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various sacred hearts (damien hirst; tim tate; antique ex-voto; 19th c. french religious card; 19th c. french reliquary; repousee antique; carved wood frame c. 1890-1920; unknown painting)

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Helen Frankenthaler, Concerto, 1982,
Acrylic on canvas,
53 x 39¼ in (134.6 x 99.7 cm)
Courtesy: Christie's
by Joan Mitchell, 1972
Nottinghamshire floor tiles, 13th-16th century
Petit Lenormand Divination Deck. Culture: French-German cartomancy tradition. Origin: Paris, France. Date: circa 1890 AD. Publisher: likely Ch. Didot, Paris. Licensed under a Creative Commons Attribution-NonCommercial 4.0 International License (CC BY-NC 4.0).

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La Bestia Entronizada. Apocalipsis de Dyson Perrins. Inglaterra. 1255
The Virgin Mary as a ‘quasi-incarnation’ of the Holy Spirit
"There have always been certain Christian traditions which associate feminine and maternal qualities to the Holy Spirit. In certain hymns from the Coptic tradition of Christianity, the Holy Spirit is evoked as the ‘Mother of all Creation’ and the ‘Compassionate Mother’. Even the Hebrew word for ‘Spirit’ (Rûah) is feminine. Isma‘ili theosophers also understood the Universal Soul as possessing distinctly feminine and maternal qualities. Abu Yaqub al-Sijistani, recognizing that the Arabic word for soul, nafs, is feminine, continuously refers to the Universal Soul with the feminine pronouns ‘she’ and ‘her’ in some of his treatises. Nasir Khusraw has also compared the function of the Universal Soul to that of a mother. In the below quoted passage, he likens the Universal Intellect to a man and the Universal Soul to a woman:
'The Universal Intellect is like the man, the Universal Soul is like the woman, and the Prime Matter (hayula) from them is like the sperm, while the material world is like a child.'
The Common Word: This dialogue has demonstrated that the Christian metaphysics of the Trinity as taught by Meister Eckhart and the Islamic metaphysics of Tawhid (Unity) as elucidated in Isma‘ili theosophy can indeed be reconciled and correlated at the level of gnosis." - The Metaphysics of the Common Word: A Dialogue of Eckhartian and Isma‘ili Gnosis Part Two: Intellectual and Emanative Reality By Khalil Andani
Image 1: Miniature from an islamic Falnama (book of omens), dating from 1550-1600 and produced in India. Preserved in the Wereldmuseum, Rotterdam. Image 2: Neyshâburi, Qesas al-anbiyâ - Iran. BnF, department of Manuscripts, Persian supplement 1313, f. 174 Image 3: Ms Or 20 f.22r The Annunciation, miniature from the ‘Jami' al-Tawarikh’ of Rashid al-Din, 1314 Il-Khanid: Tabriz - Edinburgh University Library, MS. Or. 20, folio 22r
Pauline Frederick by White Studio, 1914
Tight Mask (Man with a Mask), Peter Ondreička
Thanos Vovolis, Mask of Dionysus

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Anonymous Bolognese Painter, c. 1450–1475
Saints Pierced by Thorns (Polyptych fragment)
Tempera and gold leaf on panel
Pinacoteca Nazionale di Bologna, Italy
A highly unique late-Gothic artwork depicting holy figures serene amid physical torment. Their blood flows down into a carpet of red roses, symbolically transforming an execution into a triumph of faith.
“¿Quién soy? ¿Con los ojos de quién miro este mundo? ¿Con los de mis amigos? ¿familiares? ¿de los árboles? ¿ las aves? ¿Con los labios de quién capto el rocío de la hoja caída a la carretera? ¿Con los brazos de quién abrazo este mundo, que es tan indefenso y frágil? Pierdo mi voz entre las voces de los campos, las lluvias, los bosques, de las tormentas de nieve y de las noches. Pues ¿quién soy? ¿En qué he de buscarme? ¿Cómo respondo a todas las voces de la naturaleza?”
— Nika Turbiná. ¿Quién soy?
“Bless me, line, bless me with sword and wound. I will fall, but get up right away. Bless me, line.”
Nika Turbina, First Draft: Poems
Dead in 1989
by Kusukazu Uraguchi / 浦口楠一 From the book: Ama Diver Women of Japan / 志摩の海女, 1981

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Long dandelions in overwintered grass - Paula von Goeschen-Rösler
German , 1875-1941
Paper cut, gouache on Japanese paper , 35.8 x 40.8 cm.
Cornelia Parker: ‘Subconscious of a Monument’ (2001) Earth excavated from underneath the Leaning Tower of Pisa