Emerging Artists Project was a exhibition organised with the Mission to Seafarers in the World Trade Centre in 2012The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals. And with its heritage feature is also a sought after filming location.Poster, postcards of exhibitioncultural events, emerging artists project, eap, wtc, world trade centre, spirituality

Index, bib, notes, ill, p. 455non-fictionThis book includes a rich and diverse collection of texts newly translated from Latin, Irish and Welsh. It marks a landmark in the study of Celtic Christianity.spirituality - celtic church - early works to 1800, celtic church - doctrines

Sister Miriam-Therese WinterMedical Mission Sister Miriam-Therese Winter. Now professor of Liturgy, Worship and Spirituality at Hartford Seminary Connecticut USA

Index, bib, p.310.non-fictionA study of Ireland's patron saint reveals a slave turned missionary, a fervent pilgrim, and a revered religious teacher, recreating the life of a spiritual leader who both embodied and rose above the conflicts of his time.christain saints, spirituality

Reverend Dr Robin Pryor was born in 1941 and died in 2013. He served at Numurkah , The Avenue Blackburn, and as presbytery minister in the Maribyrnong Valley Presbytery. In later years he and his wife ran private courses in spirituality and meditation.BW photo of Rev. Robin Pryor's head as he is facing to his left (right of the picture). Slightly balding, he is wearing a beard.Robin Pryorrev. robin pryor; presbytery minister; uniting church; presbytery of maribyrnong valley; the avenue blackburn; numurkah

Hayley’s work intricately weaves multifaceted Indigenous feminine narratives, offering poignant reflections on identity, spirituality, and the human psyche, rooted deeply in her personal experiences and cultural identity. Centring on the nuanced psychological landscapes of Indigenous women, Hayley portrays their profound emotional and mental depth while exploring culturally influenced perspectives that honour their indomitable spirit and innate spirituality. Employing her conceptual and abstract artistic vision, Hayley utilises oblique storytelling techniques to challenge conventions and push boundaries in photography, collage, film, and video. Her work resonates with deep emotional intensity, inviting audiences on evocative and non-linear journeys of discovery and interpretation that unfold and evolve over time.In Life, In Death series australian photography, first nations photography, female photographer, identity, spirituality, first nations

The Jade Buddha for Universal Peace, the largest Buddha carved from gemstone-quality jade in the world, is the centerpiece of the Great Stupa of Universal Compassion in Bendigo, Australia. Standing 2.5 meters tall and weighing 4 tonnes, this priceless Buddhist statue toured over 120 cities across 20 countries from 2009 to 2018, inspiring peace in families, schools, and communities worldwide. After attracting an estimated 12 million visitors, it returned to the Great Stupa in May 2018, where it continues to be a potent symbol of peace.This carved wooden Buddha statue was presented to Ian Green by Jagath Sumathipala of the All-Ceylon Buddhist Congress during the Jade Buddha tour in Colombo (19 August 2012). It symbolises spiritual reverence, generosity, and the deep cultural connections fostered throughout this tour. It honours Ian Green’s role in sharing the Jade Buddha’s message of peace and compassion.APPRECIATION TO - IAN GREEN CHAIRMAN, THE GREAT STUPA OF UNIVERSAL COMPASSION LTD FOUNDER, JADE BUDDHA TEAM FOR UNIVERSAL PEACE OUR GRATITUDE FOR SHARING THE SPIRITUALITY OF THE MAGNIFICENT & MYSTICAL JADE BUDDHA STATUE FOR UNIVERSAL PEACE WITH THE BUDDHIST COMMUNITY IN SRI LANKA FROM - JAGATH SUMATHIPALA PRESIDENT ALL CEYLON BUDDHIST CONGRESS, COLOMBO, SRI LANKA, 10 AUGUST 2012jade buddha, memorabilia, great stupa archive

Booknon-fictionAn examination of the relationship between representations of ancient and contemporary goddesses, and how they are used by contemporary artists.pre-history, spirituality, frida kahlo, judy chicago, religion, mythology, anna mendieta, ritual, sacred at, women's movement

