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La deificación de Eneas (also known as Aeneas Becomes a God, Venus curando a Eneas, and Venus healing Aeneas) (1820) by Merry-Joseph Blondel (French, 1781 – 1853), oil on canvas, 127 cm (50 in) x 96 cm (37.7 in), Museo del Prado, Madrid

#La deificación de Eneas #Aeneas Becomes a God #Venus curando a Eneas #Venus healing Aeneas #Merry-Joseph Blondel #painting #my upload #oil on canvas #art #19th century #the painting depicts a pivotal moment of transformation from mortality to divinity in Roman mythology #specifically drawing from the 14th book of Ovid's Metamorphoses #The Apotheosis of Aeneas: The painting represents the final step in the Trojan hero's journey where he ceases to be human #and becomes a god #Venus's Intervention: The goddess Venus Aeneas's mother takes an active heroic role in saving her son demonstrating maternal #devotion and divine power by healing his wounds after a brutal battle against Turnus #Symbol of Divine Transformation: According to Ovid Venus orders the river god Numicius to wash away Aeneas's mortal elements #after which she anoints him with a divine perfume and ambrosia effectively turning him into the new god Indiges #Neoclassical Style: As a leading Neoclassical painter Blondel focuses on a clear dramatic and emotionally charged narrative #highlighting idealized figures within a classical mythical context #Source Material: While the scene is deeply rooted in the Aeneid #this specific moment of transformation is narrated in Ovid's Metamorphoses #Symbolism: The painting highlights the themes of immortality the pietas (duty) of the hero and the culmination of Roman foundational #myth.#The painting is essentially a meditation on fate the transition from mortality to eternal fame #and the intervention of the divine in human affairs

thinking about Ganymede being granted eternal youth upon his abduction & being immortalised as a constellation next to the being that abducted him. frozen in time and place by what happened to you.

#log.#myth.

34 Packard "Myth."

#Myth.#34 Packard

i ate lunch AND dinner today

@angiebug101 @spike-this-ass

its cause of yall🤨

#fairy.speaks #myth.

‘ which worldwide deity am i ? ’ ↳ tagged by @quikcslivers

H E C A T E † the greek goddess of witchcraft, ghosts & crossroads.

#mythology #hecate #mythedit #greek mythology #mythologicalnet #modern mythology #franzisfamily #malsfamily #ninasfamily #usersabrina #*#*mine: edit #*edit: moodboard #myth.

What is suggested in Twelve Monkeys is that being an End-time prophet is maddening; that is, by its nature, it jeopardizes one’s sanity. Caught between Kathryn with her beautiful world and his mission, Cole finds himself hoping, and finally convincing himself, that he is insane. “You don’t exist,” he tells the scientists of the future when they congratulate him on completing his mission. “You’re in my mind. I’m insane and you’re my insanity.” The psychological effect of seeing and experiencing two worlds is so disorienting that Cole despairingly tells the scientists of the future that he doesn’t care about his pardon, that all he wants is to get well. His disorientation is so complete that when he exclaims near the end of the film that “This is the present. This is not the past. This is not the future. This is right now!” the effect is as disorienting for the audience listening to him as it is for him as he tries to keep it straight for himself.

[...] Cole tells Kathryn, “I want to become a whole person. I want this to be the present. I want the future to be unknown.” Whether Cole is suffering from a Cassandra Complex or is actually the visionary who can see the future decimation, his inhabitance [sic] of that role “splits” him and makes him less than whole. His desire to be whole, and wholly in one place, is so intense that, knowing the rumor that the future scientists track people through transmitters in their teeth, he cuts his molars out with a switchblade just to be safe.

[...] Gilliam says that what attracts him to the trope of madness is the idea of the holy fool: “The innocents are the ones that can see things clearly.... It’s that kind of clarity. Crazy people often see it. And because they see it, it bothers people and so they put ’em in that crazy box.” They speak the truth because they don’t know any better…’

ELIZABETH K. ROSEN, Apocalyptic Transformation: Apocalypse and the Postmodern Imagination

#txt.#myth.#the interconnectedness of prophecy/sainthood and mental illness is something I’ve been meaning to delve into for so long #SOON #ik everyone and their mum has done it with joan of arc but I have not #anyway I won’t ever tire of [proximity to] godhood as madness/disease

Whereas typically in Hinduism corpses and bodies are unclean and impure, Aghoris deliberately seek them out, dwelling in charnel grounds and engaging directly with dead bodies. They smear ashes from cremation on themselves and make implements and jewellery from bones and skulls. Aghori seek moksha (liberation) from the cycle of samsara (death and rebirth in this existence), and in order to do so embrace the idea that all opposites are illusory: ‘The Aghori actively embrace pollution and death in order to achieve a state of spiritual non-discrimination.’ They embrace pollution and impurity in order to transcend artificial social boundaries and break down reality, seeing past illusion into liberation.

Aghori eat the remains of the dead, in addition to rotten food, faeces and other unclean, repulsive foodstuffs, in order to demonstrate that eating carrion or rubbish is the same as eating any other food. They eat human flesh either raw or cooked, even if putrefied. They believe the greatest fear is the fear of death, and ‘consequently, they developed spiritual exercises for confronting death’ that involve ingestion of cremains and raw and cooked human flesh, as well as the aforementioned smearing of the ashes of the cremated, called mahaprasād, all over their bodies.

KEVIN J. WETMORE JR., ‘Eating the Gods, Gods Eating Men’ from Eaters of the Dead: Myths and Realities of Cannibal Monsters