every person on the planet should be given the chance to wear a dress like this at least once in their lives. how do you not feel like magic?

every person on the planet should be given the chance to wear a dress like this at least once in their lives. how do you not feel like magic?

(Source: discombobulateddavidduchovny, via elizabethandmonty)

sulphuriclike:

Tamara de Lempicka_La Tunique Rose_1927

sulphuriclike:

Tamara de Lempicka_La Tunique Rose_1927

(via pariswasawoman)

cinoh:

catherine-white:
Tea bowl
In the early seventeenth century, this powerful little sculpture in the guise of a tea bowl was made at the Motoyashiki kiln, in former Mino province. The bowl is shaped, glazed, and decorated in the format now called Black Oribe, one of numerous varieties invented by the potters working at Motoyashiki. The Black Oribe style at its most elaborate, as on this bowl, combines lustrous black glaze incised with graphic motifs and unrelated patterns loosely brushed over velvety white Mino clay and coated locally with translucent Shino glaze. All this, cradled in the hands, would frame a freshly whisked froth of chartreuse-green powdered tea, in an experience that engaged sight, touch, and taste.
Tea bowl Japan, Gifu prefecture, Toki city, Kujiri, Motoyashiki kiln Momoyama period, ca. 1607–15 Mino ware, Black Oribe type Stoneware with black glaze and iron pigment under clear glaze Purchase—Harold P. Stern Memorial Fund, Freer trust fund, and Friends of the Freer and Sackler Galleries F2014.5a–p

cinoh:

catherine-white:

Tea bowl

In the early seventeenth century, this powerful little sculpture in the guise of a tea bowl was made at the Motoyashiki kiln, in former Mino province. The bowl is shaped, glazed, and decorated in the format now called Black Oribe, one of numerous varieties invented by the potters working at Motoyashiki. The Black Oribe style at its most elaborate, as on this bowl, combines lustrous black glaze incised with graphic motifs and unrelated patterns loosely brushed over velvety white Mino clay and coated locally with translucent Shino glaze. All this, cradled in the hands, would frame a freshly whisked froth of chartreuse-green powdered tea, in an experience that engaged sight, touch, and taste.

Tea bowl
Japan, Gifu prefecture, Toki city, Kujiri, Motoyashiki kiln
Momoyama period, ca. 1607–15
Mino ware, Black Oribe type
Stoneware with black glaze and iron pigment under clear glaze
Purchase—Harold P. Stern Memorial Fund, Freer trust fund, and Friends of the Freer and Sackler Galleries
F2014.5a–p

xenophone:

brighter-suns:
paperback cover art by Darrel K. Sweet for The Godwhale (1974) by T. J. Bass

xenophone:

brighter-suns:

paperback cover art by Darrel K. Sweet for The Godwhale (1974) by T. J. Bass

(via 70sscifiart)

a question i’ve considered at least once a day for the last 4 years: SHOULD I GO BACK AND FINISH UNDERGRAD?

mudwerks:

(via Film Noir Photos: Light and Shadow: Monica Vitti)

La Notte (1961)

mudwerks:

(via Film Noir Photos: Light and Shadow: Monica Vitti)

La Notte (1961)

(via lottereinigerforever)

(Source: earlymoanindinosaurs, via aleatoryalarmalligator)

Yoko Ono, Painting For the Wind, 1961

Yoko Ono, Painting For the Wind, 1961

(Source: islayme, via aubreylstallard)

the title of this thing still holds true, i generally only come back here when i’m in that isolated blackhole pre-menstrual funspot. or to post the things i wish i could share with my ex but can’t because he wants us to be best platonic buddies who have sex when he feels like it but have no real impact on one another’s lives and no promise of a romantic future, so i try not to seem “needy” by sending him stuff or initiating contact at all, if i can help it, because i’m a sucker for that dude and i’d still do anything to keep him in my life. me and my gross, sloppy, burdensome feelings. gotta let ‘em out somewheres..

likeafieldmouse:

František Kupka - Study for the Language of Verticals (1911)

likeafieldmouse:

František Kupka - Study for the Language of Verticals (1911)