36 Sentences With "blisses" | Random Sentence Generator

The Blisses used the room for hosting musical programs and scholarly lectures, and it continues to serve these purposes.

She served on the Board of Trustees of the Museum of Modern Art in New York. After giving Dumbarton Oaks to Harvard University in 1940, the Blisses resided at 1537 28th Street, N.W., Washington, D.C. The Blisses had no children. Mildred Bliss died in Washington, D.C., at the age of 89 on January 17, 1969.

Bliss' former home, Dumbarton Oaks, in Washington, D.C. While living in Paris (1912–1919), the Blisses had become reacquainted with Mildred Bliss's childhood friend, the American historian and art connoisseur Royall Tyler. Tyler introduced the Blisses to important Parisian art dealers and nurtured their growing interest as art collectors, especially of Byzantine and pre- Columbian artworks. Gale Biography In Context. Robert Bliss was particularly enamored of pre-Columbian art, stating that when Tyler introduced him to it in a Parisian shop in 1912, "the collector's microbe took root in ... very fertile soil." In 1920 the Blisses purchased their home, Dumbarton Oaks.

In 1864, the Blisses moved to Chicago. Bliss was then 26. He became known as a singer and teacher. He wrote a number of Gospel songs.

Park History. Dumbarton Oaks Park Conservancy. In 1940, the Blisses gifted Dumbarton Oaks Park to the National Park Service, turning over creative control and upkeep of the plantings located there.About Dumbarton Oaks Park.

Mildred and Robert Woods Bliss acquired the property in 1920, and in 1933 they gave it the name of Dumbarton Oaks, combining its two historic names. The Blisses engaged the architect Frederick H. Brooke (1876–1960) to renovate and enlarge the house (1921–1923), thereby creating a Colonial Revival residence from the existing Linthicum-era Italianate structure. Over time, the Blisses increased the grounds to approximately and engaged the landscape architect Beatrix Farrand (1872–1959) to design a series of terraced gardens and a wilderness on this acreage, in collaboration with Mildred Bliss (1921–1947). The Blisses’ architectural additions to the estate included four service court buildings (1926) and a music room (1928), designed by Lawrence Grant White (1887–1956) of the New York City architectural firm of McKim, Mead and White, the superintendent's dwelling (1933), designed by Farrand.

Wallace 2001, p. 200 The yoga of drops requires generation of inner heat or candali (tummo), which incinerates the pranas in the channels and allows the seminal essence or bodhicitta to flow into the chakras, generating the four blisses.

For her work during the First World War, she was made a chevalier of the French Legion of Honor. The Blisses purchased their home, Dumbarton Oaks, in 1920, and also maintained apartments in Paris, at 4 rue Henri Moissan, and New York City, first at 969 Park Avenue in 1922 and then at 104 East 68th Street. Mildred Bliss was elected a member of The Colonial Dames in the State of New York in 1921. In celebration of the Blisses’ thirtieth wedding anniversary, Mildred Bliss commissioned Igor Stravinsky’s Dumbarton Oaks Concerto, which was premiered at Dumbarton Oaks on May 8, 1938.

Robert Bliss was one of five retired diplomats who co- signed a 1954 letter protesting U.S. Senator Joseph McCarthy's attacks on the Foreign Service. The Blisses had no children. Robert Woods Bliss died at the age of 86 in Washington, D.C. on April 19, 1962.

In 1935, Robert Bliss traveled through the highlands and tropics of Mexico, Guatemala, and Honduras to see Maya ruins with Frederic C. Walcott (1869–1949), a trustee of the Carnegie Institution of Washington. In 1940, the Blisses cofounded the Dumbarton Oaks Research Library and Collection, which they endowed and gave to Harvard University. After giving Dumbarton Oaks to Harvard, the Blisses resided at 1537 28th Street, N.W., Washington, D.C. Robert Bliss's collection of pre-Columbian art, which had been exhibited at the National Gallery of Art in Washington, D.C. between 1947 and 1962, was installed in 1963 at Dumbarton Oaks in a new wing designed by Philip Johnson.

While a pioneer in modernizing Arab music, Karim Nagi is also a purist: "Old-Style tradition Arabic music still crushes my soul. It is my first love. It is the only style of music that consistently blisses me." Although adept at multiple instruments, Karim Nagi's specialty is the Riq.

Sirin sang beautiful songs to the saints, foretelling future blisses. The bird was dangerous. Men who heard her would forget everything on earth, follow her, and ultimately die. People would attempt to save themselves from Sirin by shooting cannons, ringing bells and making other loud noises to scare the bird off.

