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KVRT STVFF colorblock low-rise swim brief with front and back rubber print made of econyl® — an italian-sourced regenerated nylon. Enhanced pouch for comfort and fit. Fast drying two-way stretch fabric with shape retention, UV protection and ultra chlorine resistance. Inside drawstring waist and lin…

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C.P. Company | Magazine | Mille Miglia 1988-89

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The Mille Miglia Jacket 1988-1989. Following further research into protective hoods used by the military, Massimo created several prototypes over the course of 1987. Anti-gas hoods provided him with particular inspiration and gave him the idea of moving the lenses from the collar - as they were on The Explorer - to the hood itself.

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運動裝(Sportswear)的現代史在壹處翻修過的20世紀30年代的博洛尼亞農場里被保留，裡面擁有超過6000件服裝和55000個紡織品樣品，每件物品都有它自己的故事。在馬西莫·奧斯提(Massimo Osti)的精心研究，解剖之後其中很多衣服被重新復活。

在20世紀70年代初，作為壹名平面設計師， Osti設計了壹款T恤衫。他利用絲網印刷來印刷他的定制圖形，這在當時的意大利很少用的一種印刷方法，這批T恤衫幾乎立刻就賣光了。這壹成功的開始 實驗性的服裝創新精神一直激勵他直到2005年去世。從1971年到21世紀初， 負責壹系列品牌，包括C.P.Company、Stone Island、Boneville和Left Hand。從Supreme到NikeLab, Kanye和Gosha，他的設計備受行業青睞。對許多人來說在他們的左臂上戴著壹枚Stone Island徽章，或者穿著C.P.的goggle夾克，仍然代表著實用大於象征 Osti

Osti同時也 是一名工程師，自稱為"穿衣目的"的實用設計師，以供實際使用。他沉迷於顛覆和改造，追求傳統與變革天衣無縫的融合。他的設計特質塑造了一種非凡的獨創性，這是一種既尊重過去又能激發未來的理念。

Massimo Osti

TELA STELLA

Piero Manai

1996年著名的博洛尼亞畫家Piero Manai的作品掛在了Osti工作室的牆上。 Manai沉迷於肢體語言，通過誇張的脊椎彎曲或腿部彎曲的韌帶，他大量的黑色和令人難以捉摸的人物的煤炭畫喚起了人們對自我反省的迫切需求。在他的作品中人類被赤裸裸的剖析，Manai通過裸體人物表達了對人性的理解，Osti通過面料表達了自己的想法。

Stone Island 於1982年開始使用軍用卡車篷布。 Osti熱衷於收集軍事裝備 ，因為其設計涉及高水平的研究。 在這些軍用油布里他看到了潛力。 油布的原始硬度太強悍了，所以Osti頭軟化它們。 另外的實驗產生了一種新的防風織物：Tela Stella。 他在紡織品方面的設計試圖表達人類形式的複雜性，Osti設計的織物來實現衣服和身體的平衡，將特製的功能面料轉化為可穿戴的物品，是Osti表達他對我們所穿的衣服和我們的身體感覺之間的共生關係的信念的方式。

Lorenzo Osti - Introduction to the Massimo Osti Archive. Stone Island, C.P Company

ICE JACKET
Stone Island FW16 1991年Osti設計出了信息形象化的ICE JACKET，夾克的顔色會隨著溫度變化而變化。Osti的運動服功能與美觀同樣重要，是一件有智慧的功能外套。 這正是他不相信傳統時裝秀的原因。 他把他們的精心策劃的氛圍視為審視自己設計的障礙。 1985年Osti正在編輯C.P. 這本雜誌是為了展示品牌的技術而設計的。 博洛尼亞的一家攝影工作室配備了一台能產生1：1比例尺圖像的佳能機器，使他能夠拍攝，複印和掃描照明和解剖他的夾克，以便展示精美的大幅面細節。 這種風格的影響力從Carhartt到Issey Miyake的品牌中都看得到。
visiting Massimo Osti Studio archive

MILLE MIGLIA

C.P. Company 1988年的Mille Miglia外套從狂熱的研發中脫穎而出。 Osti一直在收集和審視日本民防部隊穿戴的保護性防毒氣罩，並決定用goggles來表達當時的背景。 當C.P. Company贊助了意大利1988年的Mille Miglia老爺車比賽，他的理念有了更好的方式去詮釋和傳達。 印有"Ideas from Massimo Osti." 字樣的label很快出現在C.P. Company的每件衣服上。
瑪格麗特*撒切爾(Margaret Thatcher)當時仍是英國的首相，該國正經歷著創紀錄的高離婚率、失業率和貧困率。 Mille Miglia給足球流氓和被剝奪了權利的年輕人提供了一個完美的渠道，使他們的挫折與日益精英化的體制相抗衡。作爲一位先知設計師Osti 發現了防禦全球氣候惡劣的服裝的必要性。 他的妻子Daniela Facchinato-Osti說："他是一個社會學家，他看著人們，試圖弄清楚他們沒有的東西，不存在的東西，他們不知道他們需要的東西。 今天一件古董、的Mille Miglia可以在線上超過1500美元。 全球不平等是無處不在的，生存的代價是很高的。 C.P. Company和Stone Island被英國的Terrace和Casual亞文化所接受，以及意大利的Paninaro(意大利八十年代崛起的一種青年文化)青年因為其獨特的適應性而受到重視。
The Legacy of Massimo Osti - Parsons The New School for Design

ICD+
1981年博洛尼亞，就在Osti即將完成最新的C.P. Company系列之前，他的工廠所有的原始樣品和品牌的大部分歷史資料全部被燒毀。 第二年八名槍手搶劫了他剛剛重建的工廠，竊取了他的第二個品牌Boneville的所有設計稿和素描。 Osti認為這是他的競爭對手之一偷了草圖，他反應像一個真正的發明家：他從頭開始。
1996年，意大利電影導演加布里埃爾·塞爾瓦托斯(Gabriele Salvatores)正在創作他現在風靡一時的賽博朋克電影《涅槃》(Nirvana)。主角Jimi是一名電腦遊戲程序員，他把時間花在製造數字反烏托邦城市景觀上，他的身影經常在黑暗中被藍色的電腦屏幕照亮。 Salvatores需要為Jimi添置一個衣櫥，以補充他所處環境的奇異平衡，於是他找到 溝通之後， Osti 開始在PVC上建造技術外衣，以反映背光電腦屏幕在鏡頭前的不祥之光。

