How to Have God’s Faith
“Jesus replied, “Let the faith of God be in you! Listen to the truth I speak to you: If someone says to this mountain with great faith and having no doubt, ‘Mountain, be lifted up and thrown into the midst of the sea,’ and believes that what he says will happen, it will be done.” (Mark 11:22-23 TPT)
In the passage above, Jesus said the “faith of God” and not “faith in God”. If we want to perform mighty miracles like casting a mountain into the sea, we will need to receive God’s own faith.
“For I say, through the grace that was given me, to every man who is among you, not to think of himself more highly than he ought to think; but to think reasonably, as God has apportioned to each person a measure of faith.” (Romans 12:3 WEB)
You see, there is the measure of faith that God already gave to us in the past, and also God’s own faith that He gives to believers at appointed timings.
The former is the one that we keep free from unbelief through daily renewing of the mind, while the latter is more powerful because it is pure and guaranteed to mightily prosper in its intended purpose.
“But to each one is given the manifestation of the Spirit for the profit of all. For to one is given through the Spirit the word of wisdom, and to another the word of knowledge, according to the same Spirit; to another faith, by the same Spirit; and to another gifts of healings, by the same Spirit; and to another workings of miracles; and to another prophecy; and to another discerning of spirits; to another different kinds of languages; and to another the interpretation of languages. But the one and the same Spirit produces all of these, distributing to each one separately as he desires.” (1 Corinthians 12:7-11 WEB)
Faith is one of the manifestations of the Holy Spirit. He distributes this “faith of God” at times. Every believer can receive this.
To understand when this God-faith comes, we have to know the delivery system:
“Faith, then, is birthed in a heart that responds to God’s anointed utterance of the Anointed One.” (Romans 10:17 TPT)
Many English Bible translations do a poor job of translating the verse above. They stray from the original Greek meaning. However, I like the translation I quoted above.
The words translated as “anointed utterance” in Greek is “rhematos” which means “a spoken word”. “The Anointed One” is Christou, which is Christ.
“Rhematos Christou” is not referring to God’s written Scriptures in general. That one would be the logos word, or “what God has said before”. The rhema word is talking about what Christ is currently actively saying to you through His Spirit inside you.
When Jesus speaks a rhema word to you, it carries God’s authority. When you hear and act upon that word, the “faith of God” is imparted to you for mighty power to be released. This is when miracles and breakthroughs flow.
Let us see this in action:
“Peter answered him and said, “Lord, if it is you, command me to come to you on the waters.” He said, “Come!” Peter stepped down from the boat, and walked on the waters to come to Jesus.” (Matthew 14:28-29 WEB)
Jesus said “Come,” and this rhema word carried the authority for Peter to transcend the natural laws of nature. When Peter heard the command and acted upon it, the “faith of God” was imparted to him, empowering him to walk on the waters.
You may be surprised by this, but even Jesus depended on the rhema word from His Father during His earthly ministry.
“Jesus therefore answered them, “Most certainly, I tell you, the Son can do nothing of himself, but what he sees the Father doing. For whatever things he does, these the Son also does likewise. For the Father has affection for the Son, and shows him all things that he himself does. He will show him greater works than these, that you may marvel.” (John 5:19-20 WEB)
Before doing any miracle, Jesus first received the rhema word from the Father, and He simply obeyed, acting upon what the Father showed Him.
When Jesus acted upon the rhema word, God’s power flows because the authority, faith, and will of God are working in perfect synergy.
It is therefore most crucial that we ask the Lord to give us the rhema word for our situation. To receive it, you can calm your emotions and pray about your situation, listening in silence to see what the Holy Spirit brings to your attention.
Other than that, sometimes He uses your pastor or Christian friend to speak divinely inspired words to you. The Holy Spirit is the source of the rhema word. The way He delivers it isn’t the most important thing, so be open to however He chooses to convey the rhema word to you.
When it comes, grab hold of it in your heart, and act upon it, for it is the key to unlock God’s supernatural provision in your situation!
The 37 recorded miracles of Jesus Christ in the four gospels show us God’s heart of love and Grace towards us. As you explore them in “Messiah’s Miracles”, faith will arise in your heart to receive miraculous breakthroughs in your own life: https://bit.ly/messiahs-miracles
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likewise meaning 在 國立故宮博物院 National Palace Museum Facebook 的最讚貼文
#防疫不防藝
#無論好壞蝙蝠都是無辜的
#蝠與福
雖然現在聞「蝠」色變,但在古代,蝙蝠可是有個好名聲!下圖的流雲紅蝙蝠紋花瓶,大家還可以想到哪句吉祥寓意的話呢?
