Podcasts about yahwe

Yahwe gibt uns Leben und Liebe nicht als „etwas“. Er selbst ist Leben und Liebe. Er wirkt in der Stille. Wir können lernen, still zu werden und in seinem Schalom empfangen, was wir für uns brauchen. Alles, was wir brauchen, ist bereits in uns!

Yahwe gibt uns Leben und Liebe nicht als „etwas“. Er selbst ist Leben und Liebe. Er wirkt in der Stille. Wir können lernen, still zu werden und in seinem Schalom empfangen, was wir für uns brauchen. In dieser Predigt werden drei Methoden aufgezeigt, wie wir in die Stille kommen können.

Yahwe yang beserta kita "akan menjadi Raja atas seluruh bumi; pada waktu itu Tuhan adalah satu-satunya dan nama-Nya satu-satunya.

Yahwe yang beserta kita "akan menjadi Raja atas seluruh bumi; pada waktu itu Tuhan adalah satu-satunya dan nama-Nya satu-satunya.

What is required in order to qualify to sit on a High Throne for Eternity?We will continue to look at the Judgment Seat of the Anointing of the Spirit of YahWe will review Joyner's Experience Of The JudgmentWe will start by looking at the Outer DarknessAnd then get to the Foolish VirginsRelationship With Creator is broadcast live Fridays 12Noon – 1PM ET.Relationship With Creator TV Show is viewed on Talk 4 TV (www.talk4tv.com).Relationship With Creator Radio Show is broadcast on W4CY Radio (www.w4cy.com) part of Talk 4 Radio (www.talk4radio.com) on the Talk 4 Media Network (www.talk4media.com). Relationship With Creator Podcast is also available on Talk 4 Podcasting (www.talk4podcasting.com), iHeartRadio, Amazon Music, Pandora, Spotify, Audible, and over 100 other podcast outlets.

Yahwe regiert aus Zion. Wenn Seine Herrlichkeit aus ihr hervorstrahlt, werden Ängste zurückgelassen und die Transformation vollendet werden.

Waktu demi waktu, Yahwe selalu menegaskan kerinduan-Nya yang terdalam untuk selalu bersama-sama dengan umat-Nya.

Waktu demi waktu, Yahwe selalu menegaskan kerinduan-Nya yang terdalam untuk selalu bersama-sama dengan umat-Nya.

Jesus Christ is the Son of God and the Son of man. Yet, He is the creator God, Almighty God, Yahwe. He gave no stronger affirmation of His deity than when He said “I AM”. And the moment you trust and believe this truth, Jesus saves you. You finally see the light and you rejoice. You're glad about that. Today, Pastor Bill will describe how the Pharisees rejected Jesus because He claimed to be God.  But you can believe it, receive it, and trust in Jesus for salvation. Jesus, God Almighty died on the cross for you.  

Jesus Christ is the Son of God and the Son of man. Yet, He is the creator God, Almighty God, Yahwe. He gave no stronger affirmation of His deity than when He said “I AM”. And the moment you trust and believe this truth, Jesus saves you. You finally see the light and you rejoice. You're glad about that. Today, Pastor Bill will describe how the Pharisees rejected Jesus because He claimed to be God.  But you can believe it, receive it, and trust in Jesus for salvation. Jesus, God Almighty died on the cross for you.  

I have written many articles relating to Yahooshua {incorrectly called Jesus}. This broadcast seeks to distill the essence of my message. We will say that his name was Yahooshua NOT JesusWe will note that he is the Most Powerful CREATED Being Because of His Sinless Life and DeathWe will clarify that he was the First Spirit CreatedAnd that he was Born of a Virgin and was Filled (Anointed) with the Spirit of YahWe will stress that his Death was Carefully Planned and OrchestratedRelationship With Creator is broadcast live Fridays 12Noon – 1PM ET.Relationship With Creator TV Show is viewed on Talk 4 TV (www.talk4tv.com).Relationship With Creator Radio Show is broadcast on W4CY Radio (www.w4cy.com) part of Talk 4 Radio (www.talk4radio.com) on the Talk 4 Media Network (www.talk4media.com). Relationship With Creator Podcast is also available on Talk 4 Podcasting (www.talk4podcasting.com), iHeartRadio, Amazon Music, Pandora, Spotify, Audible, and over 100 other podcast outlets.

Was für eine erstaunliche Liebe des Vaters. Er vertraut seinen Kindern. Selbst nach von uns begangenen Fehlern wendet er sich nicht von uns ab. Stattdessen möchte er die Dinge wieder in Ordnung bringen, denn er glaubt immer noch an uns, er denkt immer noch das Beste von uns, und er sehnt sich danach, dass wir ihm wieder vertrauen.

I periodically get emails from people who take issue with me because I state that Yahooshua {incorrectly Jesus} was and is a human being, a created being and is NOT “God in the flesh”. We will discuss Yahooshua being “ImmanuEl” and consider other names that relate to YahWe will then consider the verse in Isaiah which says “the spirit of Yah the Eternally Self-Existing {the LORD} is upon me”Then consider the verse “I can do all things through the Anointing of Yah {Christ} who strengthens meRelationship With Creator is broadcast live Fridays 12Noon – 1PM ET.Relationship With Creator TV Show is viewed on Talk 4 TV (www.talk4tv.com).Relationship With Creator Radio Show is broadcast on W4CY Radio (www.w4cy.com) part of Talk 4 Radio (www.talk4radio.com) on the Talk 4 Media Network (www.talk4media.com). Relationship With Creator Podcast is also available on Talk 4 Podcasting (www.talk4podcasting.com), iHeartRadio, Amazon Music, Pandora, Spotify, Audible, and over 100 other podcast outlets.

John 18: 1-18 // Brent NelsenWe live in a culture that says that when you get hit, you hit back twice as hard. And I think Christians are just as susceptible to this kind of mentality as anyone else and are all too often participants in it. But that's not Jesus. Jesus says, when you get hit, you turn the other cheek. And here he practices what he preached. Jesus could have eviscerated this guy. But instead, his eyes are fixed on the cross, which is where he knew he was headed all along. It's where he had to go for people like you and me. Jesus wasn't surprised by Peter's failure. In fact, he knew it was going to happen. Throughout this passage, Jesus was never not in control. And Jesus isn't surprised by your failure either. And even if your world seems upside down, like Peter's was that night, Jesus is still in control. And maybe Jesus isn't meeting your expectations. Or you're finding out that you're not who thought you were, or who you wanted to be. Jesus isn't surprised. He invites you to do the same thing as Peter: Run to the empty tomb. Sermon Notes: https://www.bible.com/events/49045339Prayer Requests: https://ccefc.ccbchurch.com/goto/forms/2509/responses/new23.03.19

Psalm 62,1-8. Wie David eine bestimmte Art der Meditation anwandte, um seine Seele in die Ruhe zu führen. Wir lernen, die Seele von den eigenen Gedanken von den äußeren Umständen und Gefühlen zu entkoppeln und sie mit Yahwe zu verbinden. Er ist unser Shalom und er wird etwas tun.