Ramesh Mario Nithiyendran is a contemporary artist of Sri Lankan, Tamil heritage. His practice traverses global histories and languages of figuration with a particular focus on South Asian traditions. He sees the imaginative exploration of ancient pasts as a way to speculate on parallel futures and to expand ways of perceiving the present. While he works across ceramics, bronze casting, painting, drawing, and immersive installation, he is best known for his hybrid ceramic sculptures that fuse references to ancient forms with various tropes and imagery from popular culture, zoology and other discourses. Through these works he explores themes of secular and non-secular idolatry, co-existent belief systems, queer aesthetics, disciplinary and regional histories of ceramics and sculpture, monumentality, as well as self-portraiture and autobiography.ceramics, ceramic sculpture, contemporary sculpture, mythology, religion, spirituality, ritual, sri lankan-australian art, south asian influences, contemporary mythology, postcolonialism, decolonisation

This altar cloth is one of a set of four of various sizes, embroidered and donated by a parent for the opening of the school's chapel. The chapel was completed in 1989 and officially dedicated 'in thanks for the work of J.R. Pascoe' in March 1990. Religious instruction has never formed part of the curriculum at Westbourne but Christian values have underpinned the school's identity since its very early days. Recognising the importance of spirituality to the broader life of a school, Principal John Pascoe set about building a small chapel at the Truganina campus. In 1988, Reverend George DuRink was appointed as inaugural chaplain, in time to advise on the chapel design, and remained at the school for more than twenty years. Reverend DuRink's friendly, inclusive approach to ministering, drawing largely on his extensive knowledge of philosophy and ethics, and welcoming the many faiths and cultures that came to the school from the growing surrounding community, set the tone for the spiritual dimension of education at Westbourne. An integral part of the fabric of the school, the chapel has been a place to gather for comfort and support during difficult times, a place for quiet reflection and at times a place for music and celebration.This altar cloth has historic significance as it is associated with the very beginning of the Westbourne chapel and was used in the chapel for many years. A rectangular piece of evenweave fabric with a fringed edge and cross stitched with a blue border around the entire piece and a yellow and green Westbourne logo facing the short edge at one end.

She was like the lizard that fell into the water and became a crocodile works with land through photographs that are cut, reassembled, and sutured into collaged forms. The seams have been left open; the ruptures are central to each work. Observing the sutured landscapes becomes a meditation on responsibility and on the uneasy coexistence of care, complicity, and inherited harm. The collages return the act of looking back onto the viewer, presenting their scars. To engage with them is to confront one’s position within ongoing colonial systems and to acknowledge the violences that remain embedded in the land and in the systems that have fractured its sovereignty. To look to the land is to feel the weight of what has been done to it and to those who belong to it, while recognising how it continues to nourish, restore, and strengthen. Looking demands attentiveness and accountability, insisting on the ethical and relational dimensions of vision itself. The images collaged throughout She was like the lizard that fell into the water and became a crocodile combine photographs taken by the artist on unceded Country in south-western Victoria over the past decade —across the lands of the Wauthaurong, Bunurong, Wadawurrung, and Gunditjmara —with archival material sourced from the State Library of Victoria of the same areas. The archival images, produced exclusively by white colonial settler photographers, documented and mapped the land, creating visual records that both precede and actively participate in the colonial inscription of place. By bringing these materials into dialogue, the work creates a confrontation between lived Indigenous presence and the extractive logic of the colonial archive.A series of ten photographic collages 2O.5 X 15CM EACHfirst nations art, aboriginal australian art, gunditjmara culture, djabwurrung culture, indigenous knowledge systems, indigenous sovereignty, cultural reclamation, cultural memory, storytelling, contemporary indigenous identity, aboriginal women, womanhood, motherhood, indigenous feminism, spirituality, first nations, photography

This memorial designed by Peter Blizzard is dedicated to more than 36,000 Australian men and women were held captive as prisoners by the enemy during the Boer War, World War 1, World War 2 and the Korean War. This memorial honours and names them, the names are etched into the black granite wall adjacent to the pathway. Water springs from beneath the 'Lest We Forget' stone then flows down the wall into the narrow watercourse in front of the first group of names and into the reflective pool, then continues past the second group of names. Finally it disappears under the pathway, returning to its source under the 'Lest We Forget' stone to start the journey again. Water symbolizes the essential nature of man, sacrifice, suffering, spirituality, healing, cleansing, birth and re-birth. The memorial is created from natural materials and is designed to be in harmony with the Ballarat Botanical Gardens, and to create a sense of timeless, dignity and respect. The long pathway of the monument is designed to create a visual perspective of the large distances that Australians travelled to the various conflicts. The paving is shaped like railway sleepers in recognition of the role that railways and railway journeys were relevant to many prisoners of war. The Memorial was declared the first military memorial of national significance located outside Canberra in 2008. Dedication services are held at the memorial on the Sunday closest to 6th of February, ANZAC day and on Remembrance Day. The memorial is of historical and aesthetic importance to the people of BallaratMonument made from carved bluestone, water feature and flagsInscribed with the names of 36,000 Australian men and women were held captive as prisoners by the enemy during the Boer War, World War 1, World War 2 and the Korean War. The listing is by surname and initials and shown by war.prisoners of war, boer war, world war 1, world war 2, korean war, lest we forget, peter blizzard

