Wonders Of Lo

"Lo", as Mustang is called by those who dwell there, is a small area in the Nepal Himalaya inhabited by people of Tibetan stock. Buddhist art flourished here, particularly between the 14th and the 16th century, in a cultural environment strongly influenced by the religious order of Sakya, the great monastic fortress in southwest Tibet. In particular, the 15th-century wall paintings in the temple of Maitreya at Montang, the traditional capital of Lo, vie with the finest in all geo-cultural Tibet, whereas the 14th-century murals in the cave temple of Luri reflect the interpretation of Indian aesthetics as transmitted to the Tibetan world by the artists of the Nepal Valley. This volume is the first monograph on the artistic heritage of Lo. It deals with the most representative features of the religious art of the region, dwelling on painting, but without neglecting sculpture and architecture. Besides recording significant as well as hitherto unpublished religious sites of artistic relevance, it illustrates the restoration work carried out in important temples at Montang. Illustrated with rare images of the paintings, sculptures, and monuments of this fascinating region, the volume will appeal to a wide audience, including scholars and students, and readers with a general interest in the arts of Asia.

This work expands traditional conceptions of the Enlightenment by examining the roles of wonder and Jesuit missionary conceptions of the Enlightenment by examining the century in a production of knowledge that serves both intellectual and religious functions.

Oxford is proud to publish a limited edition of the 1611 text of the King James Bible, with real leather binding, gilt edging, ribbon marker, gift presentation plate, and protective cloth slipcase. This is the most authoritative edition of the King James Bible available. The text of the 1611 edition differs from modern editions of the King James Version in thousands of details, and this edition is the most authentic version of the original text that has ever been published. It follows the 1611 text page-for-page and line-for-line, reproducing all misprints rather than correcting them. The volume also reprints the large body of preliminary matter, which includes genealogies, maps, and lists of readings, as well as the translator's preface to the reader. The text features an easy-to-read modern font instead of the black-letter type of the original, with the exception of the original decorative letters and early page ornaments, which have been reproduced. The volume concludes with an essay by Renaissance Studies expert, Gordon Campbell, on the first edition of the King James Bible. This beautiful Anniversary Edition is an elegant keepsake as well as a marvelous gift for anyone interested in the Bible.

From the team behind the best-selling Atlas of Adventures comes this awe-inspiring journey of discovery. Travel around the world to scale the Eiffel Tower, trek the Great Wall of China, and raft through the Yosemite Valley. Showcasing the globe's most impressive landscapes, iconic buildings and evocative antiquities from both the modern and ancient worlds, this is the most wonderful Atlas adventure yet!

""The marvelous follows us always" - or so the Italian philosopher Francesco Patrizi asserted in 1587. The essays in this book collectively make the case that this assertion could be an epigraph for the Renaissance. For Wonder was a concept absolutely central to the early modern period. Encompassing both inquiry and astonishment, "wonder" indeed followed the Renaissance everywhere - into redefinitions of the mind, the body, art, literature, the known world. Often called the age of discovery, the Renaissance should also be seen as the age of the marvelous." "However, defining just what la maraviglia would have meant for Patrizi and his age is no small task." "This volume, then, seeks to explore early modern views of wonder and the marvelous by revealing the complexity of la maraviglia in the Renaissance."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

We were surrounded by five and twenty boatmen, each of whom exerted himself to get our custom: these were the ciceroni of the Blue Grotto. I chose one and Jadin another, for you must have a boat and a boatman to get there, the opening being so low and so narrow that one cannot enter unless in a very small boat. The sea was calm, nevertheless, even in this beautiful weather it broke with such force against the belt of rocks surrounding the island that our barks bounded as if in a tempest, and we were obliged to lie down and cling to the sides to avoid being thrown into the sea. At last, after three-quarters of an hour of navigation, during which we skirted about one-sixth of the island’s circumference, our boatmen informed us of our arrival. We looked about us, but we could not perceive the slightest suspicion of a grotto until we made out with difficulty a little black, circular point above the foaming waves: this was the orifice of the vault. The first sight of this entrance was not reässuring: you could not understand how it was possible to clear it without breaking your head against the rocks. As the question seemed important enough for discussion, I put it to my boatman, who replied that we were perfectly right in remaining seated now, but presently we must lie down to avoid the danger. We had not come so far as this to flinch. It was my turn first; my boatman advanced, rowing with precaution and indicating that, accustomed as he was to the work, he could not regard it as exempt from danger. As for me, from the position that I occupied, I could see nothing but the sky; soon I felt myself rising upon a wave, the boat slid down it rapidly, and I saw nothing but a rock that seemed for a second to weigh upon my breast. Then, suddenly, I found myself in a grotto so marvellous that I gave a cry of astonishment, and I jumped up so quickly to look about me that I nearly capsized the boat. In reality, before me, around me, above me, under me, and behind me were marvels of which no description can give an idea, and before which, the brush itself, the grand preserver of human memories, is powerless. You must imagine an immense cavern entirely of azure, just as if God had amused himself by making a pavilion with fragments of the firmament; water so limpid, so transparent, and so pure that you seemed floating upon dense air; from the ceiling stalactites hanging like inverted pyramids; in the background a golden sand mingled with submarine vegetation; along the walls which were bathed by the water there were trees of coral with irregular and dazzling branches; at the sea-entrance, a tiny point—a star—let in the half-light that illumines this fairy palace; finally, at the opposite end, a kind of stage arranged like the throne of a splendid goddess who has chosen one of the wonders of the world for her baths.