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𝐢𝐧𝐭𝐞𝐧𝐬𝐞 𝐞𝐲𝐞𝐬 𝐚𝐧𝐝 𝐩𝐫𝐞𝐭𝐭𝐲 𝐥𝐢𝐞𝐬 𝐚𝐥𝐥 𝐚𝐥𝐨𝐧𝐠 𝐭𝐡𝐞 𝐰𝐚𝐲

[rosenruins]

part of a success that never ends

still I'm thinking about you only

[rosenruins]

i love when it rains

[rosenruins]

i miss my pretty boy but it's so hot outside. i can't go out :(

[rosenruins]

hedonistic girl with esoteric interests

[sab3rtooth]

patterns left by woodworms on driftwood

[othellho]

Bernadette Noll

[rosieandthemoon]

Cullenstown Shell House in Wexford, Ireland

[bitterswtdvll]

[pnglove]

[esotericfilmangel]

[vintage-tigre]

Illustration by Lily Seika Jones

[rosenruins]

luzon bIeeding heart dove ⋆˚꩜｡🫀🪽

reposed from facebook @flowers shall grow and i am in them and that is eternity

[metamorphesque]

Bruges Snow Effect, Lucien Levy-Dhurmer

[metamorphesque]

The way I see it, Art has two functions: escapism and confrontation. It serves as both a sanctuary and a mirror. Through escapism, Art creates landscapes where burdens dissolve, where the ordinary is transformed into the extraordinary. It reminds us of the boundless beauty that is preserved in the world and the immense potential that we harbor. It paints a picture of what could be.

But Art also confronts. It grips us by the shoulders, demanding that we open our eyes to the raw, unadorned reality of existence. It challenges the lies we tell ourselves and the illusions we construct, and forces us to reckon with the depths of our humanity. In confrontation, Art becomes the wound that refuses to heal until we take care of it. With its blood and pus, Art paints a picture of what is.

Though it might seem so, these functions are not opposites — they are intertwined; a good piece of art achieves not just a balance but a fusion, where escapism and confrontation become two edges of the same sword. This dual-edged nature is what gives Art its power. The escapist edge whispers of what the world should be; the confrontational edge reveals what the world truly is.

A sword with one dull edge is incomplete, blunt and purposeless, and, certainly, a useless weapon against any enemy, leaving its wielder defenseless and vulnerable in the face of danger. In the same way, Art that leans too heavily on either escapism or confrontation becomes unbalanced. Pure escapism is shallow and hollow; it risks becoming an empty distraction. Pure confrontation, on the other hand, risks alienating and overwhelming the audience without offering hope.

[metamorphesque]

Hence why I believe that “The Lord of the Rings” shall never lose its relevance, as long as humankind endures. It is a perfect example of such a sword, forged to become a timeless masterpiece. On one hand, it offers an escape into a meticulously crafted world — a place where our imagination soars, lifting us from the ground, holding us gently under the arms, and flying us high above our reality. And in that flight, we gain the perspective of a bird, seeing the world in its entirety: the beauty and the terror, all at once. For at its heart, LOTR is a profound confrontation with the deepest truths of human existence and the human experience. It is a mirror and a guide — a manual of sorts, on how to remain human in a world that conspires to make you less.

[rosenruins]

@morphiniosm

[detailedart]

Detail: Matlock Tor by Moonlight, 1777-80, by Joseph Wright of Derby.

[rosenruins]

Pierre Puvis de Chavannes, "The Dream," 1883

[rosenruins]