box2
japanese
box2
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idiopolis:

Twig of Bilberry in a Vase, 19th century
Russia
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magictransistor:

Brassaï, Graffiti, captured between 1933 and 1944.
magictransistor:

Brassaï, Graffiti, captured between 1933 and 1944.
magictransistor:

Brassaï, Graffiti, captured between 1933 and 1944.
magictransistor:

Brassaï, Graffiti, captured between 1933 and 1944.
magictransistor:

Brassaï, Graffiti, captured between 1933 and 1944.
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bouette:

FRASCO/JUN ISHIGURO
bouette:

FRASCO/JUN ISHIGURO
bouette:

FRASCO/JUN ISHIGURO
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parabola-magazine:

"That we go numb along the way is to be expected. Even the bravest among us, who give their lives to care for others, go numb with fatigue, when the heart can take in no more, when we need time to digest all we meet. Overloaded and overwhelmed, we start to pull back from the world, so we can internalize what the world keeps giving us. Perhaps the noblest private act is the unheralded effort to return: to open our hearts once they’ve closed, to open our souls once they’ve shied away, to soften our minds once they’ve been hardened by the storms of our day.”―Mark Nepo, “Hearing the Cries of the World” from our summer 2013 issue (which happened to be our 150th issue of Parabola.
Read Nepo’s essay here.
Photography Credit: Fernando Lemos
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japaneseaesthetics:

The Witch Ibaragi.  Ink and color on paper mounted on wood panel.  Artist Shibata Zeshin, about 1880’s, Japan.  Shibata Zeshin, 1807-1891 柴田是真 began his prolific and versatile career at eleven as an apprentice to a lacquer craftsman. A master of design, he was soon acclaimed as the leading artist in this painstaking and time-consuming medium, especially known for his dazzling lacquer boxes. Zeshin went on to train as a painter in a naturalistic style that shows clearly the growing influence of European realism. In his old age, during the 1870s and 1880s, Zeshin added an unusual new technique to his repertoire. In response to the popularity of oils in the Meiji period, Zeshin began to paint with lacquer on both paper and wooden panels. The naturally dark colors and thick lustrous surface texture of the lacquer—used on this composition for the black and brown bodies of the insects—added to the illusion of Western pigments. (www.metmuseum.org)
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likeafieldmouse:

Jamie Wyeth (son of Andrew Wyeth)
1. Lester (1963)
2. Portrait of Shorty (1963)
likeafieldmouse:

Jamie Wyeth (son of Andrew Wyeth)
1. Lester (1963)
2. Portrait of Shorty (1963)
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nevver:

Anti-gravity
nevver:

Anti-gravity
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gladtoknowcha:

Werner Bischof
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art-centric:

Montald - La Fontaine de l’inspiration
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"快楽を得る方法をドラッグから瞑想から娯楽から貪欲に調べまくったら、最高に人間の快楽を刺激し続けれるのは毎日規則正しく生活しながら一つの目に見える物をコツコツ作り続けて気の合う人と馬鹿なことやるっていうライフスタイルだという結論が出たことを快楽主義者各位は重く受け止めて下さい。"

Twitter / gutchom (via kiurun)

エピクロス(Επίκουρος、Epikouros紀元前341年 – 紀元前270年)は、快楽主義などで知られる古代ギリシアのヘレニズム期の哲学者。 エピクロス派の始祖である。

より詳しく彼の主張を追うと、彼は欲求を、自然で必要な欲求(たとえば友情、健康、食事、衣服、住居を求める欲求)、自然だが不必要な欲求(たとえば大邸宅、豪華な食事、贅沢な生活)、自然でもなく必要でもない欲求(たとえば名声、権力)、の三つに分類し、このうち自然で必要な欲求だけを追求し、苦痛や恐怖から自由な生活を送ることが良いと主張し、こうして生じる「平静な心(アタラクシア)」を追求することが善だと規定した。こうした理想を実現しようとして開いたのが「庭園」とよばれる共同生活の場を兼ねた学園であったが、そこでの自足的生活は一般社会との関わりを忌避することによって成立していたため、その自己充足的、閉鎖的な特性についてストア派から激しく批判されることになった。

(via bgnori)
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art-centric:

Costume design for Diaghilev’s Russian Ballet Narcisse, Leon Bakst, 1911
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algemesii1:

Kurt Cobain and Courtney Love