At the outbreak of the First World War, the Blisses helped found the American Ambulance Field Service (later the American Field Service) in France in 1914, to which they donated an entire section of 23 ambulances and three staff cars. The Blisses opened and equipped a central depot in Paris, the “Service de Distribution Américaine,” for the distribution of medical and surgical supplies and clothing. As vice-president of the Comité Franco-Américain pour la Protection des Enfants de la Frontière, beginning in 1914 Mildred Bliss helped establish centers in France for the care of Belgian and French children orphaned or displaced during the war. When America entered the war, Mildred Bliss served as chairman of the executive board of the American Red Cross’s Woman’s War Relief Corps in France.

The film begins on Raja Shekaram (Shobhan Babu) a martinet, who leads a happy family life with his wife Lakshmi (Sharada) and 3 children. His elder son Hari (Hari Prasad) & daughter Radha (Varalakshmi) move in his path. Excluding the second son, Ravi (Rajendra Prasad) one that works as labor in his father's factory blisses life. He loves an orphan girl Gowri (Rajani).

One of seven children, Edward Bliss had three sisters — Clara, Marian and Mary — and three brothers — George, Charles and Will. The Blisses were a religious family that attended a Congregational church twice every Sunday. Charles Bliss served as superintendent of the Sunday school, which the children attended each week after morning service, and Emily Bliss worked on the missionary committee.

The Blisses are only momentarily distracted when the slam of the door alerts them to the flight of their guests. Judith comments, "How very rude!" and David adds, "People really do behave in the most extraordinary manner these days." Then, with no further thought of their four tormented guests, they happily return to David's manuscript and to what passes for their normal family life.

Dumbarton Oaks awarded the first fellowship in landscape architecture in 1956 under the provisions of the Dumbarton Oaks Garden Endowment Fund established in 1951 by the Blisses. However, the program in Garden and Landscape Studies (formerly known as Landscape Architecture Studies) was established in 1969 and inaugurated in 1972 to support the study of gardens and the history of landscape architecture around the world from ancient times to the present.

Saṃvara in union with his consort the wisdom dakini Vajravārāhī. Vajradhara (Dorjechang, Vajra- holder) in union with his consort, Prajnaparamita, Tibet, 19th century. The practice of inner heat is closely related to the practice of karmamudrā (las kyi phyag rgya, action seal), referring to meditative sexual union which leads to the four blisses and is practiced along with inner heat yoga.Kragh (2015), p. 381.Mullin (2005), p. 140.

They set about renovating and enlarging the house, adding to the grounds, and building a series of terraced gardens on the 54-acre estate. The Blisses lived abroad (1923–1933) for many of the years in which this work was carried out, though they continued to supervise it closely. They also continued to build their art collection, and upon retiring in 1933 to Dumbarton Oaks they began to lay the groundwork for a museum and research institute.

In the Gelug system, to give rise to the illusory body, one must first practice the previous dharmas of generation stage, inner heat, karmamudra and radiance/clear light. One begins by practicing inner heat and karmamudra, then going through the stages of the dissolution of the elements, and meditating until radiance and the four blisses arise. Then one uses this radiant blissful mind to meditate on emptiness and rest single pointedly in that non-conceptual absorption.Mullin (2005), p. 76.

Robert Bliss and his wife, Mildred, were living in Paris when World War I broke out. They helped found the American Field Ambulance Service (later the American Field Service) in France in 1914, to which they donated an entire section of 23 ambulances and three staff cars. They also opened and equipped a central depot in Paris, the "Service de Distribution Américaine," for the distribution of medical and surgical supplies and clothing. The Blisses' social circle in Paris included Edith Wharton, Walter Gay, and Royall Tyler.

He returned to the United States and on 16 May 1888, he was assigned to be aide-de-camp to U.S. Army Commanding General John M. Schofield. A concurrent assignment while aide-de-camp was Inspector of Artillery and Small Arms. During this time, the Blisses' son Edward Goring was born in June 1892. On 20 December 1892, while aide-de-camp, he was promoted to Captain, Staff, Commissary of Subsistence and on 26 September 1895 he was assigned to special duty at the office of the Secretary of War.

She was fluent in French and was proficient in Spanish, German, and Italian. She acquired a working farm in Sharon, Connecticut, in 1898, which she sold in 1909. Mildred Barnes married her stepbrother, Robert Woods Bliss, on April 14, 1908. Because of his diplomatic postings, they lived in Brussels (1908–1909), Buenos Aires (1909–1912), Paris (1912–1919), Washington, D.C. (1919–1923), Stockholm (1923–1927), and Buenos Aires again (1927–1933) before returning, in retirement, to Washington, D.C. (1933). Mildred Barnes Bliss was the principal beneficiary of the estates of her stepsister, Cora Barnes, in 1911, and of her mother, Anna Barnes Bliss, in 1935. This wealth was largely based on Demas Barnes’s investments in The Centaur Company, the manufacturers of the laxative Fletcher’s Castoria, the success of which had made him a wealthy man. Bliss' former home, Dumbarton Oaks, in Washington, D.C. While living in Paris (1912–1919), the Blisses became reacquainted with Mildred Bliss’s childhood friend, the American Royall Tyler (1884–1953), who was living in Paris with his wife, Elisina Palamidessi de Castelvecchio Tyler (1878–1959). Tyler introduced the Blisses to important Parisian art dealers and nurtured their growing interest as art collectors, especially of Byzantine and pre-Columbian artworks.