Pembawa Renungan : RP. Ardy Watuseke, MSC Roma - Italia Mat. 19:23-30.

Few people in this age understand Judgment – this article sets out the essence of what YOU need to know about Judgment in THIS life.We start by looking at the Judgement of Unbelievers when they dieWe then look at the judgment of Believers when they dieWe then look at the Judgment of Believers for Service to YahWe note that the Creator (Yah) is the Judge, Yahooshua {Jesus} is the Advocate and the Satanic are the prosecutors and execute judgementRelationship With Creator is broadcast live Fridays 12Noon – 1PM ET.Relationship With Creator TV Show is viewed on Talk 4 TV (www.talk4tv.com).Relationship With Creator Radio Show is broadcast on W4CY Radio (www.w4cy.com) part of Talk 4 Radio (www.talk4radio.com) on the Talk 4 Media Network (www.talk4media.com). Relationship With Creator Podcast is also available on Talk 4 Podcasting (www.talk4podcasting.com), iHeartRadio, Amazon Music, Pandora, Spotify, Audible, and over 100 other podcast outlets.

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Wir lernen, heute in dem zu leben, was Yahwe vor der Zeit für uns vorbereitet hat. Auch und gerade in Zeiten von Herausforderungen und Nöten.

What you'll learn in this episode: Why the beauty of ancient and antique jewelry may not be evident at first, and why that makes them all the more interesting to Marc How ancient jewelry has been passed through generations of collectors What streets to visit for the best jewelry shopping in Paris How Marc sources jewels from antiquity, and why provenance is of the utmost importance  Why Marc chose to list the prices of his pieces in his boutique window display About Marc Auclert The grandson of an antique dealer, Marc Auclert has had a passion for antique jewelry and objects of curiosity from a young age. Having spent over 20 years working for some of the most prestigious jewelry houses worldwide, including De Beers and Chanel, he opened Maison Auclert in 2011. The boutique specializes in mounting museum-worthy ancient jewels as pieces of contemporary jewelry.  The works of art selected to be mounted are sourced from a broad range of periods, cultures and geographical regions. Each object is chosen for its beauty and rarity; each elegant mounting is designed to showcase, and not overwhelm, the objects' preciousness, color, patina, shape or symbolism. Designed to celebrate and enhance the singularity of each Antique work of art, every piece in the Maison Auclert collection is unique, hand-made and embellished by the artisans of the best contemporary workshops in Paris. Additional Resources: Website Instagram Photos Available on TheJeweleryJourney.com Bague camée Julia et Saphirs Roman Cameo Ring  White and black two-layered onyx cameo representing the bust to the right of Julia Mamaea, mother of Emperor Severe Alexander, Roman Art  of the 3rd century AD,  mounted on an 18K red gold ring with a surrounding of sapphires (total 1.39 carat).    BO Impression 4 Intailles Impression Intaglio Earrings 18K gold long earrings, set with a Burmese ruby (1.05 carat), an emerald (0.56 carat), 6 diamonds (0.63 carat) and 4 “Grand Tour” intaglios (19th century) in  amethyst, chalcedony and carnelian, and their impressions in gold   Bague Profil Hélios Helios Ring Oxidized silver ring with a cut-out that reveals the effigy of the god Helios on a gold stater from Rhodes of the 5th century B.C.   Bracelet Cuff Agathe Miel Agate Cuff Large cuff bracelet in 18K brushed gold set with 5 rhomboid-shaped agate necklace beads, known as "Medicine Beads" for their prophylactic power, Indo-Tibetan art of the 1st Millennium B.C..    Collier Intaille Magique Magical Intaglio Necklace Pendant set with a lacunary hematite «  magical » or gnostic intaglio engraved with the right part of a gnostic lion-head deity, the sliced winged-head of the Gorgon in the left hand, two  scarabs, Greek letters (ΑΓΒΑ for the magical incantation Abraxas, ΙΑω for the jewish god Yahwe, etc.), Egyptian scarabs and stars in the field, Egypto-roman Art from the 1st-3rd century A.D., a modern extrapolation of the missing part hand-engraved in 18K gold, mounted on a black lacquered chain.      Transcript: Thanks to jewelry designer Marc Auclert, you can wear a piece of jewelry history around your neck. At his Paris boutique Maison Auclert, Marc transforms jewels from antiquity into contemporary pieces, all while preserving the soul of the original jewel. He joined the Jewelry Journey Podcast to talk about why ancient jewelry carries more emotion than contemporary pieces; how he finds jewels dating back to BC; and why the time it takes to appreciate antique jewelry is well worth it. Read the episode transcript here.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. Today, my guest is Marc Auclert, owner of Maison Auclert. After stints at some of the world's most prestigious auction and fashion houses and having lived all over the world, he now combines museum-quality antiquities with contemporary settings and fashions them into unique and wearable jewelry. Welcome back. So, people may be walking along, looking at everything glittering in all the windows, but they see your window and say, “Oh, this is really interesting” and come in? Does it stop them? How does that work? Marc: You can see that it puzzles them. They look at it, and you can see there's a big question mark, like, “What is that? It looks old, but it's not antique. Yes, there are antiques in the middle, but the mountings are definitely modern. The volumes are large.” You can see they have to use a few minutes to understand what's going on. I have to make sure the store is very well-lit and you can see inside very well. They see that there are lots of other things to discover. You need to be a bit courageous to press on the buzzer to be let in, but these people—I've seen many, many things. They press on the buzzer. They walk in and say, “What's going on here?” and very quickly, in two or three sentences, I explain to them that we take genuine antiques that we mount on modern mountings. These are one of a kind.  