The Reverend Doug Dargaville, Anglican clergyman and former General Secretary of the Victorian Council of Churches from 1966 – 1982, and again for a time in 1995, passed away on 19 March 2013. "The death of Rev. Doug Dargaville at Bacchus Marsh in Victoria, Australia has been announced, and his funeral is to take place on March 28th. Doug was one of the great pioneers of the ecumenical and interfaith movements, especially in his role as executive secretary of the Victorian Council of Churches from 1966 to 1982. Perhaps more than anyone else, he laid the foundations for the organizational structure of the ecumenical movement here in Victoria and across Australia. A small man with a big vision, he brought his inclusive Anglican spirituality to the tasks at hand. With his retirement to the country town of Bacchus Marsh outside Melbourne with his beloved Lucy, his life’s work was not yet complete. He devoted three years of his life during the 2000s to being the general secretary of Religions for Peace Australia, and was always a strong supporter of the interfaith movement, not least during the Parliament of the World’s Religions, held in Melbourne in December, 2009. He was an efficient and prudent administrator, never seeking the limelight yet everything was done with an ironic and disarming humor and a certain impish and whole-hearted spirit. He was, in every sense of the word, a good man whose life was completely devoted to overcoming barriers and forging unity between the different churches and different faith traditions. We pray that he will find rest and eternal peace with the God whom he served so well and so faithfully for so long." Professor Des Cahill, Chair, Religions for Peace Australia.B & W photograph of Rev Anderson Douglas Dargaville discussing ecumenical material with another man.dargaville, douglas, victorian council of churches

The Trustees of the Australian Ex-Prisoners of War Memorial have defined a Prisoner of War to be a person who was captured by a common enemy and/or interned in a neutral or non-combatant country. To be defined an Australian Prisoner of War, the person needs to be either an Australian Born person serving in the Uniform of an Australian Service; or in the Uniform of a friendly country, or Born Elsewhere and serving in the Uniform of an Australian Service. A Prisoner is a person who has lost personal privileges, suffers deprivation of liberty or is unable to return home or dies in captivity.Colour photograph of a War Memorial designed by Peter Blizzard. The granite wall of the Australian Ex-Prisoners of War Memorial features a listing the names of Australian Prisoners and was opened on the 6th February 2004 by General Peter Cosgrove AM MC to recognise and remember over 36,000 Australians who became Prisoners of War during the Wars of the 20th Century. In 2008 the Memorial became the First Military Memorial of National Significance outside Canberra. The Memorial which was designed by Peter Blizzard OAM, symbolises that all Australian prisoners embarked on a journey to serve away from their homeland and acknowledges the hardship, deprivation, brutality, starvation and disease endured by Prisoners of War during their capture and the scars that many continued to endure upon their repatriation to Australia. Heritage Victoria describes the memorial in the following way" "A JOURNEY OF HONOUR, REMEMBRANCE AND HEALING - The Australian Ex-Prisoners of War Memorial is a dramatic and highly symbolic tribute to the sacrifice made by more than 35,000 young Australian service men and women in four theatres of war. At the heart of the monument is a stark, 130 metre long, highly polished black granite wall, engraved with the names of all Australian prisoners of war. The names on this 'honour roll' are listed in historical order from the Boer War in 1899, through to the Korean War in 1953. It is a testament to the contribution made by so many. Standing sentinel at the centre of the Memorial are six huge basalt obelisks, etched with the names of all the countries where Australians were held prisoner of war. The obelisks stand in a large reflective pool, set back from the central pathway, symbolising the distance that separated Australia's prisoners of war from their homes and their loved ones. Opposite the pool is a larger obelisk flanked by flagpoles and a ceremonial stone on which to lay wreaths. The central pathway is itself symbolic, with each of the paving stones cut in the shape of a railway sleeper. The pathway defines 'the journey' taken by the prisoners of war and the journey visitors take around the monument. At the end of the granite wall where the pathway ends, visitors face a large stone engraved simply 'Lest We Forget'. Water flows from beneath the stone, along the base of the granite wall and into the reflection pool in which the obelisks stand. This cycle of flowing water, symbolising spirituality, healing, cleansing, birth and rebirth, guides visitors on their journey through the Memorial." ballarat, ballarat botanical gardens, peter blizzard, ballarat north gardens, war memorial, prisoner of war, prisoners of war

