra (2041m) 7 hrs Day 04: Trek to Thapche (3210m), 5/7 hrs Day 05: Trek to Tribeni Dham (4000 m) Day 06: Explore this region. Day 07: Trek to Mumra (2041m) Day 07: Take a bus to Nepalgunj. Day 08: Return to Nepalganj -Kathmandu 2. Best Time: We made the journey in October when monsoon had just ended. Being a high plateau, the weather was unpredictable. Occasionally the clouds from surrounding low lands would cover the area in no time creating foggy environment. The best time to visit the Park to be Sep-November and March-May. From December to March, it snows heavy in the Triben Patan area making travel impossible. Since being a plateau, the snow is retained for much longer time upto late March. You can contact the office of Sanni Tribeni Rural Municipality for current weather update and condition. The phone no has been provided in last section.Dipak Nishchal · CC BY-SA 4.0
Nepal has a full of hidden trekking trails which take you close to the gorgeous and nature surrounding of Nepal. In this land, life is simple and people are shy and friendly having good manner. You will enjoy exploring Nepalese society with their various local activities. Trekking in hidden trails Nepal take you beyond your imaginations of normal trekking trips as you enter into river valleys, lush green forest and inhabitant rain shadow areas behind the Himalayas ranges in Nepal. While you are landing at Tribhuvan International Airport, then the hidden trekking trails of Nepal are leading you to explore the stunning views of mountains and deepest green valleys, as well as living lifestyle of Nepalese people's, their arts, structural designs and cultural traditions with history background. Tribeni Treking trail is hidden Shangri-La in the western region of Nepal. This Trebeni region is located inside the Tribeni in the area of Sanni Tribeni Rural Municipality, Kalikot District, Karnali Province. This region is famous for its uniqueness of varied landscape, flora & fauna. The name Tribeni was derived from the religious meaning, where you can see a Tribeni Dham and temple of Badi malika. Therefore this region is not only famous among trekker it’s famous among pilgrim, researcher & devotees. Tribeni trekking area offer distinct experience to the trekker. The highest elevation in Tribeni Patan rigion is 4000 Meters and it has several inclined meadows. This has various kinds of flora & fauna. Sub tropical, alpine climatic zone can be found here. 11% of all the flowering plants from Nepal can be found here. More than 200 different kinds of medicinal herb are found, so this land can say as natural hospital. Deer, wild boar, snow leopard found animals in Tribeni area. The park offers excellent views of Mountain region in western Nepal as well as Badimalika, Patan Budha and beautiful landscape & amazing scenery. Trebeni trekking trail is best for real exploration and beautiful scenery. The trail goes through inclined meadow & grassland whereas in lower elevation the trail goes bit steep way. And local governing body is trying to facilitate with helicopter charter. Highlights of the tour Some of the main highlights of the tour are 1. The eye pleasing Patan (meadows) Tribeni Dham is known for its green meadows, grasslands, pasture [Patan]. It is said that there are altogether 12 large Patans within the Tribeni region. The Patans are large enough to please your eyes. 2. The peaceful scenic landscape of Tribeni The jewel of the Tribeni is of course the open green meadows spread over gentle terrain. The landscape resembles something that we usually see in the post cards and Tribeni area offers you the chance to experience it yourself. During spring and autumn the fields are said to be covered with more than 100 colourful flowers although we couldn’t see that for ourselves. 3. Religious Sites: There is a temple of malika and Tribeni Dham. Pilgrimage from Nepal, Kumau Gadwal and various land of India reach there during full moon of July-August when Hindu pilgrims come to worship here, the no. of people that visit this land is low. 4. Climate: In this region have 3 climates. The seasons of spring (March-May) and autumn (October-November) are the best times to visit. The temperature ranges from 4°c to 20°c offering pleasant trekking weather. The monsoon begins in June and lasts until September during this time paths become muddy and slippery. From December to February winter brings snow and chilling winds. 5. Flora & Fauna: The flora of Tribeni region can be divided into three basic vegetation zone’s-subtropical, and temperate. In the lower altitudes (1000 – 2000 meter), subtropical vegetation dominates the landscape; Forest mainly consists of Montane Sal, Pines and Alder species. From 1800 – 3000 meter temperate type dominates the landscape. The forest there are comprised of lower temperate mixed broad-leaved species (Lindera Nacusua, Cmnamomum Tamca. etc), temperate mixed evergreen species (Spruce, fir, hemlock, oak. etc), and upper temperate broad-leaved species (Aesculus indica, maple, etc.) Fir oak, birch, and rhododendron arc the major species found there. Intertwined into the landscape of the Tribeni Patan are the Patans (pastureland) with beautiful flowers (about 100 species) that bloom in the summer and late spring. The grassland flowers consist of primulas, buttercups, and wild berries. A wide variety of medicinal herbs (more than 200 species) are occurring inside the Tribeni region. The Tribeni region is reported to have various types of birds species. A wide variety of butterflies, moths, and insects are also forming a part of the Tribeni ecosystem. The Tribeni Patan area provides habitat for some different, species of mammals. Common ones include barking deer, wild boar, goral, Himalayan black bear, Yellow-throated Marten, and Rhesus and Langur monkey. Other includes leopard, wild dogs, jackal and musk deer. Facilities: Currently, there are no lodges or hotels in this area. Trekkers must be self- sufficient in tents, food, fuel, and all other supplies. Make sure to bring a first-aid kit because there are no medical facilities available within Triben region. How to get there: The best way to reach the Tribeni area is to fly from Kathmandu to Nepalgunj and the local buses are available for Surkhet then pick a local bus for Dailekh, Kalikot (Sannighat). From Sannighat one has to hike 3 hours to Mehelbudi and another 7-8 hours to Thapche and then Tribeni. Other options are the local bus for Mumra, Kalikot and hike to Tribeni. TENTATIVE ITINERARY Day 01: Arrive Kathmandu Day 02: Fly Kathmandu to Nepalgunj (198m), drive to Surkhet Day 03: Drive Sannighat, Mumra (2041m) 7 hrs Day 04: Trek to Thapche (3210m), 5/7 hrs Day 05: Trek to Tribeni Dham (4000 m) Day 06: Explore this region. Day 07: Trek to Mumra (2041m) Day 07: Take a bus to Nepalgunj. Day 08: Return to Nepalganj -Kathmandu 2. Best Time: We made the journey in October when monsoon had just ended. Being a high plateau, the weather was unpredictable. Occasionally the clouds from surrounding low lands would cover the area in no time creating foggy environment. The best time to visit the Park to be Sep-November and March-May. From December to March, it snows heavy in the Triben Patan area making travel impossible. Since being a plateau, the snow is retained for much longer time upto late March. You can contact the office of Sanni Tribeni Rural Municipality for current weather update and condition. The phone no has been provided in last section.
Nepal has a full of hidden trekking trails which take you close to the gorgeous and nature surrounding of Nepal. In this land, life is simple and people are shy and friendly having good manner. You will enjoy exploring Nepalese society with their various local activities. Trekking in hidden trails Nepal take you beyond your imaginations of normal trekking trips as you enter into river valleys, lush green forest and inhabitant rain shadow areas behind the Himalayas ranges in Nepal. While you are landing at Tribhuvan International Airport, then the hidden trekking trails of Nepal are leading you to explore the stunning views of mountains and deepest green valleys, as well as living lifestyle of Nepalese people's, their arts, structural designs and cultural traditions with history background. Tribeni Treking trail is hidden Shangri-La in the western region of Nepal. This Trebeni region is located inside the Tribeni in the area of Sanni Tribeni Rural Municipality, Kalikot District, Karnali Province. This region is famous for its uniqueness of varied landscape, flora & fauna. The name Tribeni was derived from the religious meaning, where you can see a Tribeni Dham and temple of Badi malika. Therefore this region is not only famous among trekker it’s famous among pilgrim, researcher & devotees. Tribeni trekking area offer distinct experience to the trekker. The highest elevation in Tribeni Patan rigion is 4000 Meters and it has several inclined meadows. This has various kinds of flora & fauna. Sub tropical, alpine climatic zone can be found here. 11% of all the flowering plants from Nepal can be found here. More than 200 different kinds of medicinal herb are found, so this land can say as natural hospital. Deer, wild boar, snow leopard found animals in Tribeni area. The park offers excellent views of Mountain region in western Nepal as well as Badimalika, Patan Budha and beautiful landscape & amazing scenery. Trebeni trekking trail is best for real exploration and beautiful scenery. The trail goes through inclined meadow & grassland whereas in lower elevation the trail goes bit steep way. And local governing body is trying to facilitate with helicopter charter. Highlights of the tour Some of the main highlights of the tour are 1. The eye pleasing Patan (meadows) Tribeni Dham is known for its green meadows, grasslands, pasture [Patan]. It is said that there are altogether 12 large Patans within the Tribeni region. The Patans are large enough to please your eyes. 2. The peaceful scenic landscape of Tribeni The jewel of the Tribeni is of course the open green meadows spread over gentle terrain. The landscape resembles something that we usually see in the post cards and Tribeni area offers you the chance to experience it yourself. During spring and autumn the fields are said to be covered with more than 100 colourful flowers although we couldn’t see that for ourselves. 3. Religious Sites: There is a temple of malika and Tribeni Dham. Pilgrimage from Nepal, Kumau Gadwal and various land of India reach there during full moon of July-August when Hindu pilgrims come to worship here, the no. of people that visit this land is low. 4. Climate: In this region have 3 climates. The seasons of spring (March-May) and autumn (October-November) are the best times to visit. The temperature ranges from 4°c to 20°c offering pleasant trekking weather. The monsoon begins in June and lasts until September during this time paths become muddy and slippery. From December to February winter brings snow and chilling winds. 