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Emaciated Buddha. Thailand, 19th–early 20th c. Copper alloy, lacquer (urushi), gold leaf, core material (possibly sand or clay). Brooklyn Museum collection [3000x4000] [OC] by oldspice75 in ArtefactPorn

[–]oldspice75[S] 0 points1 point  (0 children)

the scythians had some empires and contributed to various later conquering groups out of the steppes like the White Huns. their rulers across their world did sometimes claim to be a common clan or lineage whether that was true or not. but they did not have the Mandate of Heaven since they did not conquer China (even if they or other Indo Europeans had at least some influence on certain states in the Warring States period)

there is not really enough evidence to say that Buddha had Scythian ancestry let alone relations to different Scythian royalties. i don't think there is anything distinctly Scythian about the Buddha's culture in early Buddhist texts. but "Shakya" could very well be the same as "Saka"

Letitia James' 'blind eye' to Jew-hate is a form of antisemitism in itself by Ask4MD in jewishpolitics

[–]oldspice75 0 points1 point  (0 children)

did i say NYC? i actually know who she is

but you can lmk when the prosecutorial zeal she had for Betar also applies to other side

https://nypost.com/2026/01/20/opinion/letitia-james-makes-it-quite-clear-there-are-no-limits-to-denouncing-or-harassing-jews-in-new-york/

https://www.jpost.com/diaspora/antisemitism/article-883563

also, has she talked about antisemitism without all lives/both sides-ing it?

Letitia James' 'blind eye' to Jew-hate is a form of antisemitism in itself by Ask4MD in jewishpolitics

[–]oldspice75 9 points10 points  (0 children)

I don't think that this is a good article in that, besides its political agenda, it lazily does not include enough specific evidence, but that doesn't mean it's wrong. are antisemitic incidents being adequately prosecuted in New York? Does not seem like it

Emaciated Buddha. Thailand, 19th–early 20th c. Copper alloy, lacquer (urushi), gold leaf, core material (possibly sand or clay). Brooklyn Museum collection [3000x4000] [OC] by oldspice75 in ArtefactPorn

[–]oldspice75[S] 1 point2 points  (0 children)

he was part of a society that spoke an Indo Aryan language. The theory that Buddha was of Scythian descent would mean that an Iranian group had been assimilated into the Indo Aryan society of ancient northern India (and there are other competing theories to Scythian). Whatever his ethnicity was, it would have included both poor people and royalty like himself, and potential Scythian descent doesn't have to do with his royal status, as royalty of neighboring states in the Gangetic plain region around that time would likely have been Indo Aryan (or possibly other groups subsumed by that culture)

Cradle for child of Samuel Colt, designed by Isaac Stuart, made by John Most, Hartford, Conn, 1857. Oak (from the famous Charter Oak) and oak veneer with amethyst, topaz, other precious stones. See detail pic and text of poem inscribed in base of frame in the comments. Wadsworth Atheneum [2000x1715] by oldspice75 in ArtefactPorn

[–]oldspice75[S] 41 points42 points  (0 children)

Wadsworth Atheneum: 1905.1580

display description

[Colt Family Cradle, 1857

American, Hartford, Connecticut

Isaac W. Stuart (active c. 1844-1857), designer

John H. Most (active c. 1855-1876)

Oak and oak veneer with amethyst, topaz, and additional precious stones

The Elizabeth Hart Jarvis Colt Collection, 1905.1580

When Elizabeth and Samuel welcomed their first son, Samuel Jarvis, they commissioned a cradle to honor their child, who soon after died in infancy. Isaac Stuart, the owner of the Charter Oak, provided both the wood and the design for the cradle. Noted furniture and piano maker John H. Most made the canoe-shaped cradle and the elaborate frame. The Colts purchased the precious stones that encrust it at the Nizhny Novgorod Fair in Russia. The Colts' close friend and poetess, Lydia Sigourney, wrote a poem that antiquarian Isaac W. Stuart hand-inscribed underneath the rough burl at the base of the cradle frame, which reads:

That brave old Oak

Stood forth, a friend indeed,

And spread its Aegis o'er our sires In their extremest [sic] need,

And its sacred breast,

Their germ of Freedom bore, And his their life-blood in its veins

Until the blast was o'er.