DESCRIPTIONColour photograph of a War Memorial designed by Peter Blizzard. The granite wall of the Australian Ex-Prisoners of War Memorial features a listing the names of Australian Prisoners and was opened on the 6th February 2004 by General Peter Cosgrove AM MC to recognise and remember over 36,000 Australians who became Prisoners of War during the Wars of the 20th Century. In 2008 the Memorial became the First Military Memorial of National Significance outside Canberra. The Memorial which was designed by Peter Blizzard OAM, symbolises that all Australian prisoners embarked on a journey to serve away from their homeland and acknowledges the hardship, deprivation, brutality, starvation and disease endured by Prisoners of War during their capture and the scars that many continued to endure upon their repatriation to Australia. Heritage Victoria describes the memorial in the following way" "A JOURNEY OF HONOUR, REMEMBRANCE AND HEALING - The Australian Ex-Prisoners of War Memorial is a dramatic and highly symbolic tribute to the sacrifice made by more than 35,000 young Australian service men and women in four theatres of war. At the heart of the monument is a stark, 130 metre long, highly polished black granite wall, engraved with the names of all Australian prisoners of war. The names on this 'honour roll' are listed in historical order from the Boer War in 1899, through to the Korean War in 1953. It is a testament to the contribution made by so many. Standing sentinel at the centre of the Memorial are six huge basalt obelisks, etched with the names of all the countries where Australians were held prisoner of war. The obelisks stand in a large reflective pool, set back from the central pathway, symbolising the distance that separated Australia's prisoners of war from their homes and their loved ones. Opposite the pool is a larger obelisk flanked by flagpoles and a ceremonial stone on which to lay wreaths. The central pathway is itself symbolic, with each of the paving stones cut in the shape of a railway sleeper. The pathway defines 'the journey' taken by the prisoners of war and the journey visitors take around the monument. At the end of the granite wall where the pathway ends, visitors face a large stone engraved simply 'Lest We Forget'. Water flows from beneath the stone, along the base of the granite wall and into the reflection pool in which the obelisks stand. This cycle of flowing water, symbolising spirituality, healing, cleansing, birth and rebirth, guides visitors on their journey through the Memorial."australian ex-prisoner of war memorial, peter blizzard, prisoner of war, ballarat north gardens

DESCRIPTIONColour photograph of a War Memorial designed by Peter Blizzard. The granite wall of the Australian Ex-Prisoners of War Memorial features a listing the names of Australian Prisoners and was opened on the 6th February 2004 by General Peter Cosgrove AM MC to recognise and remember over 36,000 Australians who became Prisoners of War during the Wars of the 20th Century. In 2008 the Memorial became the First Military Memorial of National Significance outside Canberra. The Memorial which was designed by Peter Blizzard OAM, symbolises that all Australian prisoners embarked on a journey to serve away from their homeland and acknowledges the hardship, deprivation, brutality, starvation and disease endured by Prisoners of War during their capture and the scars that many continued to endure upon their repatriation to Australia. Heritage Victoria describes the memorial in the following way" "A JOURNEY OF HONOUR, REMEMBRANCE AND HEALING - The Australian Ex-Prisoners of War Memorial is a dramatic and highly symbolic tribute to the sacrifice made by more than 35,000 young Australian service men and women in four theatres of war. At the heart of the monument is a stark, 130 metre long, highly polished black granite wall, engraved with the names of all Australian prisoners of war. The names on this 'honour roll' are listed in historical order from the Boer War in 1899, through to the Korean War in 1953. It is a testament to the contribution made by so many. Standing sentinel at the centre of the Memorial are six huge basalt obelisks, etched with the names of all the countries where Australians were held prisoner of war. The obelisks stand in a large reflective pool, set back from the central pathway, symbolising the distance that separated Australia's prisoners of war from their homes and their loved ones. Opposite the pool is a larger obelisk flanked by flagpoles and a ceremonial stone on which to lay wreaths. The central pathway is itself symbolic, with each of the paving stones cut in the shape of a railway sleeper. The pathway defines 'the journey' taken by the prisoners of war and the journey visitors take around the monument. At the end of the granite wall where the pathway ends, visitors face a large stone engraved simply 'Lest We Forget'. Water flows from beneath the stone, along the base of the granite wall and into the reflection pool in which the obelisks stand. This cycle of flowing water, symbolising spirituality, healing, cleansing, birth and rebirth, guides visitors on their journey through the Memorial."australian ex-prisoner of war memorial, prisoner of war, ballarat north gardens, peter blizzard