The other thing I've done which you'll probably find interesting, Sharon, is on the outside display, I've put the prices. Lots of friends have said to me, “Oh, I've talked about you to my friend. She knew exactly who you were, but she didn't go in your store because she said it was expensive.” I heard that several times. Because the pieces are original, people thought they were very expensive, whereas in fact, I'm not expensive in terms of money. Prices here go from $3,000 to $50,000 if you want it. It's lots of money, I understand, but compared to Place Vendome, these are not huge amounts. I even had a person who's quite important, I saw them at a dinner party and they said, “But Marc, you have nothing less than 50,000 euros,” and I said, “No, I actually have nothing above 50,000 euros.” That's when I understood that I need to make people understand what type of price position we're talking about; hence, I put the prices outside with explanations so people would understand. People have walked in much more since. Sharon: I know that's a big step. I can see what you mean when you say it takes courage to press the buzzer, because you think, “Oh my god, this is just too exclusive a place.” But if you know there's something that's possible within a budget, that you're not going break the bank, you go in. Marc: Exactly. Think of the youngsters. You're 35 years old. You've got a budget of $3,000 to $5,000, which is a lot of money. Pressing on the button of a high-end jeweler is super difficult. Pressing the button of any jeweler takes a bit of guts. By putting the prices out, they can see, “Oh, this cute little necklace is $2,800. Let me go and check it closer.” Once the person is inside, you make them feel very comfortable. That's part of the shopping experience. Then they understand that for their budget, there's some choice and they can get a wonderful gift. Sharon: Do people bring you their antiquities and say, “Can you do something with this?” Marc: I try to avoid that for several reasons. First of all, sometimes these antiques are fragile, and you only discover it when you mount them. When you mount them and break them, then it's a bore because you have to explain to someone that you broke their piece. When I break my own pieces, that's fine; that's my problem. That's another issue.  Also, it's because working on a custom order is very difficult. You have to come up with the designs, show the designs to the client, then they come up with reactions. It's a long, heavy process that sometimes can be very boring because clients have their own idea and you have your own ideas, and only mine are good, let's face it. When it's for inventory, I know exactly what I want to do with it, and that's it. It's my issue. When you're interacting with a client, it can be a very cumbersome process.  One of my best clients is American; she's a New Yorker. She buys from me, and she came into the store about a year ago and said, “Look, I've got these two things. Please mount them for me.” Obviously to that lady, I can't say no; that's for sure. We do work together and, as I know her well, it was rather easy. She was super happy with the result, but you take a risk because if the person doesn't know jewelry very well, if she doesn't know how to look at a drawing and understand it and read it, it is very difficult. You and I, if I show you a drawing of a piece of jewelry, you will understand what it will look like in reality, but lots of people don't read that well. When you submit the end result to them, they go, “Ah, really?” or, “Can you alter this and do this?” No, too late. It's done. So, it's dangerous. To answer your question, I try to avoid it, and I only do it with people I know well. Sharon: Custom orders to me are nightmares. Marc: Exactly. Sharon: I'm sure you make them happy in the end, but it's hard to read somebody's mind. Marc: Exactly, and people don't always say what they think because they're not always in tune with what they think. Instead of saying, “Oh my god, I've always dreamt of having the same ring as my grandmother, a ring that was lost.” O.K., that's easy. Show me a picture and we'll do something around that. Instead, they'll beat around the bush because they're not in tune with their inner thoughts. This is psychoanalysis. Sharon: For the most part, the things in your shop are things you've sourced yourself. Marc: Exactly. To end what we were saying about sourcing, I must add something very important. Now that I'm 10 years old, I've got my own network of suppliers. I've become friends with lots of them, which is wonderful. They continuously offer me things. They'll say, “I know you're into luster and vibrant colors and this, this and that. I thought of you for this Hellenistic intaglio. It's garnet. The polish is right. The subject is wonderful. Would you like that to mount as a ring?” Yes, because they understood what I'm looking for after 10 years. They make offers to me spontaneously, which is great. You can imagine this is wonderful. Sharon: What did you during Covid? How did that affect you? Marc: Nothing much. First of all, for many months, it was compulsory in France to be closed. The French government was extremely generous with businesses like mine being closed. We got some allowances that helped me pay for everything during those closed months, so thank you very much, government. On the other hand, nothing happened in terms of sales because I'm probably not good enough on the internet side of things. Those who did well are those who had e-commerce platforms or were very active on the internet side of things. I'm not. The question is, is my business the type that could have good sales on the internet?  I'm always surprised by the Instagram accounts and the reaction I get on them. I do make one or two sales a month thanks to Instagram. So, the fact that these are oldies but goodies doesn't mean they can't be sold on the internet. It's just me being a mature purveyor that's not in tune with the most modern things. So, that's definitely something I'm thinking of, and that's a result of the Covid period.  Sharon: You have a couple of sales a month through Instagram, and you also buy things you see. Marc: Yes, only from people I know well for the buying, but for the selling, definitely. It's mostly American clients. I even sold a piece that was $35,000 thanks to Instagram. It was a wonderful piece posted on Instagram. I got a nice word, “May I have some more information?” I said, “Yes, of course. Here's my email,” and we started exchanging and the lady purchased it. I was a bit surprised because you know I'm French; I'm traditional, but for her, it was certainly normal. When she received it, I said to myself, “I hope she enjoys it as a much as she thinks she will,” and she was thrilled with the piece. Sharon: I don't know what we all would have done without Instagram during Covid. I think a lot of jewelers had to scramble to get online and get up and running. Your Instagram is nice and you have some very nice pictures, and the fact that you sold them through Instagram is great.  Marc: It just proves to you that this is a new world and you'd better adapt to it. I'm giving a good thought to visibility, communication, e-commerce, all of these things. I may be a traditional jeweler, but it doesn't prevent me from being savvy and in tune with this time. Sharon: To me, that sounds like you do have an e-commerce platform. Are you saying you're thinking about doing more with your website? What do you mean? Marc: Yes, exactly. No, I'm not doing enough. I'm actually a bit lazy on that side of things, and there's much more to be done. I think if you want to be successful, you have to tackle these subjects, absolutely.  