2000年ICD +系列問世。 由 Osti與飛利浦和李維斯合作設計，被廣泛認為是第一個商用可穿戴電子服裝。 Osti知道技術將成為人類經驗不可分割的一部分。 他認為效率是一個沉迷於繁忙的國家的基石。 ICD +（工業服裝部門）夾克有四種款式，為飛利浦Xenium手機，Rush MP3播放器和耳機配備定制口袋，全部由可拆卸線束連接。 ICD +將每個設備同步到一個符合人體工程學和美觀的包裝中，表面上把佩戴者變成了一個數字化的個人區域網絡。 如今一個iPhone滿足了我們所有的需求， Osti完全將生活和工作融入一件夾克。

'Ideas from Massimo Osti' Book by Damiani

Hardcover: 432 pages

Publisher: Damiani (February 28, 2013)

Language: English

ISBN-10: 8862082355

ISBN-13: 978-8862082358

Product Dimensions: 10 x 2 x 14 inches

Massimo Osti (1944 - 2005)

"Ideas from Massimo Osti"

The Stone Island Archive Part 1

STONE ISLAND PROTOTYPE RESEARCH SERIES 02 GARMENT DYED DYNEEMA®

STONE ISLAND x NIKE LAB COLLAB!!!

责任编辑：

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傳奇設計師 Massimo Osti 是如何重新定義服裝的功能性

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運動裝(Sportswear)的現代史在壹處翻修過的20世紀30年代的博洛尼亞農場里被保留，裡面擁有超過6000件服裝和55000個紡織品樣品，每件物品都有它自己的故事。在馬西莫·奧斯提(Massimo Osti)的精心研究，解剖之後其中很多衣服被重新復活。 在20世紀70年代初，作為壹名平面設計師， Osti 設計了壹款T恤衫。他利用絲網印刷來印刷他的定制圖形，這在當時的意大利很少用的一種印刷方法，這批T恤衫幾乎立刻就賣光了。這壹成功的開始 實驗性的服裝創新精神一直激勵 他直到2005年去世。從1971年到21世紀初， 負責壹系列品牌，包括C.P.Company、Stone Island、Boneville和Left Hand。從Supreme到NikeLab, Kanye和Gosha，他的設計備受行業青睞。對許多人來說在他們的左臂上戴著壹枚Stone Island徽章，或者穿著C.P.的goggle夾克，仍然代表著實用大於象征 Osti Osti 同時也 是一名工程師，自稱為"穿衣目的"的實用設計師，以供實際使用。他沉迷於顛覆和改造，追求傳統與變革天衣無縫的融合。他的設計特質塑造了一種非凡的獨創性，這是一種既尊重過去又能激發未來的理念。 Massimo Osti TELA STELLA Piero Manai 1996年著名的博洛尼亞畫家Piero Manai的作品掛在了Osti工作室的牆上。 Manai沉迷於肢體語言，通過誇張的脊椎彎曲或腿部彎曲的韌帶，他大量的黑色和令人難以捉摸的人物的煤炭畫喚起了人們對自我反省的迫切需求。在他的作品中人類被赤裸裸的剖析，Manai通過裸體人物表達了對人性的理解，Osti通過面料表達了自己的想法。 Stone Island 於1982年開始使用軍用卡車篷布。 Osti熱衷於收集 軍事 裝備 ，因為其設計涉及高水平的研究。 在這些軍用油布里他看到了潛力。 油布的原始硬度太強悍了，所以Osti 頭軟化它們。 另外的實驗產生了一種新的防風織物：Tela Stella。 他在紡織品方面的設計試圖表達人類形式的複雜性，Osti 設計的織物來實現衣服和身體的平衡，將特製的功能面料轉化為可穿戴的物品，是 Osti 表達他對我們所穿的衣服和我們的身體感覺之間的共生關係的信念的方式。 Lorenzo Osti - Introduction to the Massimo Osti Archive.

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1996年著名的博洛尼亞畫家Piero Manai的作品掛在了Osti工作室的牆上。 Manai沉迷於肢體語言，通過誇張的脊椎彎曲或腿部彎曲的韌帶，他大量的黑色和令人難以捉摸的人物的煤炭畫喚起了人們對自我反省的迫切需求。在他的作品中人類被赤裸裸的剖析，Manai通過裸體人物表達了對人性的理解，Osti通過面料表達了自己的想法。

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AITOR THROUP - THE FUNERAL OF NEW ORLEANS (Part One)

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Adopting the traditional funeral procession performed by New Orleans’ marching bands as a contextual framework, The Funeral of New Orleans (Part One) tells the story of how five members of a marching band protected themselves and their instruments in the face of the city’s decimation by Hurricane Katrina on the morning of August 29, 2005.

A metaphor for how New Orleans must embrace its unique musical heritage in order to regenerate the city, the collection presents a functional, physical interpretation of the interaction between a musician and his instrument
through the transformation of body armour into instrument cases. The musician has sacrificed his body’s wellbeing in order to save his instrument – New Orleans can now survive by building upon its unique musical heritage.

Each garment within The Funeral of New Orleans (Part One) is cut on a life-size thermoactive cotton mesh sculpture of the human body in the precise pose needed to play each instrument. Presented in order, the collection’s trousers embody five stages of exaggerated shrinkage from when wool is exposed to water.

Credits: 
Creative Director: Aitor Throup
Director: Jez Tozer
Producer: Amyra Bunyard
Animation: Daniel Gill & Anna Sheldon
Music Production: Vibrations of Sound
Composition: D.Bryceland
1st AD: Rebecca Harrington Jones
Cameraman Day 1: Adnan Hemani
Playback: Mickey Richards
Online Editor: Magnus Chisholm 
Art & Rig: Peter Santi

Aitor Throup Studio: Mayur Ghadialy, Stephen Mann, Rob Vaughan, Clare Riding, Lisa Bennett, Sabina Jackson

Jez Tozer Assistants: Lou Bradbury, Davide Majone, Robert Moore, Chris Parsons, Ubald Rutar. 

