Tuesday, November 19, 2019

Story image for wedding dress shopping from Marie Claire.co.uk

See Fergie's wedding pics

Marie Claire.co.uk-Jan. 15, 2009
We love a celebrity wedding dress here at marieclaire.co.uk, so couldn't resist sharing this shot of Black Eyes Peas star Fergie and her new hubbie Josh ...
Story image for wedding dress shopping from Marie Claire.co.uk

SEE Carly Zucker in her wedding dress!

Marie Claire.co.uk-Jun. 23, 2009
Carly Zucker and Joe Cole looked picture-perfect on their wedding day, as shots from this week's Hello! magazine reveal. The former personal trainer, 25, ...
Story image for wedding dress shopping from PopSugar.com (blog)

Fergie Keeps on Her Pre-Wedding Workout

PopSugar.com (blog)-Jan. 5, 2009
10 bride-to-be spent her weekend back in LA jogging and shopping after she and ... She had her wedding dress on her mind the whole time, talking about how ...
Story image for wedding dress shopping from People Magazine

The OC's Autumn Reeser Reveals Wedding Details

People Magazine-Jun. 8, 2009
Wearing a wedding gown by designer Carolina Herrera, Reeser, 28, walked down a winding aisle, which was decorated with herbs and white rose petals, ...

1 comment:

Pearl Necklace said...

This opposition he sees is not in some particular icon, and
the idea of ancient temple as a whole. A comparison of the three possible
of options leads him to the special nature of the dome-bulbs. "Byzantine
the dome of the Church depicts him the firmament that covered the earth. On the contrary,
Gothic fat expresses an uncontrollable aspiration upwards, podyemnye from earth
to the sky of stone bulk. And finally, the Russian "onion" embodies
the idea of deep prayer burning to the heavens through which our
the earthly world is getting involved in otherworldly wealth. This is the end
Russian Church-like the fiery tongue, topped with a cross and a cross
sharp" (Ibid.P.226).
E. Trubetskoy does not accept any other explanations of this form
defending your type of symbolization. "All attempts to explain the onion shape
our Church domes any utilitarian purposes (for example,
the need to sharpen the top of the temple to accumulating snow and not
delayed moisture) does not explain in it the most important --
religious and aesthetic values the bulbs in our Church
architecture. Because there are many other ways to achieve the same
practical result, including the completion of the temple tip, in the Gothic
style. Why, of all these ways, in the ancient
religious architecture was settled upon in the form of bulbs? It
due, of course, the fact that it had some aesthetic
the impression corresponding to a certain religious mood.
The essence of this religious-aesthetic experience passed national
expression -- the "heat burn" -- in application to the Church domes (There
same.P. 226-227).
Another semiotic feature, noted by E. Trubetskoy
is the influence of the architecture of the temple on the type of painting, i.e. the consideration of the icon
only in the context of the temple, not as a separate message.
Similar ideas were expressed by P. Florensky, speaking about the perception of icons in
the context of the Museum (Florensky P. Temple action as a synthesis
arts...). Distinguishing between icon painting and realistic painting,
E. Trubetskoy writes: "We see before us, in accordance with
the architectural lines of the temple, the human figure, sometimes too