Sharon: It's a learning curve and it takes time. I've seen more and more on Instagram. I'm thinking of jewels, but I'm also thinking of shoes, where the website had nothing, but it was the Instagram account that gave all the information.  Marc: My communication agent, David, says to me, “Don't waste your time on your website. Who cares? Spend time on your Instagram. How much are you posting?” “Well, I don't know, once or twice every week.” “No, I think you should post twice a day.” I said, “Well, I don't have two posts a day.” He says, “Find them. You will.” What's interesting and what corroborates what you just said is that he says, “Don't waste your time on your website. Spend time on Instagram.” Interesting. Sharon: I am certainly not a techie, but it seems like websites have become secondary, almost. Marc: Exactly. That's what my communications agent would say. That's what he says, loud and clear. Sharon: You said that ancient and antique jewelry has a soul. What does that mean to you? Marc: It's very difficult to explain. You either feel it or don't feel it. If you don't feel it, you're not a client of mine, obviously. I'm not superstitious. I don't believe in ghosts, and I don't believe in the power of crystals or whatever. I'm really down to earth. My great grandparents were peasants, and that's what I am deep down. But I do feel that when jewelry has been worn thousands of years ago, appreciated, changed hands to hands, has seen good moments, bad moments, tragic moments, wonderful moments, it seems that they get impregnated with something that's beyond the intrinsic material. It can be a building; it can be a picture; it can be a piece of jewelry. There is something about antiques that holds stories. Once again, I'm not superstitious, but there is something. When you hold an intaglio that's 1st century A.D. and you know it's been worn by a Roman lady or a Greek or Egypto-Greek gentleman, there is something different than if the intaglio were cut 20 years ago. That's for sure. How, I can't explain it further than that. It's a vivid impression. Sharon: It's seen a lot. It's definitely seen a lot. Marc: It went from hands to hands to hands to arrive to today, where it arrives in my hands, and then I will do something to put it in another one's hands. It's like a long chain, which I think is very beautiful and very assuring in terms of constancy. It's very mathematical. Sharon: Have you looked at antique pieces or antiquities where somebody said, “This is from this century,” but you've looked at it and it seemed dead to you, like you felt there was no life? Marc: In my place, it's more aesthetic. For instance, today I was shown a very important intaglio that depicts a house. It was Hellenistic, 3rd or 2nd century B.C. Usually intaglios of that period depict gods and goddesses, princes, etc. Very rarely do they depict architecture, so these are super rare, very valuable, museum quality, museum worthy. But when I held it in my hand, I was like, “It says nothing to me. It's just a house on an intaglio.” I guess it was more the aesthetics that did not speak to me.  Sharon: I may be naïve in asking this, but the people who bring you these things, where do they find things from the 1st and 3rd centuries? They're not lying around on the ground.  Marc: They're not lying on the ground anymore, but don't forget that since the Renaissance, the 16th, 17th century, definitely 18th century and 19th century, there's been lots of digging in Italy and Europe. These pieces have been collected since the Renaissance, so you find them in jewelry cabinets. They could be coins; they could be intaglios or cameos; they could be naturalia. They could be all of these things you find.  There is the notion, “wunderkammern,” which is this German word saying that anyone who had a culture in the Renaissance would have had their cabinets full of wonders, wonderful, natural or man-made wonders. If you were anyone of rank, you had to show that you had culture and taste, and you would be a collector. So, these little babies have been collected since the Renaissance, and that's where we find them today, in big collections. These collections can hit the market, and they have done so since the 19th century. If you take the Marlborough gem collection, for instance, it was sold at auction at the end of the 19th century. That's how it works. That's the mechanic of the collection: it is assumed, dissembled at auction, reassembled by certain people, etc.  Sharon: I envision that you have a box somewhere in your shop where you collect things you may not have time to do something with right now, but you said, “Oh, this is really interesting. I'm going to hold onto this.” Marc: Correct, I have two things in the store. I have things that I've bought that I haven't mounted yet. I know exactly what I want to do with them, but I haven't mounted them yet because I don't want too many pieces in the collection. I have 80 pieces. That's enough; I don't need 120.  Secondly, I have my own private collection. Sometimes I see a piece and say, “I have to buy this and keep it. I've never seen that before. It's wonderful.” It's my own private collection. I own lots of jewelry myself and I never wear any jewelry. I've got probably 12 super rings with glyptic on them. You will never see me wearing a ring because it doesn't suit me, but I have the rings. Sharon: Do you wear some of the ancient stuff you've made? Marc: No. Sharon: Nothing? Marc: No. I love jewelry, but not on me. It doesn't work on me. I don't have the right hands. I don't have the physique, and I'm of this generation where men don't wear jewelry. You just wear a band and that's it. When I see those youngsters and they're carrying jewelry very, very well, they're having fun because it's a wonderful world. In my case, I'm too traditional; I already told you. I can live with that.  Sharon: It sounds like the jewelry you have is beautiful. Marc, thank you so much for talking with us today.  Marc: No, thank you for inviting me. That was super sweet. When are you coming to Paris? Sharon: In the next six months, I hope to get there. It's been a while, but who's gone anywhere, at least from over here? But I will stop in and say hello. Thank you so much. Marc: No, you don't stop and say hello. You come. You make an appointment and I'll invite you for drinks. Sharon: Well, I'm going to end the recording and we can talk about where we're going to go. Hold on one second. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