Musicians:
Vocals: Al Robinson
Trumpet: Andrew Nash
Saxophone: Mark Fernandes
Trombone: James Brown
Sousaphone: Graham Thomas

Styling Assistant: Stephen Mann
Footwear: Mark Emmett for Aitor Throup
Hats Produced by Rizvi Millinery for Aitor Throup

Special Thanks to Lulu Kennedy at Fashion East
Everybody at TOPMAN, Mandi Lennard and its (International Talent Support), Colette, Rob King and Richard Lancaster at Abbey Road Studios, Amanda, Omer & Danny at AFM Kinetic, Andy Wright and Magnus Chisholm at Evolutions, Francois and The Team at Park Royal Studio and Jonathan at YKK.

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OLYMPIA AND THE OLYMPIC GAMES - DOCUMENTARY

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Philippe Soussan: Chair of the mind - The Eye of Photography Magazine

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La grammaire minimaliste et raffinée de Philippe Soussan est un piège. Un piège pour l’intelligence, un piège phi- losophique. Une allitération. Un savant montage. Une mise en abîme sensible qu’il nous faudra décrypter dans un effort quasi-physique de souplesse et d’imagination. Un jeu sur les idées…

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Visit Room 23 to enjoy many sculptures that are Roman versions of Greek originals.

During the Roman conquest of the Mediterranean in the second and first centuries BC, Greek sculpture was both admired and looted, with many statues shipped back to Rome. When Greek originals couldn't be acquired, Roman patrons commissioned new sculptures to decorate their public buildings, private villas or sanctuaries to the gods.

Room 23 displays Roman statues, some based closely on marble or bronze originals, others only loosely inspired by Greek sculpture. Most of these sculptures survive in multiple Roman versions, discovered at sites all over the Mediterranean. In many cases, the Greek originals don't survive.

Gods, athletes, heroic figures, subjects inhabiting the sensual worlds of the gods Aphrodite and Dionysos and decorative relief sculptures were popular. From the Renaissance onwards, sculptures like these were being discovered in Rome and other ancient sites around the Mediterranean, collected by royalty, successive Popes and European antiquarians during their Grand Tours of Italy.

Later artists drew inspiration from Greek and Roman sculptures and created innovative works in 'Classical' styles.

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Visit Room 23 to enjoy many sculptures that are Roman versions of Greek originals. During the Roman conquest of the Mediterranean in the second and first centuries BC, Greek sculpture was both admired and looted, with many statues shipped back to Rome.

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题主你好， Boro是一种日本的民间传统织物。

boro的意思是"衣衫""或"破烂不堪"，在19世纪和20世纪初的日本农村居民中颇受青睐，当使用过很久的和服或蒲团被褥开始变薄时，妇女就会用sashiko（刺子线）缝线将一小块废布贴上去进行修补。

在当时日本人会觉得这种缝补可耻，因为当他们在第二次世界大战结束后恢复经济后，这些硼纤维纺织品会让日本人想起了他们过去贫穷的农村时代。

所以当日本步入现代时代，工业通用生产变得越来越普遍时，boro风格逐渐淡出人们的视线。 之后对于原始牛仔布的爱好者而言，作为日本历史上的触觉片段，boro这种工艺又被重新开发利用于19世纪的牛仔布工作服制作中。到此，boro有了属于自己的历史价值与实用意义。

这种织物的自身价值所在是在世代相传的过程中，使用不同蓝染布料用粗犷的针线缝合在一起，一次次的修补而成的。新面料贴补上旧面料，转眼新面料变旧了又被另一块面料重新贴补。
Boro在靛蓝和日本布料的世界里，有着悠久的历史。
这种织物具有某种"复兴"的气息，并且被当代品牌的产品所广泛使用。以靛蓝为主的日本boro仅仅作为传统的拼布工艺（PATCHWORK）的一种风格，事实上拼接这种设计手法经常被各大品牌以及设计师轮番演绎。如1984年成立的日本丹宁品牌Kapital就经常用拼布工艺制作单品。

再比如另一个主打Boro工艺的日本品牌Koromo。他们的产品示例之一是一件领口下方有boro补丁的长袖牛仔衬衫。

Boro服装工艺不仅仅出现在日本服装设计的历史舞台上，在其他品牌的秀场上也是经常出现。

Boro除了被直接使用或作为灵感元素外，另一个特点就是错综复杂的日本刺子绣。
熟悉日本传统文化的人会发现青森的纺织品上通常有这种刺绣手法的出现。 这种传统针法是出于功能性的考虑，是为了将棉布紧密缝合以达到保暖目的。 妇女们日积月累的针线功夫和审美感觉被展现在日常服装和日常用品的制作中，虽然基本上只是横平竖直的交叉针法，但是细节还是足以令人震撼。并且在技艺上，要既能保证固定面料和保护身体，还要保证紧绷的同时要留出一定量的活动空间，这对技巧的要求就是特别高的了。

当然，Boro令人叹服的并不是它有什么高难的技术， 而是它本身所经历的岁月和传承精神 。这是一种充满了情感并且与现阶段猖獗的消费主义完全背道而驰的风格，它古朴又原始的特质背后是一种独特的生活方式。

以上，望对题主有所帮助。

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有人了解日本Boro吗？

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题主你好， Boro是一种日本的民间传统织物。 boro的意思是"衣衫""或"破烂不堪"，在19世纪和20世纪初的日本农村居民中颇受青睐，当使用过很久的和服或蒲团被褥开始变薄时，妇女就会用sashiko（刺子线）缝线将一小块废布贴上去进行修补。 在当时日本人会觉得这种缝补可耻，因为当他们在第二次世界大战结束后恢复经济后，这些硼纤维纺织品会让日本人想起了他们过去贫穷的农村时代。 ...