Later renamed the Fellows Building, this building is now known as the Guest House. After retiring to Dumbarton Oaks in 1933, the Blisses immediately began laying the groundwork for the creation of a research institute. They greatly increased their already considerable collection of artworks and reference books, forming the nucleus of what would become the Research Library and Collection. In 1938 they engaged the architect Thomas T. Waterman (1900–1951) to build two pavilions to house their Byzantine Collection and an 8,000-volume library, and in 1940 gave Dumbarton Oaks (which included about of land) to Harvard University, Robert Bliss's alma mater.

This committee was abolished in 1960 when it was replaced by a Board of Advisors. Wishing to increase the scholarly mission of Dumbarton Oaks, in the early 1960s the Blisses sponsored the construction of two new wings, one designed by Philip Johnson (1906–2005) to house the Robert Woods Bliss Collection of Pre-Columbian Art and its research library and, the other, a garden library designed by Frederic Rhinelander King (1887–1972), of the New York City architectural firm Wyeth and King, to house the botanical and garden architecture rare books and garden history reference materials that Mildred Bliss had collected.

After briefly returning to Byron Bay, Dee returns at Toadie's invitation and stays with the Kennedys. Intrigued by Andrea's resemblance to her, Dee requests a DNA test, which reveals that Dee and Andrea are sisters. Heather is later confirmed to be their biological mother, but she was unaware she had given birth to twins and that Dee was given to the Blisses. Although she initially wants to remain in touch with Heather and Andrea, a prison visit indicates that while Heather was genuinely remorseful, Andrea had sole interest in having a connection to use as leverage for a shorter sentence.

The music room In 1937, Mildred Bliss commissioned Igor Stravinsky (1882–1971) to compose a concerto in the tradition of Bach's Brandenburg concertos to celebrate the Blisses' thirtieth wedding anniversary. Nadia Boulanger (1887–1979) conducted its premiere on May 8, 1938 in the Dumbarton Oaks music room, due to the composer's indisposition from tuberculosis. At Mildred Bliss's request, the Concerto in E-flat was subtitled “Dumbarton Oaks 8-v-1938,” and the work is now generally known as The Dumbarton Oaks Concerto. Igor Stravinsky conducted the concerto in the Dumbarton Oaks music room on April 25, 1947 and again for the Bliss's golden wedding anniversary, on May 8, 1958.

As such, action seal practice "represents a stage of practice that may be performed after having perfected the yogas of the Six Dharmas." According to Tsongkhapa, both practicioners of physical action seal yoga should be of the highest capacity, have tantric initiations, be learned in tantra and be able to keep the pledges (samaya), be skilled in the practice of the tantric sadhana and be mature in practicing four daily sessions of yoga. They should also be skilled in meditation on emptiness and in the techniques of inducing the four blisses. Tsongkhapa states that if they do not have these qualities, practicing physical sexual yoga is unwise.

The practice of radiance in the waking state involves visualizing oneself as the deity in sexual union and meditating on a blue HUM at the heart chakra which emanates light in all directions that purifies the universe. One dissolves the world into light and into oneself as the deity, then one dissolves into the mantric syllable HUM in one's heart chakra. The HUM then melts into light from the bottom up and one focuses the mind on the heart chakra. Then one practices collecting the vital winds into the central channel with the tummo method explained previously, which melts the drops, leading to the four blisses and the four emptinesses.

"Cocoon" is "based around an exploratory bassline and beats that sound like fingertips on skin". Discussing the glitch nature of the track, Björk said, "when you take technology and use the areas where it breaks, where it's faulty, you're entering a mystery zone where you can't control it". Lyrically revolving around making love, the song alternates between metaphors like "Who would have known/That a boy like him/Would have entered me lightly/Restoring my blisses", and explicit lines such as "He slides inside/Half awake, half asleep" and "Gorgeousness/He's still inside me". According to Michael Cragg of The Guardian, the song "best represents the album's sense of heavy-lidded, post-coital hibernation".

