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هایلایت اولین مجلس مدیحه سرایی اهل البیت علیهم السلام در #مهدیه_کلفرنیا Highlights from the First Spiritual Gathering of Mahdiye California
11,612 views • 2 years ago •via X (Twitter)
9 Comments
🌙𝐌𝐚𝐫𝐲𝐚𝐦2 years ago
حفظکم الله 🙏🏻 عزاداری هاتون قبول و مأجور به بهترین وجه.... التماس دعا...
Niam2 years ago
مراسم لواط بعد از نوحه را کجا اجرا می کنید ؟ خونه تو یا در دل طبیعت ؟! چاقال
Keybanoo Rashidi2 years ago
جناب عالی عالی ان شاءالله مقبول درگاه حق حسابی التماس دعا.
MohseNam2 years ago
یا علی 🙏❤️
اسرا بهار مست2 years ago
@EbneHava چه شوری به به الحمدالله
نرجـس خاتون2 years ago
بی‌صبرانه منتظرم بیان بگن پاشو بیا ایران هیات بگیر عزاداری کن🥲
🇮🇷زهراآا🦥🦩🪁🛵💖🦜2 years ago
قبول باشه
اَبـــَـــدے ∞ 𝕰𝖙𝖊𝖗𝖓𝖆𝖑2 years ago
💔💔💔💔
🇮🇷mohamad reza🇮🇷2 years ago
التماس دعا
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I just saw a post yesterday about protecting me but it eluded me before I could re-post it. I am not vain, I do not blow my trumpets even in competitions! I just move in my aura of grace. I am a #Virgo, a #FullMoonVirgo, and one of the powerful #Empaths you will ever encounter. I am that woman who walks into a room and every unconscious mind becomes conscious. The unconscious morons should study on the above hashtags first. Then I will go ahead to outline what my 'personalities' are about and who I am. They will write a full book on just one personality. My academic background and what I have achieved in my career journey over the years is not for show off. The things I do in my day to day life despite the challenges of not having my husband helping out in the family front, is what makes me a #Warrior. I work hard so I can look after widows and helpless children. I run an educational charity in the Sub-Sahara Africa for pupils from Nursery 1 - Primary 6 from my light-weight personal purse. Everyday, I lift one or two people out from a place of pain, oppression, darkness and confusion through coaching and guidance. People learn consciousness and #ArtofLiving from me, everyday. Thank you my brother for that post and thank you all for standing by me. That's the love you have for #NnamdiKanu. All my life, I've always fought for the oppressed & for myself. I am what 'you know as one man squad' - physically, psychologically, mentally, emotionally and spiritually. I fight for the oppressed women, men, and children especially. And all my life, no individual has ever fought me without gathering a group. Some would bring their cousins, their ancestors, even their own enemies to fight me yet, Uchechigeme Anyanwụụtụtụ Okwu-Kanu has always stood tall in the presence of her enemies! Ọkara mádu , ọkara nmuo! She who is of the waters, the Earth, the Sun and feeds off the Air. She who understands the rythym of the spirit dance called Sụrụgedé; she who understands the connotations of the 4 cardinal points of the earth, firmed within the 4 elements of the universe and the 4 market days of her Indigenous existence! I warned my husband of all these workers of iniquities but hey, we are where we are now! But one thing they must understand is that their tittle-tattle is the absolute projection of their inadequacies, what they truly are and represent. I have a pending topic on the spiritual, psychological and emotional damage/impact of a mother's adultery on their children and individual life of promiscuity - the reason these muppets are these damaged! I constantly told my husband that anyone who spews hate on your children and wife hates you. Period! I have never written about myself as this phase is not about me. At least, not yet. Those who sounded just like them in 2014 - 2017 eventually returned to the gutters where they came from. Some went into TV productions and talk shows. Ndị uchu! I am busy, fighting for the release of my husband #FreeNnamdiKanu and have no time to pay mind to these imbeciles who came from the lowest strata of the gutters. The lowest of the lows. People who are lower than the belly of a snake! I am an Eagle, I soar high above mediocrity, pugnacity, impetuosity, impertinence and carnality. That is why none of you can keep your pained frustrations to yourselves. But like the snake you are, I will never come down to your harmattan taunted postern. I can never play in the mud with pigs because I abhor dirt. Rather, I will swoop down like the Eagle and take you to my realm. Swirl you 7 times and release you from the Air. My name is, Aha m bụ - Uchechigeme Anyanwụụtụtụ Okwu-Kanu. I speak 'consciousness', for that, is the #ArtofLiving. #Esemplastic #Eclecticist #LivingIsAnArt Life Coach.