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Sak Yant Tattoo Designs and Meanings of Traditional Thai Tattoos

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Find out the most popular Sak Yant Tattoo Designs and Meanings, including the Five Line Hah Taew, Gao Yord and Paed Tidt. Thai Tattoos explained

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在東南亞的國度裏，一直散發著令人渴望窺探的魔力，種種不易拆解的文字、文化與文明，令這個赤度附近的領域存有一份神秘色彩。尤其在滿天神佛的泰國，總是與靈異及宗教有着不可分割的關係，而在當地，刺青文化亦相當普及，他們主要的傳統刺青稱為「SAK YANT」，以泰文解說的話，「SAK」意指刺青，而「YANT」則是符咒之意，即是帶有神明保佑及祝福的皮膚符咒，所以不少泰國人身上也滿佈這種由經文組合而成的刺青圖騰。在本次泰國專題研習中，我們決定為大家解開這些經文背後的意思，一同了解這些複雜而瑰麗的刺青圖。

在泰國傳統刺青儀式中，「SAK YANT」符咒圖騰及紋身位置通常交由為僧侶來挑選，但其實客人也有權為自己設計，不過當地的泰國紋身客絕不會這樣做，因僧侶可為客人做出最正確的決定。而在泰國最常見的SAK YANT有三種，分別是「HAH TAEW」（五條經文）、「GAO YORD」（九塔幸運符）、「PAED TIDT」（八方法輪）。

HAH TAEW：五條經文

在美國著名女演員ANGELINA JOLIE（安祖蓮娜祖莉）的SAK YANT傳統符咒中最為常見的定是左背上HAH TAEW，該設計以古代高棉文寫成，由上而下並排成五行的對稱符咒。所謂「五條經文」刺青，就是在人的後肩上刺下五條泰文經文，如要追溯HAH TAEW符咒的出現可在700年前說起，一直以來泰國人對於宗教法力也有着強烈信念，當年與緬甸的戰爭，士兵們也刺上五條經文，令泰國軍擁有刀槍不入的能力，更被稱為半人半鬼的軍隊，直至現在，泰國人仍然相信這刺青的法力。

而然男或女的位置也有不同，女生刺在左邊後肩背上，而男生則刺在右邊，但時至今天也沒有所謂了。解讀五條經文從左至右依序的意思是代表了平安、順利、健康、財富和人緣，但在刺上五條經文時，必須遵守五條戒律，包括「必須孝順父母，尊敬師長」、「不得吸毒」、「不得酗酒」、「不得盜、搶、拐、騙」、「不可邪淫」。

GAO YORD：九塔幸運符

除了五條經文之外，「GAO YORD」（九塔幸運符）也是另一個非常神聖的泰國佛教紋身，它具有非常廣泛的守護能力。在九塔幸運符的圖案中，主要以九個山峰作為設計軸心，而這些山峰在印度佛教神話中是梵天（印度教的創造之神）所居住的地方MOUNT MERU（梅魯山）。

圖案中的文字也是以高棉文寫成，並代表九位守護神的存在，每一位也有獨自的法力與功能，包括佛祖眷顧、庇佑保護、防止意外、一生平安、招財、人緣異性緣、平安辟邪擋煞等，所以不少人在第一次紋上泰式刺符時也會選擇九塔幸運符。英國名模CARA DELEVINGNE背部中央亦有紋上九塔幸運符剌符。

PAED TIDT：八方法輪

「PAED TIDT」（八方法輪）在SAK YANT刺符系列中也是相當普遍，這符咒圖一般也是刺在背部正中央位置。八方法輪的設計上有着太陽的輪廓，帶有放射性的形態，據說這外圍八個是MANTRA（曼怛羅），這是在佛教常被用來祈福並能夠創造變化的符號，另外的八個椎體圖案則是佛像，而這八位佛像每一天也有着各種姿勢，就像寄予每一天也受到不同神明保佑一樣，有着多方面的守護能力。

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【符號學・泰國刺符】經文符咒圖騰初回目

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在東南亞的國度裏，一直散發著令人渴望窺探的魔力，種種不易拆解的文字、文化與文明，令這個赤度附近的領域存有一份神秘色彩。尤其在滿天神佛的泰國，總是與靈異及宗教有着不可分割的關係，而在當地，刺青文化亦相當普及，他們主要的傳統刺青稱為「SAK ...

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泰國紋身：獨特宗教傳統如何面對現代文明挑戰 - BBC News 中文

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帶有精神意義的刺符紋身在泰國依然流行，且還在吸引越來越多的人，甚至包括不少外國信徒。

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泰国是我最喜欢的国家，每年都会去一次。之前只是对佛牌感兴趣，各种请佛牌。自从去年接触到刺符之后，就迷上了刺符，一直也想来一个。无奈自己是已婚，这种人生大事也要和家人商量，嘿嘿。这半年一直在说服老公，终于有一天，老公问我，你什么时候去刺符啊！于是，开始了刺符之路。。。。。
我那个亲爱的老公1月4日就飞到了 泰国去躲雾霾，我要上班 只能1月8日早上6点多 北京直飞 曼谷（TG675）到达时间11：05。老公在素万那普机场等我。
关于需要准备的东西：笔！笔！卡针！卡针！笔是用来填写入境卡用的，没有笔的后果就是要借别人的，很麻烦。卡针是方便在飞机上换好卡，由于经常去 泰国happy卡家里本来就有，建议大家提前买好，淘宝上就可以买，几十块钱很便宜。
在机场可以直接打车， 泰国打车很方便（本人懒，出国玩耍一切图方便，没有做过大巴）排队领号，按照号码去找自己的车，基本情况上不会绕路，我觉得大家可以放心打车。 曼谷的住宿在novotel(素逸昆店）BTS phloen chit站，之所以选这个酒店是因为离四面佛比较近，又有很多商场，满足我逛街的心愿。
前面废话太多了，还是说刺符吧。我觉得关于刺符，有好多人有误区，就是请名师，花大价钱（如果你有钱的话，也是无所谓）我之前想去龙婆本的庙去，但是因为我朋友在 泰国工作，她问了同事，他们介绍了阿赞奴（给朱莉纹身的大师）朋友打电话问了，价位很高，一个五条经文给 中国人要6000软妹子，好贵。最后她一个刺过的 泰国 本地人介绍，还是在龙婆本的庙。