What you'll learn in this episode: Why the beauty of ancient and antique jewelry may not be evident at first, and why that makes them all the more interesting to Marc How ancient jewelry has been passed through generations of collectors What streets to visit for the best jewelry shopping in Paris How Marc sources jewels from antiquity, and why provenance is of the utmost importance  Why Marc chose to list the prices of his pieces in his boutique window display About Marc Auclert The grandson of an antique dealer, Marc Auclert has had a passion for antique jewelry and objects of curiosity from a young age. Having spent over 20 years working for some of the most prestigious jewelry houses worldwide, including De Beers and Chanel, he opened Maison Auclert in 2011. The boutique specializes in mounting museum-worthy ancient jewels as pieces of contemporary jewelry.  The works of art selected to be mounted are sourced from a broad range of periods, cultures and geographical regions. Each object is chosen for its beauty and rarity; each elegant mounting is designed to showcase, and not overwhelm, the objects' preciousness, color, patina, shape or symbolism. Designed to celebrate and enhance the singularity of each Antique work of art, every piece in the Maison Auclert collection is unique, hand-made and embellished by the artisans of the best contemporary workshops in Paris. Additional Resources: Website Instagram Photos Available on TheJeweleryJourney.com Bague camée Julia et Saphirs Roman Cameo Ring  White and black two-layered onyx cameo representing the bust to the right of Julia Mamaea, mother of Emperor Severe Alexander, Roman Art  of the 3rd century AD,  mounted on an 18K red gold ring with a surrounding of sapphires (total 1.39 carat).    BO Impression 4 Intailles Impression Intaglio Earrings 18K gold long earrings, set with a Burmese ruby (1.05 carat), an emerald (0.56 carat), 6 diamonds (0.63 carat) and 4 “Grand Tour” intaglios (19th century) in  amethyst, chalcedony and carnelian, and their impressions in gold   Bague Profil Hélios Helios Ring Oxidized silver ring with a cut-out that reveals the effigy of the god Helios on a gold stater from Rhodes of the 5th century B.C.   Bracelet Cuff Agathe Miel Agate Cuff Large cuff bracelet in 18K brushed gold set with 5 rhomboid-shaped agate necklace beads, known as "Medicine Beads" for their prophylactic power, Indo-Tibetan art of the 1st Millennium B.C..    Collier Intaille Magique Magical Intaglio Necklace Pendant set with a lacunary hematite «  magical » or gnostic intaglio engraved with the right part of a gnostic lion-head deity, the sliced winged-head of the Gorgon in the left hand, two  scarabs, Greek letters (ΑΓΒΑ for the magical incantation Abraxas, ΙΑω for the jewish god Yahwe, etc.), Egyptian scarabs and stars in the field, Egypto-roman Art from the 1st-3rd century A.D., a modern extrapolation of the missing part hand-engraved in 18K gold, mounted on a black lacquered chain.      Transcript: Thanks to jewelry designer Marc Auclert, you can wear a piece of jewelry history around your neck. At his Paris boutique Maison Auclert, Marc transforms jewels from antiquity into contemporary pieces, all while preserving the soul of the original jewel. He joined the Jewelry Journey Podcast to talk about why ancient jewelry carries more emotion than contemporary pieces; how he finds jewels dating back to BC; and why the time it takes to appreciate antique jewelry is well worth it. Read the episode transcript here.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Here at the Jewelry Journey, we're about all things jewelry. With that in mind, I wanted to let you know about an upcoming jewelry conference, which is “Beyond Boundaries: Jewelry of the Americas.” It's sponsored by the Association for the Study of Jewelry and Related Arts, or, as it's otherwise known, ASJRA. The conference takes place virtually on Saturday and Sunday May 21 and May 22, which is around the corner. For details on the program and the speakers, go to www.jewelryconference.com. Non-members are welcome. I have to say that I attended this conference in person for several years, and it's one of my favorite conferences. It's a real treat to be able to sit in your pajamas or in comfies in your living room and listen to some extraordinary speakers. So, check it out. Register at www.jewelryconference.com. See you there. This is a two-part Jewelry Journey Podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week. Today, my guest is Marc Auclert of Maison Auclert. After stints at some of the world's most prestigious auction and fashion houses and having lived all over the world, he now combines museum-quality antiquities with contemporary settings and fashions them into unique and wearable jewelry. We talked with Marc pre-Covid and are pleased to be visiting with him again. We'll hear all about his jewelry journey today. Marc, welcome to the program. Marc: Sharon, thank you for inviting me again. Sharon: So glad to have you. Tell us about your jewelry journey. It seems you've been everywhere. Marc: Well, not really. Recently we've been a bit stuck at home. Sharon: That's true. Marc: But beyond that, business has started back and that's really nice. Clients are back in Paris. Parisians are starting to spend again. It's been nice since Christmas. We've had a very good time. The journey is continuing. This company, which I founded in 2011, is 10 years old, so it's pretty old. This is a landmark. Sharon: Congratulations. That is a big deal. Marc: Thank you. I've worked for many grand houses for whom 10 years would be nothing, but when it's your own company, 10 years is a sweet number, I must admit. I'm very happy. It's doing well in the sense that it's making momentum. It's becoming more and more known, and this is extremely important. Today's awareness is tomorrow's success. Sharon: That's true. Marc: My first goal when I opened the company was not to make sales, though it is very important that the company has the cashflow in order to survive, but my first real goal was to build awareness, because I knew from my business experience that today's awareness is tomorrow's sales. Sharon: Well, you got a lot of press early on. Marc: Yes, I've been very lucky. First of all, don't forget I've been in the business for many, many years, so I know many actors, including the press people. So, when I opened my business, I was able to very easily reach out to lots of key people in the communications industry. This, of course, was a great help, and then it was a snowball.  You start getting some press releases, and other people take interest. You get French press, then the English will look at it, then the Americans will look at it, etc. So, that's been very, very good.   Sharon: That's quite a lot of presence. How did you get into jewelry? Did you always like it? Marc: I guess so. I have no clear memories of saying to myself, “I want to do this.” The only thing I remember is when I was a child, I was fascinated by the crystal world. I moved from collecting rough crystals to liking cut gemstones. After my general studies I thought, “Oh, that could be interesting, to do a course in that field.” That's how I went to the GIA in New York, but it was more like a hobby than anything. It was a crisis at the time when I was getting my first job. It wasn't very easy to get a first employment, and one of the possibilities was to join the industry. As I had general studies under my sleeve plus a GIA diploma, that was my first job I got. That's how I got interested in jewelry, from crystals to faceted stones to jewelry. Today, to continue the journey, as you call it, I'm more interested in antique jewelry, antique gold, intaglios, cameos and things like that, which is continuing on that path.   Sharon: Why is it that jewelry from antiquity fascinates you?   Marc: I think it's because I understand modern jewelry very well and it doesn't fascinate me. Only very few people and very few pieces fascinate me. It's not because they're not good; they are wonderful. But the proposition we're getting, it's an easy proposition, whereas if you look at antique jewelry, antique stones, antique jewels, be them historical or in museums or whatever, I think they're more difficult to understand because they're less pleasing to the eye, but technically and in terms of art history, they're much more interesting. That difficulty makes them so much more attractive to me, and that's why I'm selling them to my clients, basically.  Sharon: And they sell to you, I presume, when they bring in something and tell you about it. Marc: Absolutely. Your question is very important because when you look at a 15th century B.C. intaglio, it's tiny; it's not even an inch long. If you don't actually sit down and have a proper look at it and detail it, which requires a few minutes, then you don't get it. This is really in opposition to what we see today in jewelry companies' displays. It's, bang, in your face. It's gorgeous. It's luminous. It's full of diamonds and stones and it's evident. Those antique intaglios are not evident. That's what I like. Sharon: When did you first start encountering antique jewels? At the auction houses? At the fashion houses?  