The Dumbarton Oaks Research Library contains more than 200,000 items that support the three studies programs. The Byzantine holdings of materials concerning late classical, early Christian, Byzantine, and medieval art and archaeology, which numbered 8,000 volumes at the time of the Blisses’ gift, now number 149,000 volumes with more than 550 journal subscriptions. In 1964, the Research Library acquired Robert Woods Bliss's personal collection of 2,000 rare and important works on Pre-Columbian art history, anthropology, and archaeology, which has since grown to more than 32,000 volumes, and Mildred Bliss's garden library, including rare volumes and prints, which now includes 27,000 books and pamphlets. The Rare Book Collection has holdings of more than 10,000 volumes, prints, drawings, photographs, and blueprints.

In 1946, Dumbarton Oaks inaugurated the Friends of Music concerts to offer a yearly chamber music subscription series in the music room. This series was based on the similar Friends of Music at the Library of Congress, of which Mildred Bliss was a long-time member. In 1958, Dumbarton Oaks commissioned Aaron Copland (1900–1990) to compose Nonet for Solo Strings (generally known as Nonet for Strings) in honor of the Blisses’ fiftieth wedding anniversary. Nadia Boulanger conducted its world premier with nine members of the National Symphony Orchestra on March 2, 1961. Copland dedicated the piece “to Nadia Boulanger after forty years of friendship.” In 2006, Dumbarton Oaks commissioned Joan Tower to compose Dumbarton Quintet, which was premiered in the music room on April 12, 2008, with the composer at the piano.

592 If not for a sudden torrential rain that broke up the fighting and allowed the remnant to escape back to the mountains, the Almohads might have been finished off then and there. In a bizarre and chilling footnote in the aftermath, it is said that Ibn Tumart returned to the battlefield at night with some of his followers, and ordered them to bury themselves in the field with a small straw to breathe by. Then, to invigorate the rest of the demoralized Almohads, he challenged those who doubted the righteousness of their cause, to go to the battlefield and ask the dead themselves if they were enjoying the blisses of heaven after falling in the fight for God's cause. When they heard the positive reply from the buried men, they were assuaged.

The bulk of primary correspondence and other related documents are found in the Papers of Robert Woods Bliss and Mildred Barnes Bliss, ca. 1860–1969, Harvard University Archives, HUGFP76.xx. For secondary sources on the Blisses, see Susan Tamulevich, Dumbarton Oaks: Garden into Art (New York, 2001); James N. Carder, "Mildred and Robert Woods Bliss and the Dumbarton Oaks Research Library and Collection," in Sacred Art, Secular Context, Objects of Art from the Byzantine Collection of Dumbarton Oaks, Washington, D.C., Accompanied by American Paintings from the Collection of Mildred and Robert Woods Bliss, Asen Kirin, ed. with contributions by James N. Carder and Robert S. Nelson (Athens, GA, 2005), 22–37; and James N. Carder, "Mildred and Robert Woods Bliss, A Brief Biography," in A Home of the Humanities: The Collecting and Patronage of Mildred and Robert Woods Bliss, James N. Carder, ed.

A fountain in the Dumbarton Oaks garden In 1921, the Blisses hired landscape gardener Beatrix Farrand to design the garden at Dumbarton Oaks, and for almost thirty years Mildred Bliss collaborated closely with Farrand. Together they transformed the existing farmlands surrounding the house into terraced garden rooms and vistas, creating a garden landscape that progressed from formal and elegant stepped terraces, in the near vicinity of the house, to a more recreational and practical middle zone of pools, tennis court, orchards, vegetable beds, and cutting gardens, and concluding at the far reaches of the property with a rustic wilderness of meadows and stream. Within the garden rooms, Bliss and Farrand used a careful selection of plant materials and garden ornaments to define the rooms’ character and use. Since that time, other architects working with Mildred Bliss—most notably Ruth Havey and Alden Hopkins—changed certain elements of the Farrand design.

Stone mask from Teotihuacán, 200-500 CE, in the pavilion In 1959, the Blisses commissioned the New York City architect Philip Johnson to design a pavilion for the Robert Woods Bliss Collection of Pre-Columbian Art. This building—eight domed circular galleries (having an unroofed fountain area at the center) set within a perfect square—recalls Islamic architectural ideas, and Johnson later credited the design to his interest in the early sixteenth-century Turkish architect Mimar Sinan. The pavilion was built in the Copse, one of the designed landscapes at Dumbarton Oaks, and Johnson employed curved glass walls to blend the landscape with the building. He later reminisced that his idea was to fit a small pavilion into an existing treescape, to make the building become part of the Copse. Johnson maintained that he wanted the garden to “march right up to the museum displays and become part of them,” with the plantings brushing the glass walls and the sound of splashing water audible in the central fountain.