龙婆本的庙在 佛统府（英文Nakhon Pathom），发音：na kun pa tong 。我们决定在酒店门口打车去，因为我懒，懒得做BTS转大巴。问了好几个司机 都不去，因为我们是单程，不回 曼谷了，所以好多司机不去，最好终于找到一个小哥愿意去很远的地方。But,沟通好久不知道怎么去，最好老公机智，在后背比划刺符，司机恍然，问我们是不是去 龙婆本（就是这个发音）。
所以建议大家：1、提前准备好师傅的照片；2、直接说na kun pa tong（ 佛统府）3、龙婆本。这就够了，基本 曼谷的司机都认识龙婆本，所以很好找。
大约一个多小时到庙里，蠢的是忘了在门口拍照，如果看到庙门口有很多老虎，那就到了。
有 泰国本地人带路，找起来就比较方便了，第一家在左手边，上楼之后人很多，目测等到晚上也不见得刺，3个大师再刺。第二家忘了具体方位了，一层像庙，有一个大师在，二楼刺符，是几个看起来很年轻穿白衣的师傅，人很少，但是问了一下价格，觉得不靠谱，因为很便宜。。。。。
第三家，在右手边的也是两层，二楼的走廊上也可以刺，二楼的房间里也可以刺，看了看里面人不少但是也不多，就决定这家了。
我和老公基本不张口说话，朋友代劳，问价格，流程。
第一、先去购买鲜花、烟（不知道好不好，我还是觉得把价格给大家写出来，25株）
第二、刺符的价格貌似记得是80株，这都是面上的费用（事后给师傅封个包就好了，具体给多少，看自己心意了，我之前是一对老外，貌似没有看见他们给红包，师傅还是很好的给他们刺，加持）
终于，到我们了，我觉得第一个刺，因为怕疼，哈哈哈。我比较怕疼，也很耐疼，但是也觉得疼，非常疼。一针一针的刺上去的，如果瘦的人会更疼一点，因为会刺到骨头。
师傅很风趣，人很好，知道我们是 北京的，还特意和我说，他1月的25日要来 北京给信众刺符，如果我还想刺，还可以去找他。还特意给我看了地址，在望京，具体地址记不住了。

图一是我老公，刺的九层（原来不让我刺，现在自己也非要刺）
图二是我自己，刺的五条经文，陪我来的朋友也刺的九层。
刺完之后去找大师傅加持，顺便又去请了两个牌

加持的时候，朋友教我加持的时候对大师傅说，la ma，意思就是说，刚刚刺完符，大师傅会特意再给你加持一下，大师傅问我是不是 北京来的，然后对我用中文说，发财 发财
刺符就完成啦
再叨叨几句：关于刺符，什么师傅、什么价格一切随缘，因为这个是个信仰问题，不是拿来炫耀的东西，找名师刺符，大家都花的起，但是想想有没有必要。还有就是百度上说的很多禁忌的问题，特意问了师傅，真没有百度上说的那么恐怖，不可以做的事情：不可以说谎话、不吹牛，不醉酒（可以喝，尽量不喝醉）其他貌似没有了。真心不用啥事都去查百度。。。。。
如果有什么不明白的可以加微信号;qiaochangning_（备注刺符）

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泰国是我最喜欢的国家，每年都会去一次。之前只是对佛牌感兴趣，各种请佛牌。自从去年接触到刺符之后，就迷上了刺符，一直也想来一个。无奈自己是已婚，这种人生大事也要和家人商量，嘿嘿。这半年一直在说服老公，终于有一天，老公问我，你什么时候去刺符啊！于是，开始了刺符之路。。。。。 我那个亲爱的老公1月4日就飞到了 泰国去躲雾霾，我要上班只能1月8日早上6点多 北京直飞 ...

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The Physical Impossibility of Death
in the Mind of Someone Living

Artist
Damien Hirst

Year

1991

Type

Tiger shark, glass, steel, 5% formaldehyde solution

Dimensions

213 cm × 518 cm × 213 cm (84 in × 204 in × 84 in)

The Physical Impossibility of Death in the Mind of Someone Living is an artwork created in 1991 by Damien Hirst, an English artist and a leading member of the " Young British Artists" (or YBA). It consists of a tiger shark preserved in formaldehyde in a vitrine. It was originally commissioned in 1991 by Charles Saatchi, who sold it in 2004 to Steven A. Cohen for an undisclosed amount, widely reported to have been at least $8 million. However, the title of Don Thompson's book, The $12 Million Stuffed Shark: The Curious Economics of Contemporary Art, suggests a higher figure.

Owing to deterioration of the original 14-foot (4.3 m) tiger shark, it was replaced with a new specimen in 2006. It was on loan to the Metropolitan Museum of Art in New York City from 2007 to 2010.

It is considered an iconic work of British art in the 1990s, and has become a symbol of Britart worldwide.

The work was funded by Charles Saatchi, who in 1991 had offered to pay for whatever artwork Hirst wanted to create. The shark itself cost Hirst £6,000 and the total cost of the work was £50,000. The shark was caught off Hervey Bay in Queensland, Australia, by a fisherman commissioned to do so. Hirst wanted something "big enough to eat you".

It was first exhibited in 1992 in the first of a series of Young British Artists shows at the Saatchi Gallery, then at its premises in St John's Wood, north London. The British tabloid newspaper ran a story titled "£50,000 for fish without chips." The show also included Hirst's artwork A Thousand Years. He was then nominated for the Turner Prize, but it was awarded to Grenville Davey. Saatchi sold the work in 2004 to Steven A. Cohen for an estimated $8 million.

Its technical specifications are: "Tiger shark, glass, steel, 5% formaldehyde solution, 213 × 518 × 213 cm."

The New York Times in 2007 gave the following description of the artwork:

Mr. Hirst often aims to fry the mind (and misses more than he hits), but he does so by setting up direct, often visceral experiences, of which the shark remains the most outstanding.

In keeping with the piece's title, the shark is simultaneously life and death incarnate in a way you don't quite grasp until you see it, suspended and silent, in its tank. It gives the innately demonic urge to live a demonic, deathlike form.

Because the shark was initially preserved poorly, it began to deteriorate, and the surrounding liquid grew murky. Hirst attributed some of the decay to the fact that the Saatchi Gallery had added bleach to the fluid. In 1993, the gallery skinned the shark and stretched its skin over a fiberglass mould. Hirst commented, "It didn't look as frightening ... You could tell it wasn't real. It had no weight."