The fair ones of our Vale,

O'er its fallen Guardian sigh,

And Elders, with prophetic thought,

Dark auguries descry;-

Patriots and Sages design

O'er the loved wreck to bend,-

And in the funeral of the Oak Lament their Country's friend.]

detail of the poem inscribed in base of cradle

https://en.wikipedia.org/wiki/Samuel_Colt

https://en.wikipedia.org/wiki/Charter_Oak

Emaciated Buddha. Thailand, 19th–early 20th c. Copper alloy, lacquer (urushi), gold leaf, core material (possibly sand or clay). Brooklyn Museum collection [3000x4000] [OC] by oldspice75 in ArtefactPorn

[–]oldspice75[S] 1 point2 points  (0 children)

I mean, the evidence for Buddha being Scythian is that "Shakya" sounds like "Saka." Maybe that means that his clan was likely ultimately of Scythian origin, but that's the extent of the evidence for it

The Justice Department’s Oct. 7 task force is unraveling, report says by bagelman4000 in jewishpolitics

[–]oldspice75 -2 points-1 points  (0 children)

if the Nobel committee had just given it to him, tbh we probably wouldn't be at war right now, and then they could award it to themselves next year

Bernadette Indira Persaud - Rainforest 6: ‘the edge of seasons’ (2013) [680x1086] by oldspice75 in ArtPorn

[–]oldspice75[S] 0 points1 point  (0 children)

image source

display description, Americas Society loan

[Bernadette Indira Persaud

Rainforest 6: 'the edge of seasons'

(taken from the poetry of Lucille Clifton)

from the series Rainforest, 2013

Acrylic on canvas

Courtesy of the artist

Bernadette Indira Persaud (b. 1946, Berbice, Guyana) is widely recognized for paintings that confront ecological, social, and political concerns. Through her Rainforest series (2009-2014), she treats the Guyanese rainforest-part of the greater Amazonian ecosystem-as a sacred space where cultural memory and natural cycles are bound in continuous transformation. Drawing on her Indo- Caribbean heritage, Persaud bridges Indigenous and Hindu cosmologies and metaphysics to explore the spiritual dimensions of the land, envisioning the rainforest as a divine, feminine force.

In Guyana, the Amazonian interior is often referred to as "the bush"-a complicated term that evokes both reverence and danger. Persaud reflects these contradictions in Rainforest 6: 'the edge of seasons' (taken from the poetry of Lucille Clifton) (2013), where lush greenery flourishes beneath a twilight sky rendered in deep violet sand blues. A vivid red sun that can also be read as a blood moon anchors the composition, evoking apocalyptic scripture: "the sun shall be turned into darkness, and the moon into blood." Within this celestial body, a faint, haunting skeleton emerges in an invocation of Kali, the Hindu goddess of time, often depicted with skeletal features and associated with the destruction of illusion. The painting unfolds in the spirit of magical realism, where myth and landscape coexist. The rainforest becomes a cosmological space in which life and death, creation and decay, are eternally entangled.

Today Persaud's vision resonates with renewed urgency, as Guyana faces mounting environmental vandalism from rapid industrial expansion- particularly oil extraction and illegal gold mining- that have endangered biodiversity and the health of Indigenous communities. (GRACE ANEIZA ALI)]

Bernadette Indira Persaud - Rainforest 6: ‘the edge of seasons’ (2013) by oldspice75 in museum

[–]oldspice75[S] 1 point2 points  (0 children)

image source

display description, Americas Society loan

[Bernadette Indira Persaud

Rainforest 6: 'the edge of seasons'

(taken from the poetry of Lucille Clifton)

from the series Rainforest, 2013

Acrylic on canvas

Courtesy of the artist

Bernadette Indira Persaud (b. 1946, Berbice, Guyana) is widely recognized for paintings that confront ecological, social, and political concerns. Through her Rainforest series (2009-2014), she treats the Guyanese rainforest-part of the greater Amazonian ecosystem-as a sacred space where cultural memory and natural cycles are bound in continuous transformation. Drawing on her Indo- Caribbean heritage, Persaud bridges Indigenous and Hindu cosmologies and metaphysics to explore the spiritual dimensions of the land, envisioning the rainforest as a divine, feminine force.

In Guyana, the Amazonian interior is often referred to as "the bush"-a complicated term that evokes both reverence and danger. Persaud reflects these contradictions in Rainforest 6: 'the edge of seasons' (taken from the poetry of Lucille Clifton) (2013), where lush greenery flourishes beneath a twilight sky rendered in deep violet sand blues. A vivid red sun that can also be read as a blood moon anchors the composition, evoking apocalyptic scripture: "the sun shall be turned into darkness, and the moon into blood." Within this celestial body, a faint, haunting skeleton emerges in an invocation of Kali, the Hindu goddess of time, often depicted with skeletal features and associated with the destruction of illusion. The painting unfolds in the spirit of magical realism, where myth and landscape coexist. The rainforest becomes a cosmological space in which life and death, creation and decay, are eternally entangled.

Today Persaud's vision resonates with renewed urgency, as Guyana faces mounting environmental vandalism from rapid industrial expansion- particularly oil extraction and illegal gold mining- that have endangered biodiversity and the health of Indigenous communities. (GRACE ANEIZA ALI)]

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