Flying Feather

[cupofmeat]

"Studio", Bato Dugarzhapov, 1999.

[nicochronicle]

In love with those Tokyoiter covers <3

http://www.thetokyoiter.com/

[lanquine]

The Tokyoiter封面欣赏。

[lanquine]

好问题才能拯救聊天尴尬

年初五去汤汤家吃饭，饭桌上问起倩彤的择偶标准。汤一个接一个地抛出各种问题逐渐深入，我在饭桌另一边沉默不语——因为我没有可以问的问题。 汤连珠炮式的提问，给了我很多启发。 一方面让我认识到了为什么她的成绩会如此优秀，为什么她总能花很少的时间高效取得好成绩，为什么大家愿意跟她聊天？很多时候人们一言以蔽之：“聪明！”除此之外我能想到就是“厌蠢症”。 大家看我总是喜欢在饭桌上沉默不语，超过2个人的饭局必定变成小透明，2个人反而可以健谈。我曾经给自己找理由：因为自己是个大i人、性格“内秀”、比较自卑…… 今天突然发现其实自己并不是因为内向，以上理由不过是表面现象。我在自己擅长的领域非常有表达欲，因为了解得多，因此热爱科普。但之所以容易透明，最重要是因为我不！会！提！问！！ 好的问题才能引出更多的话，这是为什么每次跟汤聊天都非常开心的重要原因，她是一个好的倾听者，更是一个好的提问者，她会将谈话引向深入，才会让你成为话题的主角，会被自己不经意的“才华”震惊。 原来好老师就在我的身边🫣往日完全没有注意。 从今往后，新的学习方向来啦！ 愿我能成为一个会题问题的人😇

[lanquine]

因为内心有阴暗面，所以才嫉妒坦荡的人。

所以现在学着与自己自洽，与生活、与生命自洽。在生活中找到最适合自己的节奏，坦荡地表现自己的情绪，实话实说才能找到自信。

[pintoras]

Emilie Mediz-Pelikan (Austrian, 1861-1908): A View of the Mittagshorn in Upper Bavaria (via Dorotheum)

[whitenoiseclub]

Chinese posters for Studio Ghibli.

[lepetitdragonvert]

The Slipper And The Rose - The Story Of Cinderella (1976)

View The Slipper And The Rose - The Story Of Cinderella (1976) on Odysee

[heaveninawildflower]

Illustrations from drawings in colour by Bilibin taken from ‘The White Duckling and Other Stories’ by Nathan Haskell Dole.

Published circa 1913 by Thomas Y. Crowell Co.

New York Public Library 

archive.org

[r-u-s-s-i-a-deactivated20230204]

Lyubov Endaurova (1843-1914)

[sosuperawesome]

Mmumechii on Instagram

[lanquine]

amazing afternoon tea

[rt0no]

[lanquine]

so cute~

[lilla-cabot-perry]

Girl Playing a Cello, Lilla Cabot Perry, 1891, Harvard Art Museums

Harvard Art Museums/Fogg Museum, Gift of Dr. John Cobb in memory of Elizabeth Almy Cobb Hall, Radcliffe, 1916, 1999 Size: 101.6 x 76.2 cm (40 x 30 in.) Medium: Oil on canvas

https://www.harvardartmuseums.org/collections/object/186505

[yesterdaysprint]

St Louis Globe-Democrat, Missouri, March 29, 1932

[melmothblog]

Olga Lepeshinskaya in the “Walpurgis Night” ballet scene from the Opera “Faust”. Bolshoi Theatre.

“Faust”. Act 5

Méphistophélès and Faust are surrounded by witches (Un, deux et trois). Faust is transported to a cave of queens and courtesans, and Méphistophélès promises to provide Faust with the love of the greatest and most beautiful women in history. An orgiastic ballet suggests the revelry that continues throughout the night. As dawn approaches, Faust sees a vision of Marguerite and calls for her. Méphistophélès helps Faust enter the prison where Marguerite is being held for killing her child. They sing a love duet (Oui, c'est toi que j'aime). Méphistophélès states that only a mortal hand can deliver Marguerite from her fate, and Faust offers to rescue her from the hangman, but she prefers to trust her fate to God and His angels (Anges purs, anges radieux). At the end she asks why Faust’s hands are covered in blood, pushes him away, and falls down motionless. Méphistophélès curses, as a voice on high sings “Sauvée!” (“Saved!”). The bells of Easter sound and a chorus of angels sings “Christ est ressuscité!” (’“Christ is risen!”). The walls of the prison open, and Marguerite’s soul rises to heaven. In despair Faust follows it with his eyes; he falls to his knees and prays. Méphistophélès is turned away by the shining sword of the archangel.

A post shared by Nikolai Tsiskaridze (@tsiskaridze) on Sep 29, 2016 at 5:19am PDT

[yuuyu1964]

Arashi

[backtotheground]

[overdose-art]

Utagawa Hiroshige (歌川広重)

Various Trees from One Hundred Famous Views of Edo (1850-1860)