Uchechi Okwu-Kanu
34,349 views • 1 year ago
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I like this. You gotta watch it with the sound on. ---prompt--- 9:16 vertical, 30-second ultra-photorealistic live-action cinematic portrait film, ancient Chinese aesthetic, intimate historical portrait photography / classical Chinese beauty MV. Strictly preserve the same clearly adult woman from the reference image, maintaining consistent facial identity, facial features, proportions, long black hair, skin tone, and her soft, cool, subtly alluring presence throughout the entire video. She is the only character in the film. No other people appear. The setting is a quiet traditional Chinese boudoir at night, filled with carved wooden lattice windows, an antique bronze mirror and vanity, a silk-covered bed, layers of translucent gauze curtains, folding screens, and warm candlelight. Pale blue moonlight enters through the window and blends naturally with the warm amber candlelight. She wears a flowing ancient Chinese dress in muted rouge pink and moonlight white, layered with delicate translucent fabrics and a long lightweight silk shawl draped loosely around her arms. Her long black hair is loosely pinned up, with several fine strands falling naturally across her cheeks and neck. Shot 1 — First Glimpse Through the Gauze The camera is hidden behind layers of translucent gauze curtains, creating large areas of soft, dreamy foreground blur. She initially sits on the edge of the bed with her back toward the camera, quietly adjusting the loose sleeve and silk shawl resting around her arms. A gentle breeze moves the strands of hair beside her face. As if she suddenly senses someone watching her, her hands pause first. Her shoulders slowly begin to turn, and only afterward does her head follow. She looks back over her shoulder. Her eyes briefly pass across the camera before finally meeting the lens. The camera slowly moves closer during the entire motion, ending on an intimate close-up of her face framed naturally by loose hair and translucent gauze. Shot 2 — Walking Through the Curtains Continuing naturally from the previous eye contact, she slowly looks away, places one hand on the bed, and rises naturally to her feet. Her long dress gradually slips from the edge of the bed and unfolds toward the floor, while the silk shawl gently trails across the bedding. She turns sideways and begins walking through several layers of hanging gauze. With one hand, she gently pushes aside the curtain in front of her. The camera moves backward on the opposite side of the gauze, continuously following her movement as translucent fabric repeatedly drifts across the lens. As she approaches the camera, she briefly turns her face toward the lens. She then naturally walks past the camera. The camera smoothly pivots and follows her from behind, allowing the entire movement to finish before the next cut. Shot 3 — At the Bronze Mirror She arrives at the antique bronze vanity and sits down naturally. Her silk shawl softly slips beside the chair. She quietly studies her reflection, gently tucking a loose strand of hair beside her temple. She picks up a wooden comb and slowly brushes her hair from beside the ear toward the ends. The camera gradually moves laterally from behind her shoulder, allowing both her real silhouette and her reflected face to exist within the same composition. After finishing, she gently places the comb back onto the vanity. She does not turn around. Instead, her eyes slowly lift inside the bronze mirror until she is looking directly toward the camera through her reflection. She holds the gaze for a moment. A barely noticeable, almost ambiguous smile appears at the corner of her lips. Shot 4 — Moonlight by the Window She leaves the vanity and slowly walks toward the wooden lattice window while the camera follows from slightly behind her. She reaches forward and gently pushes open one side of the window. Cool pale-blue moonlight immediately enters the room. A soft night breeze moves through her long hair, silk shawl, and the gauze curtains behind her. One hand remains resting naturally against the wooden window frame as she quietly looks outside. She slowly closes her eyes and allows the breeze to pass across her face. After a moment, she opens them again. Without fully turning around, she slightly tilts her head and glances toward the camera from the corner of her eyes. The camera gradually arcs from behind her toward her profile, moving from a medium shot into a soft close-up. Moonlight gently traces the bridge of her nose, lips, cheekbones, and loose strands of hair. Shot 5 — Turning in Candlelight She leaves the window and walks toward the center of the room. When she reaches the warm candlelight, she naturally stops. As if hearing something behind her, she turns again. Her torso begins the movement first, while her long hair and lightweight silk shawl follow a fraction of a second later, creating a soft natural arc through the air. The camera performs a restrained half-orbit around her. She naturally follows the movement of the camera with her body. The silk shawl begins slipping from her shoulder. She gently catches it between her fingers for a moment, then allows the fabric to slowly fall again. This is not a choreographed dance. It should feel like an unconscious, graceful private gesture captured by chance. Shot 6 — Final Gaze She slowly walks back toward the bed. The complete action is visible: approaching the bed, turning her body, gathering part of her dress, and naturally sitting sideways on the edge. One hand rests loosely behind her for support while the other casually adjusts the long hair falling over her shoulder. At first, her eyes remain lowered. The camera slowly approaches from behind another translucent foreground curtain. Only when the camera reaches an intimate close-up does she slowly raise her eyes and look directly into the lens. Her expression remains quiet, languid, slightly distant, and subtly mysterious. She holds the gaze. A gentle breeze gradually pushes the foreground gauze across the camera. The translucent white fabric slowly covers more and more of the frame until her face becomes barely visible through the soft blur. The image naturally fades into the moving gauze and ends. Visual Language & Cinematography Soft-light CCD, 1990s Asian photobook aesthetic, intimate ancient Chinese portrait photography. 35–50mm lens language, subtle handheld movement, shallow depth of field, soft diffusion filter, blooming highlights, gentle halation, low contrast, slightly muted saturation, warm pink skin tones against cool blue-gray shadows, delicate film grain, subtle CCD digital noise, occasional natural focus breathing and slight imperfect focus. Frequently use translucent gauze as foreground obstruction, bronze-mirror reflections, over-the-shoulder framing, slow push-ins, gentle tracking shots, restrained camera orbits, and subtle handheld drifting. Do not divide the film into equal-duration shots. Every action must be allowed to fully develop and naturally finish before cutting. A turn completes before the edit. She fully reaches and settles at the vanity before transitioning. The window-opening gesture finishes naturally before the next movement begins. Connect shots organically through gauze passing across the lens, her body walking past the camera, flowing silk briefly obscuring the frame, turning movements, and mirror reflections, creating natural visual match cuts. The final result should feel like a continuous collection of intimate moments captured from the same night rather than six separately staged poses. No dialogue, no subtitles, no text, no modern objects, no additional characters, no rigid posing, no fixed five-second cuts, no rapid montage, no exaggerated visual effects. Keep her identity and facial features stable throughout. All movements are slow, complete, natural, and physically coherent. Hair, silk fabric, sleeves, shawl, and gauze curtains respond realistically to movement and wind.
BubbleBrain
70,935 views • 20 days ago