When Hirst learned of Saatchi's impending sale of the work to Cohen, he offered to replace the shark, an operation which Cohen funded, calling the expense "inconsequential" (the formaldehyde process alone cost around $100,000). Another shark (a female aged about 25-30 years, equivalent to middle age) was caught off the Queensland coast and shipped to Hirst in a 2-month journey. In 2006, Oliver Crimmen, a scientist and fish curator at London's Natural History Museum, assisted with the preservation of the new specimen. This involved injecting formaldehyde into the body, as well as soaking it for two weeks in a bath of 7% formalin solution. The original 1991 vitrine was then used to house it.

Hirst acknowledged that there was a philosophical question as to whether replacing the shark meant that the result could still be considered the same artwork. He observed:

It's a big dilemma. Artists and conservators have different opinions about what's important: the original artwork or the original intention. I come from a conceptual art background, so I think it should be the intention. It's the same piece. But the jury will be out for a long time to come.

Hirst has made other works subsequently which also feature a preserved shark in formaldehyde in a vitrine. In September 2008, The Kingdom, a tiger shark, sold at Hirst's Sotheby's auction, Beautiful Inside My Head Forever, for £9.6 million (more than £3 million above its estimate).

Hirst has made a miniature version of The Physical Impossibility of Death in the Mind of Someone Living for the Miniature Museum in the Netherlands. In this case he put a guppy in a box (10 × 3.5 × 5 centimetres) filled with formaldehyde.

In 2003, under the title A Dead Shark Isn't Art, the Stuckism International Gallery exhibited a shark which had first been put on public display two years before Hirst's by Eddie Saunders in his Shoreditch (London) shop, JD Electrical Supplies. The Stuckists suggested that Hirst may have got the idea for his work from Saunders' shop display.

In a speech at the Royal Academy in 2004, art critic Robert Hughes used The Physical Impossibility of Death in the Mind of Someone Living as a prime example of how the international art market at the time was a "cultural obscenity". Without naming the artwork or the artist, he stated that brush marks in the lace collar of a painting by Velázquez could be more radical than a shark "murkily disintegrating in its tank on the other side of the Thames".

The 2009 British-Hungarian film The Nutcracker in 3D features a scene in which a pet shark is electrocuted in a water tank, which director Andrei Konchalovsky cites as a reference to Hirst's artwork.

Hirst's response to those who said that anyone could have done this artwork was, "But you didn't, did you?"

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The Physical Impossibility of Death in the Mind of Someone Living

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The Physical Impossibility of Deathin the Mind of Someone Living Artist Damien Hirst Year 1991 Type Tiger shark, glass, steel, 5% formaldehyde solution Dimensions 213 cm × 518 cm × 213 cm (84 in × 204 in × 84 in) The Physical Impossibility of Death in the Mind of Someone Living is an artwork created in 1991 by Damien Hirst, an English artist and a leading member of the " Young British Artists" (or YBA).

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What materials, processes and techniques are you are interested in exploring?

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What materials, processes and techniques are you are interested in exploring?

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I am interested in the relationship between clothing and the human body, so in this project I will do many experiments on the human body and record the changes of clothing in motion.

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Today we put our magnifying glass on the Talisman painted in 1888 by the French painter Paul Sérusier. A painting that can be described as prophetic, at the origin of the Nabi movement. The Talisman, Paul Sérusier, 1888, oil on wood, 27 x 21 cm, Musée d'Orsay Paris
A painting dictated by Paul Gauguin

During a summer stay in 1888 in Pont-Aven, Paul Sérusier rubbed shoulders with and was inspired by another Paul important to the history of art: Paul Gauguin. When he returned to Paris, Sérusier showed him to his artist friends Paul-Élie Ranson and François Xavier Roussel. The Talisman was the starting point of the Nabi movement, which means "prophet" in Hebrew, a movement that literally overturned modern art.

This painting is a new attempt, the beginnings of a form of abstraction. If one looks closely at this painting, one can find elements of the landscape faithfully represented: a side path, a row of beech trees, a river and a mill. To help him paint this painting Paul Gauguin said to Paul Sérusier: "How do you see this tree, it is very green? So put some green, the most beautiful green on your palette; and this shadow, rather blue? Don't be afraid to paint it as blue as possible." These are tips that have been of paramount importance in the development of this masterpiece, which deserves to be focused on!

A painting to stand out from impressionism

This new generation of artists wished to take a step back from impressionism, which they considered to be losing momentum. Instead of proposing a mimetic conception of landscapes and light variations, the Nabis decided to focus on color using large flat tints. This painting is therefore an unprecedented liberation of color. This painting has become over the years an inspiring painting for many artists who see it as a liberation from painting towards purity, autonomy and abstraction. A quote from Maurice Denis in 1914 describes this new spirit in painting marvelously: "To remember that a painting, before being a battle horse, a naked woman or any anecdote, is essentially a flat surface covered with colors in a certain order assembled".

You may also read: Spring by Lawrence Alma-Tadema
A belatedly successful painting

Long considered as a lid for cigar boxes, Paul Sérusier's Talisman, which measures only 27 cm by 21 cm, has long belonged to Maurice Denis. The latter had not even had it framed. To keep it, he only put it on his desk for years. However, from 1921, this painting took on a whole new dimension when Paul Sérusier published his ABC of painting. These writings influenced movements such as Fauvism, Expressionism and Abstraction. A small format painting on wood, but a great painting by its impact on the history of art!
To admire it, you will have to go to the Musée d'Orsay in Paris where this painting has been kept since 1985.

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Focus on a work: The Talisman by Paul Sérusier

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Today we put our magnifying glass on the Talisman painted in 1888 by the French painter Paul Sérusier. A painting that can be described as prophetic, at the origin of the Nabi movement.

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Movie

The Olympic Games in Antiquity (2002)

Colosseum: A Gladiator's Story (2004)

Artist
Paul Sérusier "The Talisman"

Designer
Maison Martin Margiela
Rave review
Minisoosh
Helmut Lang
Sacai
Aitor Throup

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Religious culture and its physical philosophy

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Who is Xu Zhen?

