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"Mat kar maya ko ahankar, mat kar kaya ko abhimaan, kaya gaar se kaachi,"

(Don't take pride in your wealth, nor in your body, for this body is weaker than the mud upon the potter's wheel).

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#watching scam 1992 #words

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Toor’s scenes possess a kind of solemnity or quietude that does not suggest equilibrium so much as tender regard. Toor’s protagonists, obvious stand-ins for the artist himself, at least at an earlier moment in his life, seem held in suspension between two worlds, Old and New, never entirely at home in either. But he also holds them at emotional arm’s length, as if these images were tempered by time, less observations than memories, and they begin to assume the lineaments of archetype, despite their depiction of technology à la mode.

(Many of the pictures have an overall green palette, appropriate, perhaps, for the nocturnal illumination of bars or apartment parties—although more readily suggesting fin de siècle gaslight—but also reminiscent of the discoloured varnish of old paintings hanging for generations in smoke-filled drawing rooms.)

on Salman Toor

#art

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x

#succession

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#succession

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dean. babygirl. what the fuck.

#babygirl is correct. #what the fuck is correct too. #dean #sam

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#Yes. Didn't care. #sam

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Circle of Bernardino Luini (Italian, c.1480-1532) Angels making music

#art

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I hope you die. I hope we both die. 

#succession

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Dean Winchester in SUPERNATURAL 3.15

#dean

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[image id: a four-page comic. it is titled “immortality” after the poem by clare harner (more popularly known as “do not stand at my grave and weep”). the first page shows paleontologists digging up fossils at a dig. it reads, “do not stand at my grave and weep. i am not there. i do not sleep.” page two features several prehistoric creatures living in the wild. not featured but notable, each have modern descendants: horses, cetaceans, horsetail plants, and crocodilians. it reads, “i am a thousand winds that blow. i am the diamond glints on snow. i am the sunlight on ripened grain. i am the gentle autumn rain.” the third page shows archaeopteryx in the treetops and the skies, then a modern museum-goer reading the placard on a fossil display. it reads, “when you awaken in the morning’s hush, i am the swift uplifting rush, of quiet birds in circled flight. i am the soft stars that shine at night. do not stand at my grave and cry.” the fourth page shows a chicken in a field. it reads, “i am not there. i did not die” / end id]

a comic i made in about 15 hours for my school’s comic anthology. the theme was “evolution”

#words #art #Everytime I read this it still hurts the same

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“THE ONLY WAY TO PREDICT THE FUTURE IS TO CREATE IT” MAX PINCKERS // MARGINS OF EXCESS, 2018 [pigment print | 48 5/8 x 59 1/2″]

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cant believe he came to breakfast dressed like this shortly after trying to kill himself i love him 

#succession

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14.15 - Peace of Mind

#they were in love here #<<< prev

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Woh zehar deta toh duniya ki nazroon mein aa jata, Faraz

So usne yun kiya ki waqt pe dawa nahin di

- Ahmed Faraz

#words #I tried translating it just didn't hold the same meaning #.

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When Atif said Koi fikar thi na koi bahana mutthi main tha jaisay zamana, kacchi zuban main wo geet gana naye khilone sab ko dikhana, Mang liya zindagi se zyada chin gaya wo jiss ne kiya wada, Kon laye wo pal jo suhane bitay thay jo wo guzre zamane. We all felt that.

#thak ke naani ki god mei sona 😔🖤🖤

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Because my love for you is higher than words, I have decided to fall silent. — Nizar Tawfiq Qabbani

Franz Kafka, letters to Milena (April 1920)

— Jane Austen, Pride and Prejudice

I will leave you restless too, I will leave in silence too. — Ameer Qazalbash

#<<< prev #they're both in Urdu and Arabic Lauren