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y t i v i t Na n o i t c e l l o C
l o Po ela n a i r a M & Ante un mundo que nos premia por pensar, actuar y sentir todos igual, Marianela y Pool se rebelan reafirmándose distintos. Emplean el humor para subrayar su desconexión con un universo histórico, político, religioso que resaltan ficticio y en el que ven atrapados a sus mayores.
Si cada uno de los incontables santos en el cielo es apenas una cara en el inmenso caleidoscopio que llamamos la divinidad, entonces la única cara de la divinidad que puede hacer las veces de cada santo es la cara de Barbie - al menos, en nuestro moderno mundo consumista. Ninguna otra entidad contemporánea ha representado tantos roles. Ella ha sido doctora, abogada, presidente, enfermera, ícono de la moda, objeto de la furia feminista pero también del empoderamiento de la mujer. Sus ropas y accesorios encarnan la iconografía de varios modelos de nuestra existencia. De manera análoga, las estatuas de los santos y santas fueron las Barbies de la era pre-consumista. Nuestros antepasados se esforzaban especialmente para asegurarse que las variadas manisfestaciones de la Madre de Dios vistieran las ropas correctas, con su pelo y su halo perfectamemente representados, para que pudieran ser desfiladas en toda su correspondiente gloria por el pueblo.
Barbie, Plastic Religion / Pool & Marianela
¿Esto no es similar a la atención que le rinden las niñas, y los niños, de hoy día a Barbie y su corte? Estudié la lista de las 33 figuras sagradas que se representan en esta muestra y al principio me sorprendió que Santa Barbara no estuviera incluída entre ellas. Pero claro, por supuesto, se trata de Santa Barbie - aquella que puede ser la santa de todos los santos.
Se asignaba a sastres y pintores la labor de asegurarse que la ropa y la piel de las estatuas de culto lucieran siempre frescas, limpias y bellas. La atención al detalle es una obsesión no solo de los cristianos católicos, se extiende también a los budisats e hindúes como así también a todas las religiones que eligen expresar la idea de lo divino a través de las imágenes y las artes plásticas.
Howard G. Chua-Eoan News Director for Time magazine
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Archangel Gabriel In the Abrahamic religions, Gabriel is an angel who typically serves as God's messenger. Gabriel is mentioned in both the Old and New Testaments of the Bible. Gabriel is not called an archangel in the Bible, but is so called in Intertestamental period sources like the Book of Enoch. In the Roman Catholic, Eastern Orthodox, and Anglican churches, the archangels Michael, Raphael, and Gabriel are also referred to as saints. In Islam, Gabriel is considered an archangel whom God is believed to have sent with revelation to various prophets, including Muhammad. The 96th chapter of the Quran, The Clot, is believed by Muslims to have been the first chapter revealed by Gabriel to Muhammad. In the LDS Faith; The Angel Gabriel was The Prophet Noah, and Michael the Archangel was the Prophet Adam in their Mortal Ministries.
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Barbie, Plastic Religion / 33 Virgins & Saints
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Our Lady of Lujan The Lujรกn image was made in Brazil and sent to Argentina. Tradition holds that a settler ordered the terracotta image of the Immaculate Conception in 1630 because he intended to create a shrine in her honor to help reinvigorate the Catholic faith in Santiago del Estero, his region. After embarking from the port of Buenos Aires, the caravan carrying the image stopped at the residence of Don Rosendo Oramas, located in the present town of Zelaya. When the caravan wanted to resume the journey, the oxen refused to move. Once the crate containing the image was removed, the animals started to move again. Given the evidence of a miracle, people believed the Virgin wished to remain there. The image was venerated in a primitive chapel for 40 years. Then the image was acquired by Ana de Matos and carried to Lujรกn, where it currently resides.
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The Plastic Religion
e n i t n a z y B A Fine Collection of most Popular Characters!
The Byzantine Empire, also referred to as the Eastern Roman Empire, was the continuation of the Roman Empire in the East during Late Antiquity and the Middle Ages, when its capital city was Constantinople. It survived the fragmentation and fall of the Western Roman Empire in the 5th century AD and continued to exist for an additional thousand years until it fell to the Ottoman Turks in 1453. During most of its existence, the empire was the most powerful economic, cultural, and military force in Europe. Both "Byzantine Empire" and "Eastern Roman Empire" are historiographical terms created after the end of the realm; its citizens continued to refer to their empire as the Roman Empireor Romania, and to themselves as "Romans". Several signal events from the 4th to 6th centuries mark the period of transition during which the Roman Empire's Greek East and Latin West divided. Constantine I (r. 324–337) reorganised the empire, made Constantinople the new capital, and legalised Christianity. Under Theodosius I (r. 379–395), Christianity became the Empire's official state religion and other religious practices were proscribed. Finally, under the reign of Heraclius (r. 610–641), the Empire's military and administration were restructured and adopted Greek for official use instead of Latin.[4] Thus, although the Roman state continued and Roman state traditions were maintained, modern historians distinguish Byzantium from ancient Rome insofar as it was centred on Constantinople, oriented towards Greek rather than Latin culture, and characterised by Orthodox Christianity.