Xu Zhen is a leader within the domain of contemporary Chinese art and is said to be one of the most sought-after international contemporary artists. Xu Zhen uses inspiration from both Chinese and Western cultures while combining the embodiment of both. He uses sociocultural frameworks as an inspiration for his pieces to target and, what many would argue, decrease ignorance surrounding "foreign" cultures. Xu Zhen occupies an artistic practice that uses numerous mediums, including painting, sculpture, installation, video, photography and performance.

European Thousand-Hand Classical Sculpture installation

His creation European Thousand-Hand Classical Sculpture combines 19 distinctive Western classical sculptures of numerous forms; deriving from the shape of the Thousand-Hand Guanyin, also known as Bodhisattva, in Buddhist iconography. Thus Xu Zhen's work deals with a sense of form and spirituality.

Video: Xu Zhen interview - Artists Change the Way People Think

The meaning of the work

This piece combines the serene Buddhist statues of the East with the exquisite western style of Greek statues, mediating spans of space and time referencing a very long time of scale of art history. Xu Zhen's extensive body of work evokes instances of complexity. Through his artwork, he demonstrates his personal curiosity about the differences between cultures and the alienation between them while also thinking that misconceptions can be a place that introduces awareness and understanding. He uses his artwork to increase the understanding between different cultures. This artwork is a place of navigation, a place of mediation, a place of understanding.

Conclusion

By creating discussions and a place in which these discussions can be instigated, Xu Zhen tries to bring cultural awareness and relativism to the world of art and the social sphere. By creating a stimulating site for these discussions in addition to a safe place to house them (such as an exhibit), misconceptions can be corrected and a new level of cultural understanding is formed.

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Artist Xu Zhen's stunning installation at the Long Museum

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Who is Xu Zhen? Xu Zhen is a leader within the domain of contemporary Chinese art and is said to be one of the most sought-after international contemporary artists. Xu Zhen uses inspiration from both Chinese and Western cultures while combining the embodiment of both.

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How might your research be explored and developed?

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How might your research be explored and developed?

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Identify and explain your research interests using the three categories from the brief; visual, historical and contemporary.

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Identify and explain your research interests using the three categories from the brief; visual, historical and contemporary.

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In stage 2 I hope to do research around clothing sustainability, functionality, and the relationship between clothing and the human body.

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Is there work or ideas from stage 1 (or prior to your studies at GSA) that has potential for development in your self-directed project?

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Is there work or ideas from stage 1 (or prior to your studies at GSA) that has potential for development in your self-directed project?

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I think the method of sketching, analyzing and documenting the costume in stage 1 is successful, but in the production of the costume, especially the production of many details is relatively rough, so in the next stage I will invest more in this area.

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Kapital

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在很久很久以前，我经常思考很多问题。神为什么那么闲在天上盯着每一个人的鸡毛蒜皮，为什么就不能戴佛像洗澡，为什么佛不仅和我一起洗澡还非要看着我洗？终于我决定去问隔壁的神父。他安慰我不要失去信仰，"孩子，上帝造猫是为了满足人类抚摸老虎的欲望。"

两年前一个姑娘去了泰国，我没去，因为没钱。上个月她回来了，在麻将社旁边烫了头画了眼线，晚上坚持要我后入。当她把红外线保暖内衣撩起来的时候露出腰间蜿蜒的刺符，那一瞬我仿佛看到童年的神父。

泰国刺符是一种和尚开光的外挂，据说士兵打仗的时候有种娱乐方式是扯佛牌，就跟撕名牌是一个意思，扯下来泰国人就蒙了感觉佛祖离他而去，但自从五百年大师们前用神油把符刺到士兵身体里，敌人就抠不下来了。

泰国刺符的人大多祈求法师加持"刀枪不入咒""平安招财咒"和"姻缘咒"，刺符咒的色料里混了神油，法师一边刺一边加持神力，结束后还要诵经，刺了咒就要守戒不能勾搭人妻之类。

刺符就是一种法术，除了用巴利文写神通符还有不同神像，最受欢迎的四手猴神哈奴曼，勇猛灵活，黑社会最爱。其次是老虎图案，威严有力，军人和警察常用。

背部中上：象神，财源广进，做生意招财。左肩：五条经文，右肩：五条钻石经文，平安顺利避霉运。
左肋右肋：两条龙，开运避险有权威，中间的团形图案：央摩垒，防意外防小人。

甲鱼是招财咒业界的一把好手

图为法师在展示刺咒之后，被刺者刀枪不入

传言法力高强的大师刺符时能召唤神灵，让受符者被附体，力大无穷。作出猛虎或灵猴的诸多动作，变得武艺精通，挥拳如风，踢腿似电，几个彪形大汉难以压制。

除此之外还有一种神器叫灭魔刀，一刀砍下去邪灵就跑了。

​关于如何鉴别灭魔刀的真假，一位道友给了我答案：

灭魔刀唯一能看出是否有法力的方法是将刀轻轻拿在右手掌心握住，静下心来不要有杂念感受手心的感觉，在这里我不告诉你会有什么感觉，每个人感觉不一样。没有法力就是没有感觉，至于感觉就要看个人的灵敏度。

贴转运金箔是泰国刺符的一大特色，薄如蝉翼的金箔一贴就镶进皮肤里。

下棋僧侣脖子下方的刺符是"九塔幸运符"，佛祖眷顾的九塔状佛经。
背部正中间"八方轮"，八方诸神均来庇佑、具有神力保护平安。

泰国僧人自己身上的赐福以智慧、祈福、经文为主，但飞到泰国刺符的朋友们似乎并不在意这些，都怀抱着一块皮换财运刀枪不入的梦想，执着程度远甚于过肩带鱼与抱腿河鲤爱好者。

追风潮者催生了一大批半吊子刺符师，在新加坡甚至用转印纸和电动纹身机纹符咒上去的都有。

有修为的人不需要念咒照样抗蛇搂老虎。

泰国阿赞刺符TOP10排行录

刺符用的手针，细长的针杆使刺的过程成为一种手艺乃至艺术，针柄端装饰精巧的佛塔、神像或金刚杵，也有部分地区使用削尖竹针。

很多信徒坚信刺符中的疼痛象征自己经历过的苦难，随着咒文力量的注入，心灵得到祝福疼痛会慢慢减轻，结束后随着僧侣的诵经如释重负。

在超自然仪式中人们根据人类社会既往经验判定想要得到必须付出，于是就有了献祭。疼痛与经文使受刺者有一种主宰万物挖掘自我的爆发力，与神同在，裁判自我、支配自我的快感不亚于射的一瞬。