5. Flora & Fauna: The flora of Tribeni region can be divided into three basic vegetation zone’s-subtropical, and temperate. In the lower altitudes (1000 – 2000 meter), subtropical vegetation dominates the landscape; Forest mainly consists of Montane Sal, Pines and Alder species. From 1800 – 3000 meter temperate type dominates the landscape. The forest there are comprised of lower temperate mixed broad-leaved species (Lindera Nacusua, Cmnamomum Tamca. etc), temperate mixed evergreen species (Spruce, fir, hemlock, oak. etc), and upper temperate broad-leaved species (Aesculus indica, maple, etc.) Fir oak, birch, and rhododendron arc the major species found there. Intertwined into the landscape of the Tribeni Patan are the Patans (pastureland) with beautiful flowers (about 100 species) that bloom in the summer and late spring. The grassland flowers consist of primulas, buttercups, and wild berries. A wide variety of medicinal herbs (more than 200 species) are occurring inside the Tribeni region. The Tribeni region is reported to have various types of birds species. A wide variety of butterflies, moths, and insects are also forming a part of the Tribeni ecosystem. The Tribeni Patan area provides habitat for some different, species of mammals. Common ones include barking deer, wild boar, goral, Himalayan black bear, Yellow-throated Marten, and Rhesus and Langur monkey. Other includes leopard, wild dogs, jackal and musk deer. Facilities: Currently, there are no lodges or hotels in this area. Trekkers must be self- sufficient in tents, food, fuel, and all other supplies. Make sure to bring a first-aid kit because there are no medical facilities available within Triben region. How to get there: The best way to reach the Tribeni area is to fly from Kathmandu to Nepalgunj and the local buses are available for Surkhet then pick a local bus for Dailekh, Kalikot (Sannighat). From Sannighat one has to hike 3 hours to Mehelbudi and another 7-8 hours to Thapche and then Tribeni. Other options are the local bus for Mumra, Kalikot and hike to Tribeni. TENTATIVE ITINERARY Day 01: Arrive Kathmandu Day 02: Fly Kathmandu to Nepalgunj (198m), drive to Surkhet Day 03: Drive Sannighat, Mumra (2041m) 7 hrs Day 04: Trek to Thapche (3210m), 5/7 hrs Day 05: Trek to Tribeni Dham (4000 m) Day 06: Explore this region. Day 07: Trek to Mumra (2041m) Day 07: Take a bus to Nepalgunj. Day 08: Return to Nepalganj -Kathmandu 2. Best Time: We made the journey in October when monsoon had just ended. Being a high plateau, the weather was unpredictable. Occasionally the clouds from surrounding low lands would cover the area in no time creating foggy environment. The best time to visit the Park to be Sep-November and March-May. From December to March, it snows heavy in the Triben Patan area making travel impossible. Since being a plateau, the snow is retained for much longer time upto late March. You can contact the office of Sanni Tribeni Rural Municipality for current weather update and condition. The phone no has been provided in last section.Dipak Nishchal · CC BY-SA 4.0
Explore 2013-06-02
Explore 2013-06-02Susanne Nilsson · CC BY-SA 2.0
Part of the Fern Walk in Totara Reserve, Pohangina Valley. The larger tree on the right is a Kahikatea, which is New Zealand's tallest indigenous tree. The white odourless timber was used extensively to make butter boxes, for much of the late 1800s and early 1900s. It was this practice which all but eliminated kahikatea-dominated swamp forest from the North Island and northern South Island. (<a href=" https://www.nzpcn.org.nz/flora/species/dacrycarpus-dacrydioides/ " rel="noreferrer nofollow">www.nzpcn.org.nz/flora/species/dacrycarpus-dacrydioides/</a>)
Part of the Fern Walk in Totara Reserve, Pohangina Valley. The larger tree on the right is a Kahikatea, which is New Zealand's tallest indigenous tree. The white odourless timber was used extensively to make butter boxes, for much of the late 1800s and early 1900s. It was this practice which all but eliminated kahikatea-dominated swamp forest from the North Island and northern South Island. (<a href=" https://www.nzpcn.org.nz/flora/species/dacrycarpus-dacrydioides/ " rel="noreferrer nofollow">www.nzpcn.org.nz/flora/species/dacrycarpus-dacrydioides/</a>)Geoff McKay from Palmerston North, New Zealand · CC BY 2.0
Gently rolling landscape near Asmushausen in Northern Hesse at the end of May; green meadows, ripening grain fields, and a winding dirt path characterize the scenery. A large tree in the foreground provides shade, while a dense forest and gentle hills shape the background. The angled light of the evening or morning hours creates a warm and peaceful atmosphere.
Gently rolling landscape near Asmushausen in Northern Hesse at the end of May; green meadows, ripening grain fields, and a winding dirt path characterize the scenery. A large tree in the foreground provides shade, while a dense forest and gentle hills shape the background. The angled light of the evening or morning hours creates a warm and peaceful atmosphere.Wolfram.eberius · CC BY-SA 4.0