JUS BLAZE Untitled Document
www.officialjusblaze.com
oliviaodiweillustration:

#BIGGIEsmalls
arsvitaest:

Katayama Bokuyo, Forest, 1928, ink and mineral pigments on silk, Minneapolis Institute of Arts
nomadamsterdam:

Pictures from the past: Somali women fighting in the Ogaden region.
djsavone:

2Pac | Queen Latifah | ’Don’t F#ck With The Underground' 
djsavone:

The Notorious B.I.G. | 2Pac | Aaliyah | Jam Master Jay | Art

djsavone:

The Notorious B.I.G. | Wu Tang Clan | Gang Starr | Illustrations

(via envyhiphop)

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deathandmysticism:

A fakir lies on a bed of nails, India, ca. 1907
deathandmysticism:

Jogi sitting on spike bed, India, late 19th century or early 20th century
arjuna-vallabha:

Happy Guru Purnima!

latticelight:

Folios from a Manuscript of the Ashtasahasrika Prajnaparamita (Perfection of Wisdom).  India (West Bengal) or Bangladesh, Pala period, early 12th century.

The earliest Buddhist palm-leaf books originated in northeastern India, in what is now Bihar; West Bengal; and Bangladesh. Their components were simple: talipot palm leaves — cut, boiled and dried — and a palette of organic pigments limited to red, yellow, blue, green, black and white.

The palm-leaf sheets varied in length, but were seldom more than a few inches wide. They were stacked like slats in Venetian blinds and bound by threads passed through two holes in the center of each sheet. Rather than forming a single surface, as in modern palm-leaf paintings, the sheets in books were meant to be seen one at a time.

…palm-leaf manuscripts, like most art, had multiple uses. They circulated spiritual information. They functioned as protective charms. They served as religious offerings, gifts from which karmic returns were expected. And they became objects of worship.

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