在泰国的佛学院有很多世界各地慕名而来的朝圣者，他们渴望在几个月之内掌握一种应对现实的仁慈哲学理论，他们不在意佛本身是什么，更关注佛能带来什么，仅仅是一场旅行。

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泰国刺符的背后，你能得到你想要的，不能得到的又得不到|界面新闻 · 歪楼

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在很久很久以前，我经常思考很多问题。神为什么那么闲在天上盯着每一个人的鸡毛蒜皮，为什么就不能戴佛像洗澡，为什么佛不仅和我一起洗澡还非要看着我洗？终于我决定去问隔壁的神父。他安慰我不要失去信仰，"孩子，上帝造猫是为了满足人类抚摸老虎的欲望。" ...

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For most of us, photography is a means of expression, and it is surely that for Nicolas Bruno. But more importantly for him, it's also a means of therapy and vital communication.

Nicolas has for eight years suffered from sleep paralysis, a condition during which he is fully conscious but unable to move. It can last several minutes, but what's particularly frightening is that in Nicolas's case it's accompanied by vivid, disturbing dreams and hallucinations. Awake and aware, but not able to move or speak, he could only "go through the dream" until it ended. There was no way for him to explain what he was seeing during these episodes, which lasted five to ten minutes but seemed like an hour. "I was feeling alone in my own head," he says. "I had no way to really talk about it."

But he could show it. "I was always interested in art, and I used to draw and sketch all the time," he says, and so he began to keep a dream journal in which he would make sketches and take a few notes. "I took those sketches and turned them into images. That's how I found my voice."

The images were, he says, "a universal language" he could use to tell his story. "I could show them to anybody across the world, and they might be able to relate in their own way. That was my way of finding therapy and also communicating my struggles to other people."

Degrees of Control

"Photography is a medium where you are able to combine rational thought with wild imagination," Nicolas has written. His photography is all of that, and also a way of regaining control of the narrative of his sleep paralysis experiences. The visions are out of his control, but in his realized images he can communicate what he sees and try to express what he feels.

"I have absolutely no control in these dreams," he says, "but once I wake up and go out and photograph, I finally have that control. I can show what's it like. I have the ability to reenact what I've experienced, and I have a tangible photograph at the end of my process. It's my way of regaining my control after having no ability to move around or interact with the figures that I see in the dreams."

The Photographic Process

The people in his photographs-his "characters"-are most often portrayed by him, and in the early days of his photography when he shot with a D60, he used a remote release to place himself in the scenes. Later, with a D600, and now a D810, the built-in interval timer allowed him to appear in two or more places at once. "It's a lifesaver-I'll throw in a huge blank memory card and let the camera shoot while I'm doing all my setups."

As his tripod-mounted camera takes images at predetermined intervals, Nicolas moves from position to position within the scene. In Photoshop he combines the frames.

"I'll use a shallow depth of field most of the time, and before I start modeling I'll put a stick or a piece of equipment where I want to be-where my main character will be-and I'll focus to that spot and make a physical bracket of where to be and where not to be." He likens it to walking a tightrope: "I can walk within this plane and I'll be sharp. Sometimes if I'm running as a character, I'll have to step back and forth a few times to make sure I'm in focus. The main thing is to keep the camera in the exact same spot so the composites layer perfectly."

The preset intervals vary depending on how fast he's moving. "If the characters are stationary, I don't have to worry about it, I just adjust myself a tiny little bit while the camera is shooting its intervals-say, an image every four seconds. If I'm using a smoke effect, I'll shoot rapidly for maybe 25 images."

Sometimes he'll use an image expansion technique. With the camera on the tripod, and using the interval timer, he'll capture a situational image of himself. Then he'll move the camera up and down, left and right, taking a shot of the empty scene each time. "I'll stitch those shots together to make the background and then put myself into that bigger landscape." The technique allows him to manipulate his size within the image.

If the photograph depicts his character being constrained, he'll need someone with him to trip the shutter. "I always want the people who come with me to be part of my family or my best friends," he says. "They understand what I'm doing-and the situations are kind of weird."

So are some of his props. "When I'm making these pictures and putting them out there, I get e-mail from people who have objects in their homes that they want to see repurposed." When someone offered to send him a diving helmet, Nicolas bought it. "I knew I'd want to keep it," he says. He'll reach out on social media, too. "Does anyone have a grandfather clock? Sure enough, someone had one about to be thrown out."

The search for props will take him to antique stores and thrift shops, and on trash pickup days he'll drive around his neighborhood to see what's being thrown away that he can use. In the woods near his college, he once found a bathtub. "I dragged that thing through the woods, over a stream and up a hill. Totally worth it."

Beyond Documentary

Many of the Nicolas's photographs recreate what he's seen in moments of sleep paralysis; others add another level, a strong element of art beyond the document. "I was an art history minor in college," Nicolas says, "and I saw how painters constructed their work, how they positioned figures within the frame to create their compositions."

Often a location, a prop or a mood might trigger a memory, and he'll go to his dream journal to see if he can track where it comes from. He'll often go out with the journal and see if he can match a sketch or some notes to a location. "I'm either going out with my journal to find a place, or I'll take a note and replicate one dream instance, or I'll combine multiples or create something new."

Some photos are not literal dream situations. "The basic subject matter does not change from my dreams," Nicolas says, "but I'm using dream symbolism, too: different contexts of emerging from the realm of sleep: bodies of water from which characters are emerging or submerging; ladders as avenues of escape."

You'll see some of these symbolic devices in the photos here. Many more of Nicolas's compelling sleep paralysis images are at his website, nicolasbrunophotography.com; at instagram; and at Flickr.

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Troubled Sleep: Nicolas Bruno's Dream Journal Images | Nikon

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For most of us, photography is a means of expression, and it is surely that for Nicolas Bruno. But more importantly for him, it's also a means of therapy and vital communication. Nicolas has for eight years suffered from sleep paralysis, a condition during which he is fully conscious but unable to move.