Marc: When you're interested in jewelry like you or me, we've been in museums. That's when you get that first encounter and you compute those first pieces you get to see, so there isn't a step where you actually shift to that. Actually, you get to see them on a regular basis. You don't stop, really, but they're growing on you. At a certain age—because I do think it's a question of acquired taste, hence a question of age—they come back to you. You know these are interesting pieces you need to go back to and understand. So, to answer your question, I've been looking at them for a long time, but I've been starting to understand them not so long ago. Does that make sense?   Sharon: Yes, I think I understand. I think you're looking at a 15th century piece and the person on it is talking to you, in a sense.   Marc: Exactly. It says so much about the history of art, about humanity, about who did it, how he did it, what tools were used and in what environment. Think no electricity, no motor, everything was handmade in a dark workshop in the pits of a town like Rome or Alexandria. Then you start to understand who wore it, why they wore it, on what they wore it, on what occasion, and you're really entering history. That's fascinating. Sharon: You were with some prestigious auction houses—was it Sotheby's?—and you started the high jewelry at Chanel. How did you segue to this? Marc: For me, it's a journey. It's a jewelry journey. You start with easy pieces, diamonds for instance. Diamonds are easy. You look at a 10-carat, D, flawless, XXX emerald cut, type 2A with a comb, that's easy. Everybody loves it. You don't need to be especially knowledgeable to get it. As you are working with those items, in parallel you know that there are other things that are gorgeous and much more difficult to understand. As you grow older, that's where your interest goes towards.  You start with the beginning. You start with the diamonds and the gemstones. You start with the gorgeous jewelry, and then you move slowly to Art Deco pieces, then to 19th century, then you go to the 18th century. Then you go to more difficult, the Renaissance, Medieval. Then you go to Byzantine jewelry, and then you enter the whole world of antiquity: Roman, Hellenistic, Greek, Mesopotamian, Egyptian. The further you go up the stream, the more difficult it is, because it's not as appealing to the eye as your 10-carat cut diamond. Sharon: I don't stumble across the 10-carat so much, but I can understand what you're saying. Marc: Well, you see them in the windows.  Sharon: Tell us about Maison Auclert. Tell us about the business and what you do. What do you describe at a dinner party if somebody asks? Marc: It's exactly how you explained it in the introduction. My job is to find antiques. They can be Mesopotamian; they can be 19th century German or French. The definition of antiques is very broad. There is no geographic location. It can be South American Pre-Columbian; it can be French; it can be Asian, depending on what I find and what my taste goes for.  When I see those antiques, I have to think about how I'm going to introduce them onto a piece of jewelry. Often antique dealers show me beautiful pieces and say, “Look at this. It's gorgeous. You could make a lovely piece of jewelry out of that.” No, to make a piece of jewelry, you also need some requirements, which is that it has to be jewelry pretty. It's not because it's antique that it will be jewelry pretty. It has to be durable. It has to have the right color, the right sheen, the right durability. That's also an important factor. If it's too brittle and too fragile, you're not going to mount it on a piece of jewelry, especially on a ring. In addition to the antique purchasing, which is what all antique dealers do, I also introduce the notion of the jewelry mounting aspect of it.  So, my first job is buying antiques. My second job is then to design around them. That's another interesting factor in what I do, in the sense that you have designers that take hours, that think about things for hours and ponder and come back to the drawing. In my case, it's a very instinctual type of creation. When I look at an antique piece, very rapidly I know what I'm going to do with it. If I don't know what I'm going to do with it, I still buy it. Then it'll be in my box for many, many months before I have an idea. Basically, if I don't have the idea straightaway, I forget.  It's kind of like, “Take me, because you're going to do this.” It's simultaneous. It's rather interesting, the way it works in my little head. I know other designers that work for hours and hours and come up with wonderful designs. In my case, maybe I'm very lazy, but the design comes straightaway, and that's that.  Then, of course, I finalize it. I speak with the workshop and say, “This is what I have in mind. Here's a quick sketch. How are you going to make it happen?” There's the whole technical part of it that is discussed with the workshop. That's why you have to work with wonderful workshops in the sense that they have to bring that notion of technicality, which is important. That's how the piece of jewelry gets constructed on paper. Then they will take it onboard—when I say “they,” it's the workshop. I only use Parisian workshops—and they will start building the piece with a wax model and then cast it in gold. I will go the workshops once a week to follow the building of the piece. Why is that important? Because in the case of my jewelry it's only one-of-a-kind pieces, so each piece is actually a prototype. So, I have to be there on a regular basis. That's the reason why I can't outsource in Italy or Asia or whatever. It has to be made around the corner. I am Parisian. It has to be made in Paris.    Sharon: It's not because the workshops are better. It's just that they're close to you.   Marc: Or better. Parisian work is really, really good.   Sharon: Are they?   Marc: Yes, definitely. A company like Tiffany, they produce their high-end jewelry in Paris. I think that says a lot. You have lovely, wonderful jewelers in Italy and Lebanon. We've met them over the years, but I must admit in Paris, we still have a knowhow that is extremely important. How long will they last? I don't know, but right now, it's still very much cared for.   Sharon: How do you find these antiquities? Where do you find them?   Marc: All over the world. I browse a lot on the internet. I check all the sales at auction houses, big auction houses, small auction houses, tiny, local, regional auction houses. I have two workers who help me look for what I'm looking for: antique dealers, of course, collectors, private people. But I have to be very careful because, as you know, there are different problems involved with antiquities, regional problems like in the Middle East. There have been lots of naughty diggings being done in certain regions, and hence you get some illegal pieces arriving on the market. That for me is a no-no, first of all because ethically it doesn't suit me at all, and secondly, I'm a young company, so I can't afford to be in a pickle. That for me is very, very important. It's key. The whole issue of provenance, which has to be pristine, is very important. So, I only buy from very, very reliable auction houses, antique dealers, collectors, private people only if I know them very, very well. If someone came off of the street and said, “Hi, look, I've got these wonderful intaglios. Are you interested?” my answer would have to be, “Sorry, no,” just because of those subjects.   Sharon: For some reason, I envision that most of your clientele is male. Is it both?   Marc: It's absolutely both. It's the same as in the classical jewelry industry. 50 percent of my clientele is female; 50 percent is male. I see exactly the same pattern as the Place Vendome. She will walk in; she will buy for herself, or she will be scouting and then she will be back with someone else to pay for the piece of jewelry because it's a gift. It's exactly the same pattern, with more and more women buying the jewelry for themselves. I often get ladies that already have the engagement ring, the tennis bracelet—yes, antique isn't everything—and they're in for an intaglio, for instance. They don't own a Roman intaglio and that's what they would like, and that's something they will come and do on their own, definitely, especially as the prices are softer than with precious stone jewelry.   Sharon: Do people stumble on your store? You have a nice storefront. I haven't been there for a few years now.   Marc: It hasn't changed. It's still there, still the same. Now, to answer the question, there are two things. It's the network. The network is very, very important in any business, especially if it's a retail business. When I started that business, I already had a client book, and that proved to be extremely important. I also have business partners who have very, very good contacts, so that's great. That definitely was, how do you say, a jumpstart? That was a very good jumpstart in the beginning.   The second very important thing, as you mentioned, is obviously the location. I have a small boutique, but it's very well located. In Paris right now, the good retail is concentrating around Place Vendome, Rue St. Honoré, Rue de Castiglione. This area, which always has been good, is now becoming excellent. Avenue Montaigne is going down. St. Germain is going down, to the benefit of the area where I happen to be very lucky to have a boutique.    Sharon: You are in a fabulous location. Are people walking along the street?   Marc: I'm in the middle. All the big the palaces and hotels are around us: the Ritz, the Meurice, the Bristol, Mandarin Oriental. Most of the big hotels are around this area. Of course, you can imagine the type of clientele that walks in front of the window, and that's wonderful for a small company like mine. 