Barbie, Plastic Religion / Byzantine
The borders of the Empire evolved significantly over its existence, as it went through several cycles of decline and recovery. During the reign of Justinian I (r. 527–565), the Empire reached its greatest extent after reconquering much of the historically Roman western Mediterranean coast, including North Africa, Italy, and Rome itself, which it held for two more centuries. During the reign of Maurice (r. 582–602), the Empire's eastern frontier was expanded and the north stabilised. However, his assassination caused the Byzantine–Sasanian War of 602–628, which exhausted the Empire's resources and contributed to major territorial losses during the Muslim conquests of the seventh century. In a matter of years the Empire lost its richest provinces, Egypt and Syria, to the Arabs. During the Macedonian dynasty (10th–11th centuries), the Empire again expanded and experienced the two-century long Macedonian Renaissance, which came to an end with the loss of much of Asia Minor to the Seljuk Turks after the Battle of Manzikert in 1071. This battle opened the way for the Turks to settle in Anatolia. The Empire recovered again during the Komnenian restoration, such that by the 12th century Constantinople was the largest and wealthiest European city. However, it was delivered a mortal blow during the Fourth Crusade, when Constantinople was sacked in 1204 and the territories that the Empire formerly governed were divided into competing Byzantine Greek and Latin realms. Despite the eventual recovery of Constantinople in 1261, the Byzantine Empire remained only one of several small rival states in the area for the final two centuries of its existence. Its remaining territories were progressively annexed by the Ottomans over the 15th century. The Fall of Constantinople to the Ottoman Empire in 1453 finally ended the Byzantine Empire.
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Christ the Redeemer Christ the Redeemer (Portuguese: Cristo Redentor, standard Brazilian Portuguese is an Art Deco statue of Jesus Christ in Rio de Janeiro, Brazil, created by French sculptor Paul Landowski and built by the Brazilian engineer Heitor da Silva Costa, in collaboration with the French engineer Albert Caquot. Romanian sculptor Gheorghe Leonida fashioned the face. The statue is 30 metres (98 ft) tall, not including its 8-metre (26 ft) pedestal, and its arms stretch 28 metres (92 ft) wide. The statue weighs 635 metric tons (625 long, 700 short tons), and is located at the peak of the 700-metre Corcovado mountain in the Tijuca Forest National Park overlooking the city of Rio. A symbol of Christianity across the world, the statue has also become a cultural icon of both Rio de Janeiro and Brazil, and is listed as one of the New Seven Wonders of the World. It is made of reinforced concrete and soapstone, and was constructed between 1922 and 1931.
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n a c i r e m A n i t a L s n i g r i V A Fine Collection of most Popular Characters!
The Marian devotions in Latin America have in common a historical plot that connects them with the indigenous ancestrality. The cult of Mary tried to displace the local cults, leaving them in hiding as happens with the Pachamama in the Andean culture and other deities or ancestral figures in the other countries.
Desde un enfoque de género, serevela una parte oculta de nuestra historia cultural y personal. Los relatos, en su diversidad, que ponen de manifiesto la fuerza de la hegemonía de los símbolos cristianos que relegaron los valores culturales y religiosos de las tradiciones indígena y africana, nos ayudan a percibir el sentido de los ritos antiguos y de su fuerza aún tan viva hoy día. El símbolo de la Virgen Madre pura, sumisa y sacrificada, ha reforzado históricamente el estereotipo cultural de la mujer latinoamericana y su forma de vivir la sexualidad y la maternidad. ero más allá de este mandato patriarcal que coloca a las mujeres en una relación de dependencia con los varones, es preciso recordar que la referencia a lo femenino simbolizado por las mujeres Madres, Vírgenes y Diosas tiene que ver también con una experiencia humana primordial.
Barbie, Plastic Religion / LatinAmerican Virgins
Es necesario guardar siempre la tensión que subyace en todos los símbolos. Ellos nos oprimen o nos liberan, nos hablan de la subjetividad presente pero, al mismo tiempo, nos remiten a la ancestralidad y a la construcción del futuro. Resignificar los sím
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Our Lady of Lujan The Lujรกn image was made in Brazil and sent to Argentina. Tradition holds that a settler ordered the terracotta image of the Immaculate Conception in 1630 because he intended to create a shrine in her honor to help reinvigorate the Catholic faith in Santiago del Estero, his region. After embarking from the port of Buenos Aires, the caravan carrying the image stopped at the residence of Don Rosendo Oramas, located in the present town of Zelaya. When the caravan wanted to resume the journey, the oxen refused to move. Once the crate containing the image was removed, the animals started to move again. Given the evidence of a miracle, people believed the Virgin wished to remain there. The image was venerated in a primitive chapel for 40 years. Then the image was acquired by Ana de Matos and carried to Lujรกn, where it currently resides.
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The Plastic Religion
s s e r P d l r o W Yes, they are talking about us!
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