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Notice how the Alhambra's external facades are plain and simple, while the inside is most dazzling in splendour and beauty. This is a feature of the Islamic ethos. It draws from the same notions of modesty that emphasize beauty of character and public humility. The ethos that would translates...

22,097 görüntüleme • 5 ay önce •via X (Twitter)

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Madain Saleh, also known as Al-Hijr, is a pre-Islamic archaeological site located in the northwest of Saudi Arabia. It is one of the most important archaeological sites in the Middle East and was designated as a UNESCO World Heritage site in 2008. Madain Saleh is a place of great historical and cultural significance, and it is a must-visit destination for anyone interested in the history and culture of the Arabian Peninsula. Madain Saleh was the second city of the Nabataean kingdom, which was established in 2nd Century BC. The Nabataeans were an Arab tribe who were known for their expertise in carving tombs and buildings out of rock. They were also skilled in agriculture, trade, and commerce. The Nabataean kingdom was centered in Petra, which is located in modern-day Jordan. Madain Saleh served as a strategic outpost for Nabataeans, and it was an important stop on the trade routes that connected the Arabian Peninsula with the Mediterranean world. Archaeological site of Madain Saleh covers an area of 13 square kilometers. It is located in a remote desert region, and it is surrounded by rocky mountains and valleys. The site contains around 130 tombs, which were carved out of the sandstone cliffs. The tombs are adorned with intricate carvings and inscriptions, which provide insights into the culture and religion of the Nabataeans. The most famous tomb at Madain Saleh is the Qasr Al-Farid, which means "the lonely castle." This tomb is located on a hilltop and is surrounded by a large courtyard. It is the largest tomb at the site, and it is considered to be one of the finest examples of Nabataean architecture. The tomb was never completed, and it is believed that it was abandoned after the death of the Nabataean king who commissioned it. Another important tomb at Madain Saleh is the Tomb of Lihyan son of Kuza. This tomb is located in the southern part of the site and is carved into a rock cliff. It features a large entrance hall, a central chamber, and a series of smaller rooms. The tomb is decorated with intricate carvings and inscriptions, which provide insights into the religious beliefs of Nabataeans. Madain Saleh is not just a site of tombs; it also contains a number of other important structures. These include the Al-Khuraymat and Al-Sabika temples, which were used for religious ceremonies and rituals. The site also contains a number of houses, wells, and cisterns, which provide insights into the daily lives of the Nabataeans. Madain Saleh was abandoned in the 3rd Century AD, after decline of the Nabataean kingdom. The site was rediscovered in the 19th Century by the Swiss traveler Johann Ludwig Burckhardt. Since then, it has been studied by archaeologists from all over the world. The site is now managed by the Saudi Commission for Tourism and National Heritage, which has carried out extensive restoration and preservation work. Madain Saleh is not just a site of historical and cultural significance; it is also a place of great natural beauty. The site is surrounded by rugged mountains and valleys, and it is home to a diverse range of flora and fauna. Visitors to the site can enjoy hiking and camping, as well as exploring the ancient ruins. Madain Saleh is a site of great historical and cultural significance, and it is a must-visit destination for anyone interested in the history and culture of the Arabian Peninsula. Ancient ruins at Madain Saleh provide a glimpse into the engineering and architectural skills of the Nabataeans, as well as their religious beliefs and cultural practices. However, as the site becomes an increasingly popular tourist destination, there are concerns about its preservation and the impact of tourism on the local environment. It is important that the Saudi government and local communities work together to ensure that the site is protected and that tourism is managed in a sustainable way. 🎥© Paris Verra #archaeohistories

Archaeo - Histories

196,549 görüntüleme • 2 yıl önce

Brainrotting teens watching short form memes so much to the point that parts of the fragments of other memes become even more short form and get colluded in other memes to the point that it really doesnt make sense. However. Brain loves pattern recognition of these patterns and nonsensical randomly shown fragments of memes, because it is not long form reward, nor short form reward — but instantaneous; it is the only form of pleasure it can feel So brain tries to look for these patterns unconsciously, it sees patterns and similar resemblance in random things and adds a symbolical emotional labeling of truth to it. So everything becomes a piece of information and data. It gets stored in their subconscious brain and fires up everytime there is a resemblance. Extremely dangerous if weaponised but no one sees the patterns yet. However because of these pattern behaviours teens are split into two categories, the brainrots which God knows how it will end with them — consumers and slaves that later on might have no free will and be driven by pure chemical instinct. And those who see for truth in patterns. The latter is able to overcome modern day censoring and freedom of speech mechanisms, and possibly overcome the evil trying to control the world with pure silliness and having fun. (67 is part of a random pattern that someone said during a match score, and it became viral, nothing more but a collective participation to which youth finds identity by being and acting in it; “performing”) Its beauty lies not in the act but in those individuals that look beyond the chemical instincts of the lower mind. Example of the video below. It shows many fragmental elements of history, symbolism, that is collaged into art. Which by being seen individually or collectively it shows the expression on how man uses its own soul for these kind of co-creations he choses to participate in creation. Symbolism that can leave a person ask for its meaning and search for it, only by questioning himself not by a direct answer (short or long form). Of course which extreme beauty there is also extreme ugliness which are out there which I wont show here Lets see how it really turns out to be honest, West has no protection toward the subjective, the feminine, the subconscious. To which the inner sins of man try to exploit.