Mantén tu mente en pensamientos conectados a la palabra de Yahwe.

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Namen haben eine Bedeutung. Sie verraten uns etwas über den Charakter und Wesen des Namensträgers. Wie ist Gott wirklich? Ein einziger Name kann uns nicht alle Aspekte Gottes zeigen, deshalb nennt sich Gott an verschiedenen Orten mit verschiedenen Namen. Seine Namen widerspiegeln seine Macht, und in dem ich seine Namen kenne, kann ich seine Macht inmitten meines Alltags erfahren. Möchtest du Gott kennenlernen?

Namen haben eine Bedeutung. Sie verraten uns etwas über den Charakter und Wesen des Namensträgers. Wie ist Gott wirklich? Ein einziger Name kann uns nicht alle Aspekte Gottes zeigen, deshalb nennt sich Gott an verschiedenen Orten mit verschiedenen Namen. Seine Namen widerspiegeln seine Macht, und in dem ich seine Namen kenne, kann ich seine Macht inmitten meines Alltags erfahren. Möchtest du Gott kennenlernen?

Namen haben eine Bedeutung. Sie verraten uns etwas über den Charakter und Wesen des Namensträgers. Wie ist Gott wirklich? Ein einziger Name kann uns nicht alle Aspekte Gottes zeigen, deshalb nennt sich Gott an verschiedenen Orten mit verschiedenen Namen. Seine Namen widerspiegeln seine Macht, und in dem ich seine Namen kenne, kann ich seine Macht inmitten meines Alltags erfahren. Möchtest du Gott kennenlernen?

Namen haben eine Bedeutung. Sie verraten uns etwas über den Charakter und Wesen des Namensträgers. Wie ist Gott wirklich? Ein einziger Name kann uns nicht alle Aspekte Gottes zeigen, deshalb nennt sich Gott an verschiedenen Orten mit verschiedenen Namen. Seine Namen widerspiegeln seine Macht, und in dem ich seine Namen kenne, kann ich seine Macht inmitten meines Alltags erfahren. Möchtest du Gott kennenlernen?

killege.store Yahwe wins. https://killego.store/blogs/killego-art-time --- Send in a voice message: https://anchor.fm/myles-brown3/message Support this podcast: https://anchor.fm/myles-brown3/support

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Der Himmel ist voller Musik! Wir singen, weil Yahwe singt!

Tuhan memanggil keluar satu umat, yaitu keturunan Abraham. Dalam diri umat-Nya, Allah bukan hanya memelihara pengetahuan pengetahuan akan Dia, Yahwe, dan rencana keselamatan, tetapi juga untuk menyebarluaskan pengetahuan tersebut ke seluruh dunia.

Tuhan memanggil keluar satu umat, yaitu keturunan Abraham. Dalam diri umat-Nya, Allah bukan hanya memelihara pengetahuan pengetahuan akan Dia, Yahwe, dan rencana keselamatan, tetapi juga untuk menyebarluaskan pengetahuan tersebut ke seluruh dunia.

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En esta segunda parte de El Dios Incoherente, Yahwe sigue haciendo de las suyas: con la serpiente, con el diluvio, con el pobre Job y finalmente con su solución, simple y razonable, del filicidio-deicidio. Gran idea. Conducción: Claudio Di Gregorio

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Hosea de profeet moest van God trouwen met een overspelige hoer.zijn vrouw krijgt 3 kinderen waarvan hij niet weet of ze van hem zijn.  haar overspel doet hem ontzettend veel pijn. Het beeld uit hoe het Yahwe pijn doet als zijn volk overspel pleegt met de wereld.  

Ketika Allah untuk pertama kali masuk dalam satu hubungan perjanjian dengan Abraham, Dia memperkenalkan diri-Nya sendiri kepadanya dengan nama YHWH.

Ketika Allah untuk pertama kali masuk dalam satu hubungan perjanjian dengan Abraham, Dia memperkenalkan diri-Nya sendiri kepadanya dengan nama YHWH.

Barang siapa yang mempunyai kasih Allah dipancarkan dalam hatinya, akan memantulkan kesucian dan kasih yang ada dalam Yahwe, dan yang dinyatakan oleh Kristus dalam dunia kita ini.

Barang siapa yang mempunyai kasih Allah dipancarkan dalam hatinya, akan memantulkan kesucian dan kasih yang ada dalam Yahwe, dan yang dinyatakan oleh Kristus dalam dunia kita ini.

Yahueh (ya-hu-eh) Iahueh (i-a-hu-eh) Yahuah (ya-hu-ah) Iahuah (ia-hu-ah) Yahevahe (yah-e-va-he) Iahevahe (ia-he-va-he) Yohwah (yoh-wah) Iohwah (i-oh-wah) Yohweh (yoh-weh) Iohweh (i-oh-weh) Yahwah (yah-wah) Iahwah (i-ah-wah) Yehwah (yeh-wah) Iehwah (i-eh-wah) Yehweh (yeh-weh) Iehweh (i-eh-weh) Yahweh (yah-weh) Iahweh (i-ah-weh) Yahwe (yah-we) Iahwe (i-ah-we) Yahohewah (yah-o-he-wah) Iahohewah (i-a-ho-he-wah) Yahuwah (ya-hu-wah) Iahuwah (i-a-hu-wah) Yahveh (yah-veh) Yehveh (yeh-veh) Yahohevah (yah-o-he-vah) Jove (ho-ve) Jehovah (je-ho-vah) Iehovah(i-eh-ho-vah) --- Send in a voice message: https://anchor.fm/kedushahayah/message