In creating these pieces, Vipoo Srivilasa initiated the process by sculpting three figures with bare surfaces. Bundit Puangthong then added his artistic touch by painting each sculpture. The artists' conceptual visions harmonized perfectly, especially considering their shared commitment to Buddhist principles, which frequently inspire their respective artistic practices. After Bundit completed his painting, Vipoo enlivened the pieces by adding eyes to the figures. He also embellished the works with pom-poms, lending them a softness that makes them appear both approachable and innocent, despite the weightiness of their themes. Each sculpture embodies a specific teaching from Buddhism: "FLESH" features a golden umbrella, serving as a metaphor for sex.

These captivating pieces are part of a series called "FOOD / FLESH / FAME," a collaborative effort between Melbourne-based Thai artists Bundit Puangthong and Vipoo Srivilasa. Drawing from Buddhist teachings, the series explores the three elements of attachment: Food (consumption), Flesh (sex), and Fame (power). Although these elements are known to cause suffering, they remain persistently alluring, a paradox that the artists intend to explore further in the future. In creating these pieces, Vipoo Srivilasa initiated the process by sculpting three figures with bare surfaces. Bundit Puangthong then added his artistic touch by painting each sculpture. The artists' conceptual visions harmonized perfectly, especially considering their shared commitment to Buddhist principles, which frequently inspire their respective artistic practices. After Bundit completed his painting, Vipoo enlivened the pieces by adding eyes to the figures. He also embellished the works with pom-poms, lending them a softness that makes them appear both approachable and innocent, despite the weightiness of their themes. Each sculpture embodies a specific teaching from Buddhism: "FOOD" depicts a durian, the king of fruits, painted by Bundit Puangthong. He notes, "Despite its pungent aroma, many people still love to eat it."Donated the by the artists

Peach coloured cover with a black and white image of four nurses wearing hats and holding the bottom of their dresses up while they stand ankle deep in the ocean. The title is printed above the image in red print with black subtitle. The author's name also appears in red text.non-fiction Ch.1 Overtures and Undertones : Britain, Ireland and Wider World 1901-1913 -- Ch.2 'Oh! We don't want to lose you but we think you ought to go' Dissent and Disaster 1914 -- Ch.3 'Good bye-ee' Men and Women of August 1914 -- Ch.4 'Keep he Home Fires Burning' Western and Home Fronts 1914 -- Ch.5 'Oh W4at a Lovely War' Living, Fighting, )ying and Nursing 1915 -- Ch.6 'Hanging on the Old Barbed Wire' Pro Patria: Right or Wrong 1916 -- Ch.7 'Pack up your Troubles' Spirituality, Inspiration and Esprit de Corps 1917 -- Ch.8 'When this Bloody War Is Over' Fortitude, Finale and Legacy 1918. [contents note from Trove record]military nursing, ww1, wwi, world war one, nurses - great britain, nurses - ireland

A wooden four panel Russian Orthodox icon, c.1800s, with two images of the Virgin Mary, one icon of the Holy Belt and one icon of an unknown saintUnknownicon, russian art, orthodox spirituality, virgin mary

p.315.non-fictionThe first anthology of early Irish verse including a large number of texts in the original and in translationirish spirituality, 2. irish poetry

p.425.fictionA poetic account of the underbelly of Australia, the barbarism of Europe, and the destiny of those in the country beyond hope who seek to redeem themselves through love.1. spirituality, 2. redemption

Bib, notes, p.217.non-fictionAn anthology of poems both early and modern authored by Irish women, selected and translated by P.L. Henry, Galway University.irish spirituality, irish poetry

Index, bib,notes, maps, plates, ill, p.258.non-fictionIreland, more than any other country in Europe, has retained its mythological heritage, which lives today in the oral tradition of folk tales, in literature, in place-names and language, in ceremonies and monuments. Mountains and loughs are the homes of gods and goddesses, of saints and monsters, and pattern, beauty and cyclical logic are revealed in their stories. Michael Dames, whose previous works have won him a wide and enthusiastic following, has walked through each.1. spirituality, 2. irish myths.