Rage ❉

331,975 görüntüleme • 6 ay önce

“In the modern world, man becomes a slave to the feminine principle, seduced by images and illusions created by emotion and fantasy—decadent forms of eros.” —Julius Evola, Metaphysics of Sex The modern cult of equality has fixed its gaze upon the sexes. What had once been regarded as the polarity of man and woman, grounded in nature and consecrated by tradition, has been lowered to a counterfeit of sameness. Evola returned often to this inversion, discerning in it the same anti-hierarchical impulse that has disfigured every other sphere of life, and which, under the guise of liberation, has stripped both sexes of the dignity proper to their stations. What the age heralds as emancipation he judged to be a degradation, for feminism does not raise woman to her station but strips her of it, compelling her to abandon her essence in order to imitate man, while man himself, bereft of his higher path, sinks into a condition at once impoverished and grotesque. For Evola, culture was the victory of form over chaos, the conquest of the shapeless by order and measure. The city and the empire arose from the recognition of limits, of distinctions, of the rightful ranking of beings. Man attained his true stature as warrior and ascetic; woman realized her dignity as lover and mother. These types were not adversaries but counterparts, separate yet joined, each consecrated to the same principle of transcendence, each charged with its own path of heroism. In the sharpening of these forms, in the intensification of the masculine and the feminine, Europe attained its strength, and love retained its ancient dignity as a force at once generative and cosmic. There is also a beauty in the truth of form, for what is bound to nature and consecrated by tradition does not merely endure but shines. When the polarity of man and woman is clarified, when each fulfills the path proper to its essence, the result is not only strength but radiance. Beauty arises when limit is embraced, when form gives shape to matter, when order compels chaos into harmony. To behold such clarity is to glimpse truth itself, for truth and beauty are of one lineage, both testifying to the higher law that governs being. The modern age has broken this harmony. Bolshevism in the East proclaimed the equality of the sexes in the name of the collective. America in the West proclaimed the same in the name of emancipation. Beneath the opposing banners the result was alike: in one case, a promiscuous communality in which difference was dissolved, in the other, the masculinized woman of the factories and the salons. The poles collapsed, the bond was neutralized, eros was reduced to sterile companionship or the fleeting diversions of appetite. Evola named this impulse a radical pessimism, for beneath the assertion of equality lies the confession that woman, as woman, has no worth. She is compelled to take on the guise of man in order to claim value, and in so doing she forfeits the possibility of fulfillment. Man, in turn, is brutalized into a creature of appetite and utility, stripped of the higher forms once embodied in the ascetic and the warrior. Love itself, which depends upon polarity as fire depends upon the tension of elements, is extinguished, and with it the very possibility of renewal. What rises in its place is the gray world of neuter beings, uniform and without grandeur. Woman no longer appears as lover or as mother, but is driven into labor, into agitation, into pale imitations of intellectual life. Man no longer ascends as ascetic or warrior, but sinks into the tradesman, the showman, the brute. Thus the order of life is betrayed in its most intimate relation, and what once gave depth and height to being is consumed in the twilight of sameness. To revolt against this perversion is not to diminish woman but to restore her to her dignity. It is to affirm that difference and hierarchy are the ground of order, that polarity is the essence of love, that the higher destiny of mankind rests upon the distinction of the sexes. In defending this truth one does not merely preserve a passing custom, but upholds the principle of form itself. For in the bond of man and woman is mirrored the eternal strife of order with chaos, and in that strife the fate of the world is decided.