Celebramos el Domingo II - 2do. del Tiempo Ordinario del ciclo B. Terminadas las fiestas navideñas entramos en el tiempo Ordinario y lo hacemos con el 2do. Domingo por que el primero siempre coincide con el Bautismo de Jesús, que en algunas partes se celebra la Solemnidad de la Epifanía. Y este Domingo podemos llamarlo el Domingo de las llamadas. En la primera Lect. Yahwe llama a Samuel. En el Evangelio Jesús llama a Andrés y a Juan sus (primeros discípulos) Y San Pablo nos recuerda algo sumamente importante  en nuestra vida de cristianos. Que somos  miembros de Cristo y templos vivos del Espíritu Santo y por lo tanto debemos vivir una vida digna del llamado que hemos recibido  y de lo que somos por el Bautismo. TEMPLOS VIVOS DEL ESPÍRITU SANTO. Hoy también Jesús continua llamando para que vayamos, veamos y nos quedemos con  El. por eso es muy importante estar atentos a este paso del Señor como lo estaba Juan Bautista, para descubrirlo y señalarlo diciendo: " Este  es el Cordero de Dios " Así que nosotros debemos estar atentos a estas invitaciones  de Jesús quien sabe hacerlo de muchas manera llamando tanto a jóvenes  como a personas maduras. Pidamos hoy a Dios que nos ayude a ser generosos y disponibles a la llamada  para responder como el joven Samuel: ": Habla Señor que tu siervo escucha" . O como la Virgen de Nazareth:  "Hagase en mi según tu palabra". O como Saulo de Tarso en el camino de Damasco: " Que tengo que hacer Señor". Estemos atentos porque Jesús esta a la puerta  y llama. Nuestro trabajo es descubrirle y nuestra respuesta es seguirle.

Allah Yahwe, perlindungan kita (Mazmur 46:1-12)  --- 1. Pernyataan keyakinan (Ayat 2-3 +12).    2. Alasan keyakinan (Ayat 4-7).   3. Keyakinan akan pembenaran dan kemuliaan (Ayat 8-11).   

A New Conversations with Moshe! On this LIVECAST we are asking, "What is YOUR relationship with God?" This will be a stimulating, potentially triggering conversation. We will dive deep on identifying and understanding our relationship with God, or whatever we choose to call it. Some call it Source, The Universe, All That Is, I Am, Yahwe, and the list goes on. Regardless, you will discover that your understanding of this relationship is significant and important to pretty much everything.. Ready to dive in? About Moshe Engelberg: He is a teacher at heart. He works to uplift people and reduce suffering by helping good organizations and their leaders put love or “amare” to work, without sacrificing profits. Born in Pittsburgh, he grew up – literally – in Mr. Roger’s neighborhood. He moved to San Diego for college at UCSD, where it took him three years to complete my freshman year. Hey, the ocean called! While working in the health field, he then earned Masters degree in both psychology and in public health, before moving to Idaho to be a Health Promotion Specialist at HealthWise. Big picture, frustration in how poorly his field of work did marketing for something as important as health took him back to school, this time for a PhD in Communication at Stanford. In 1991, midway through his doctoral program, he began ResearchWorks, the boutique strategy consulting firm he still runs today. And concurrently he taught lots of executive education and graduate classes at San Diego universities. And co-raised his kids. Busy times. Fast forward to now. All he learned through consulting for some extraordinary people and companies, teaching many brilliant and hardworking students, and going on his own spiritual journey, led him to write the Amare Wave, and refine his focus to what it is now: Uplifting business with the energy of love. www.amarewave.com We deeply appreciate your support! Please subscribe to our YouTube page and like us on Facebook using the links provided. We would love to hear from you. Please comment with your thoughts, questions and ideas, and any topic you'd like us to explore. Show Intro created and produced by Loren Michaels Harris. Find him here: www.lorenmichaelsharris.com LISTEN: iTunes, Podcast Addict, Stitcher, Deezer, Spotify- Adventures in Truth Podcast Website: https://adventuresintruthpodcast.com/ YouTube- https://www.youtube.com/channel/UCzX3... Facebook- @Aitpodcast WATCH: FB Live, YouTube, Roku, AppleTV, Fire, Amazon, Periscope, Andriod e360tv- www.e360tv.com (LIVECAST Wed @ 8a pst and Fri @ 4p pst)

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Yahwe --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

El catolicismo vino de algun lado. El catolicismo viene de creer que Jesus de nazareth es el mesias que esperan los judios. Y todos sabemos que Jesus era judio verdad? “Los Dioses no existen, tan solo son seres poderosos venidos de los mundos lejanos de fuera de la Tierra, el conocimiento de estos hechos y de su intervención en la evolución del hombre, nos hacen libres del miedo que les tenéis sus servidores” (Platón) "¿Existe realmente algo más patético que un "Dios" que NECESITA ser adorado? ¿Podemos verdaderamente considerar "Divino" a tal ser?" La proyección de energía psíquica que periódicamente emanamos en forma de devoción religiosa puede ser como la miel que fortalece y sostiene a las deidades a la que se dirige nuestra plegaria. En esta etapa de nuestro desarrollo, la adoración ciega ya no es lo que se busca, sino la comprensión consciente de nuestra relación simbiótica con las entidades multidimensionales que plantaron a nuestros antepasados en este planeta. George C. Andrews Dios envió a dos osos a asesinar a 42 niños por burlarse de la cabeza calva de un profeta 2reyes 2:23-24 Dios mata a todos los niños primogénitos de Egipto Ex 12:29-30

A Sabbath Study of Yahowah's Towrah.  Join a group of Yahowah's family as we delve into the Towrah of God. We will expose religious corruption while more importantly espousing Yah's Towrah truth.  Hosted by the author of Yada Yahweh, An Introduction to God, Questioning Paul, Prophet of Doom, and Tea with Terrorist. 

The Nephilim and their offspring make their brief guest appearance in Gen 6:4. "They were the heroes of old, men of renown". The immediately following verse delivers a sudden condemnation of the evil of men, followed by Yahwe resolving to wipe all life from the face of the earth. Have two unrelated stories been stitched together here - or are we missing something? What do you think of Gregory Riley's theories in The River of God? Could you recommend books on Zoroastrian influence on Judaism and Christianity? Is Bart Ehrman correct that pagan religions had no concept of scripture or holy books? Why do some scholars refuse to accept that there were pagan influences on Judaism and Christianity? Where does the idea of exclusivity in Christianity and Islam come from? How can one show that Marcion's theology not only influenced but also became a bedrock of Christianity?

Luc 22:19-20 RV60 Y tomó el pan y dio gracias, y lo partió y les dio, diciendo: Esto es mi cuerpo, que por vosotros es dado; haced esto en memoria de mí. De igual manera, después que hubo cenado, tomó la copa, diciendo: Esta copa es el nuevo pacto en mi sangre, que por vosotros se derrama.