AntIchthon

Counter-Earth

[daughterofchaos]

Jacques-Laurent Agasse, Studies of Summer Flowers, detail, 1848

[funeral]

I dont think things can be treated with that kind of duality. For Japanese who don't think that way, the gods are in the darkness. They may come out into the light at times, but they are usually deep in the forest or mountains. When a holy spot is created, the gods drop down onto it. That is why, in the shrines that are closest to their original form that still exist in Okinawa . . . the image of the god is just a tree or a stone. And such a shrine isn't in a bright, shining place, it's in an overgrown dark area where the silence is deep—a butterfly may flit about, but it's a bit eerie. When I went there . . . it felt as if something were there. This sense of dark awe is the sort of veneration that Japanese have toward certain forests and natural objects.

Hayao Miyazaki, "Totoro Was Not Made as a Nostalgia Piece" in Starting Point: 1979-1996

[yorkeantiquetextiles]

Fukusa (Gift Cover), Early Meiji period (1868–1912), 1868-1883, Japan

Mon side: silk, warp-faced, weft-ribbed plain weave (shioze); appliquéd with paper covered wood forms; embroidered with silk, laid threads couched along form edges; lined with silk, plain weave (heiken); sewn with front and lining matched in size (Tachikiri awase) 73 x 66 cm (28 3/4 x 26 in.) Gift of Mary V. and Ralph E. Hays, 2001.217.  Art Institute of Chicago.

[gregorycolbert]

People sometimes ask if I am fearful when I am in such close proximity to animals. I can only say that the only way that I’ve been ripped open is by having to leave behind elephant friends, orangutans, cheetahs, caracals, manta rays, or whales. But I would do every hello and goodbye over again as long as it meant that I would have a chance to share their stories. Animals help me to remember all the dreams I thought I had forgotten and remind us to dream as though we will live forever while living as though we shall die today. –Gregory Colbert

[80s-90s-fashionphotography]

Bain urbain - Vogue Paris (1990)

Yasmeen Ghauri by Sante D'Orazio

[vintagehomecollection]

Traditional Country Style, 1991

[almavio]

Guido Argentini, Silvereye, Los Angeles 1995

[jinxproof]

Tanga Moreau | Alberta Ferretti (1997) © Paolo Roversi

[dailyclassicart]

Thorolf Holmboe - "Pine Tree on the Coast in Moonlight" (1902)

[henk-heijmans]

Boat with sails and figures, 1877 - by Knud Knudsen (1832 - 1915), Norwegian

[joeinct]

Uenoo Tyoko, Photo by Issei Suda, 1975

[vintagehomecollection]

Separate lawn and greenhouse areas. View of a traditional English garden of the inter-war period, with grass at the rear of the house leading to a transitional greenhouse area with a vegetable patch beyond.

The Garden Book, 1984

[nobrashfestivity]

Yutaka Matsuzawa. Untitled (White Circle Collage). c. 1967

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[japaneseaesthetics]

Artist: Kawase Hasui Title: Omiya in Rain (Ame no Omiya) Date: 1930 Medium: Color woodblock print; oban Credit Line: Gift of Oliver Statler

[edwordsmyth]

Miles Davis drawing in his apartment, c.mid-1980s.

[japaneseaesthetics]

Artist: Yasuhiro Ishimoto Title: Rock Path in Front of the Old Shoin Date: Made 1954 Medium: Gelatin silver print Credit Line: Gift of Yasuhiro Ishimoto in memory of Mary Morris Stein

[riverbird]

"When I was a girl, a charming old gentlewoman said something to me that I have never forgotten. I was visiting her country home, and after lunch, going for a walk with her niece, I picked up my gloves from the hall table where I had laid them down. She took them from me and laid them back on the table. ‘You don’t need these. A lot of strength comes to us through the hands.’ Sensation also. The feel of things, textures, surfaces, rough things like cones and bark, smooth things like stalks and feathers and pebbles rounded by water, the teasing of gossamers, the delicate tickle of a crawling caterpillar, the scratchiness of lichen, the warmth of the sun, the sting of hail, the blunt blow of tumbling water, the flow of wind—nothing that I can touch or that touches me but has its own identity for the hand as much as for the eye." 

Nan Shephred “The Living Mountain”

"The heart is the toughest part of the body. Tenderness is in the hands." Carolyn Forché, from "Because One is Always Forgotten"