Chad Crowley

49,250 görüntüleme • 9 ay önce

The great bronze doors of St John Lateran (San Giovanni in Laterano), the cathedral of Rome, once belonged to the ancient Curia Julia (Senate House), which still stands in the Forum. The doors, which date back to the reign of the emperor Domitian (r. 81-96), were moved to the cathedral in 1660, at the bequest of Pope Alexander VII (r. 1655-67), who had them adorned with the heraldic eight-pointed stars of his own coat of arms. From a symbolic viewpoint, the Holy Door takes on a special significance: it is the most powerful sign of the Jubilee, since the ultimate aim of the pilgrim is to pass through it. The opening of the door by the Pope constitutes the official beginning of the Holy Year. Originally, there was only one door, at the Basilica of St. John Lateran, which is the cathedral of the Bishop of Rome. Later, to allow as many pilgrims as possible to take part in the Jubilee experience, the other Roman Basilicas also opened their own holy doors. In crossing the threshold of the Holy Door, the pilgrim is reminded of the passage from chapter 10 of St John’s gospel: “I am the door. If anyone enters by me, he will be saved and will go in and out and find pasture.” Passing through the Holy Door expresses the decision to follow and be guided by Jesus, who is the Good Shepherd. The door is a passageway that ushers the pilgrim into the interior of a church. For the Christian community, a church is not only a sacred space, to be approached with respect, with appropriate behavior and dress code, but it is a symbol of the communion that binds every believer to Christ: it is a place of encounter and dialogue, of reconciliation and peace which awaits every pilgrim, the Church is essentially the place of the community of the faithful. In Rome, this experience takes on a special significance because of the special links between the Eternal City and Saints Peter and Paul, the apostles who founded the Christian community in Rome and whose teachings and example are models for the universal Church. The tombs of Saints Peter and Paul are located in Rome, they were martyred here; and together with the catacombs, these sacred sites are places of continuous spiritual inspiration. 🎥© thecatholictraveler (IG) #archaeohistories

Archaeo - Histories

39,642 görüntüleme • 1 yıl önce

There is a room in Málaga that was built to be the closest thing on earth to standing inside heaven. It is called the camarín of the Virgin of Victory, and it is hidden at the top of a tower inside the Santuario de la Victoria. To reach it, you climb and the ascent is the entire point... The building you are climbing through was completed in 1700, and it was designed as a single argument made in stone. At the bottom lies a crypt: a black chamber crowded with white plaster skeletons, a meditation on death and the brevity of life. From there a staircase rises, and as you climb it the light grows stronger and the imagery changes from bones to saints. The architects of the time understood this ascent as the soul's own journey, the dark crypt as the stage of penitence, the staircase as the stage of spiritual progress, and the room at the very top as the final stage: the union of the soul with the divine. That room at the top is the camarín, and its dome is one of the most extraordinary interiors in Spain... Every surface is covered in white and gold plasterwork. There is no empty space anywhere. The Baroque called this horror vacui, the horror of the void: the conviction that a space meant to represent heaven should not contain a single bare patch of stone. Out of that plasterwork emerge angels, flowers, birds, and mirrors. The mirrors are not decoration alone. They catch the light pouring in through the windows of the drum and throw it around the chamber, so that the gold seems to move and the whole room appears to shimmer and breathe. This wonder was built by people who believed that if you wanted to show a human being what heaven might feel like, you did not describe it to them. You built a room, and you let them climb into it... -- -- -- If you enjoyed this, I write a weekly newsletter read by over 50,000 people who love rediscovering the beauty of the past. You can join us here: If you'd like to support my work, a paid subscription is what makes it possible.

James Lucas

69,219 görüntüleme • 1 ay önce

Murder, Transgenderism, and the Objective Standard of Satanic Evil Ladies and gentlemen, let us strip away the smokescreens and evasions. We are not dealing here with a matter of opinion, preference, or private taste. We are dealing with evil—real, objective, and knowable. The modern skeptic loves to pretend that evil is subjective—that murder is a matter of circumstance, that mutilating one’s body is a matter of personal expression, that words like Satanic are nothing more than medieval insults hurled by the ignorant. This is false, cowardly, and beneath the dignity of serious men. The Catholic standard is not opinion. It is not relative. It is objective truth, revealed by God, reasoned by the Church, and confirmed by the bloody consequences of rebellion played out before our eyes. Murder is not a “choice.” It is not a “right.” It is the deliberate destruction of innocent life. Christ Himself declared the devil “a murderer from the beginning.” When children are slaughtered in schools, in churches, or in the womb, we are not witnessing a “social issue.” We are seeing Satan’s hand at work. Transgenderism is not harmless. It is not compassion. It is mutilation of the body, desecration of God’s image, and rejection of creation itself. To say “I can change my sex” is to spit in the face of the Creator and to echo the serpent’s first lie: “You shall be as gods.” It is anti-Christic at its core because it denies Christ, who is Truth and who is Logos, order itself. You may sneer and call this rhetoric. You may flatter yourself with relativism. But relativism is not sophistication; it is rebellion dressed up as philosophy. The Church has never wavered: murder and the willful defacement of God’s creation are grave offenses, condemned not by my opinion, but by eternal law. They are Satanic because they participate in the same rebellion that cast Lucifer from heaven and continues in every age to drag souls into hell. To call murder and transgender ideology Satanic is not an exaggeration. It is accuracy. It is fidelity to the truth that does not bend to fashion, ideology, or your skepticism. If this offends you, it is not because the standard is false. It is because you are standing against it. Evil exists. Its fruits are visible. Its rebellion is named. The only question left is whether you will recognize it and stand against it, or excuse it and be consumed by it.

Joe McBride

184,832 görüntüleme • 10 ay önce