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畫家在描繪物象時,除了呈現其本身的形體風貌外,有時又進一步賦予了更深的文化意涵,尤其常取中文字「同音」和「諧音」(近似音)的特色,傳達人們嚮往美好、理想生活之祝願。如以蝙蝠與鹿,代表「福祿雙全」,魚代表「年年有魚」等,此延伸之寓意,體現了人類社會的民情風俗及精神文化層面。
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【清 汪承霈 繪御製詩意百福繁生圖】
形式:軸,339x 89cm
汪承霈,善長作詩詞、書法與畫花卉。畫中所選取的元素,均有其吉祥寓意,如柏樹、稻穗插瓶中諧音為「歲歲平安」,流雲紅蝙蝠紋花瓶,幡旗置於花座旁,取雙關諧音,寓意「洪福齊天」。笙音同「升」,祝頌加官晉爵。柏音同百、蝙蝠、幡旗、笙組成「百福繁生」,則象徵幸福好運,是件富含吉祥寓意之繪畫作品。
【Illustrating the Idea of Imperial Poetry on Flourishing with a Hundred Blessings】
Wang Cheng-pei (active circa 18th – 19th century),
Qing dynasty
Wang Cheng-pei excelled at poetry and was gifted at calligraphy and painting flowers. Cypress and ears of rice in Chinese form a homophone for "years of peace." The vase here, decorated with auspicious clouds and red bats, is also accompanied by a pennant, its meaning in Chinese a metaphor for "fortune overflowing to the heavens." The reed pipe and halberd are likewise a homophone for "promotion," serving as a blessing for advancement in rank. The bronze "dou" vessel and flat "hu" convey the meaning of "pecks of gold coming in daily." Moreover, the Chinese word for "cypress" is related to the word for "hundred," while the bats, pennant, and reed pipe combine to express the idea of "flourishing with a hundred blessings," symbolizing great fortune and luck.
#經典之美新媒體藝術展覽「吉祥寓意」區中也有百福瓶互動作品喔!
The Epitome of Aesthetics – New Media Art Exhibition
陳列室:210【北部院區】正館
Gallery: 210 (Northern Branch) Exhibition Area I
https://theme.npm.edu.tw/exh108/210 (全幅作品可參考網站)
likewise meaning 在 Lee388 Hi Fi 發燒專頁 Facebook 的最佳解答
Alumine Five of Stenheim
Stenheim is a relatively late entrant to the high-end speaker field. It was founded in 2010 by a collective of mainly ex-Goldmund engineers, and its products have inherited an unmistakable aesthetic and, to a lesser extent, sonic DNA, although it was a significantly evolved character that was to emerge in the shape of the debut model, the compact, two-way Alumine Two. It’s a developmental divergence that has continued and, if anything, accelerated with the emergence of each subsequent product. The latest Stenheim speakers, developed under the auspices of new owner Jean-Pascal Panchard, definitely have their own, unambiguous identity, both visually and musically.
I’ve been seriously looking forward to the arrival of the Alumine Five. Previous experience with the brand has included impressive exposure to the various versions of the enormous and enormously impressive Ultime Reference models, as well as a brief but highly rewarding flirtation with the stand-mounted Alumine Two in my own system. The possibility of combining the sense of musical articulation, enthusiasm and communication I experienced from the Alumine Two, with more than a hint of the clarity, scale and authority so effortlessly delivered by the Reference models, all in a package that, if not exactly affordable, at least isn’t completely out of the question, makes the Alumine Five a distinctly interesting proposition.
Yet, confronted with the Alumine Five in the flesh, there’s little to hint at the extraordinary promise lurking within. Resolutely rectangular in true Stenheim style, the Five’s aluminum cabinet, with its plate-to-plate construction, stands just 48" tall, 15" deep and presents a broad 11" face to the world, dimensions based on golden-ratio numbers. The front baffle is split by a physical break between the upper midrange-treble enclosure and the lower bass cabinet, independently ported by the laminated full-width slots above and below, a physical separation that is mirrored by the contrasting inlaid strips that help visually break up the one-piece side panels. The regular lines, smooth surfaces, flawless matte finish and lack of visible fixings could easily result in a bland, almost featureless appearance. But those trim strips and the offset midrange and treble drivers do just enough to give the Five a subtle hint of individual style without resorting to the sort of gauche and ostentatious flourishes that so often pass as design.
The result is a refreshingly clean, classical appearance that will blend seamlessly with a range of different decors. Despite the lack of grilles (although they are available as an option, does anybody really spend this kind of money on a speaker and then compromise the performance by fitting covers?), the beautifully profiled baffle and absence of visible fixings makes for a genuinely neat, finished appearance that matches the superb surface finish on the cabinet. The end result just looks right, in a way that makes you wonder why you’d want grilles anyway.
The first hint of its potent sonic capabilities comes when you try to pick it up. Each comparatively compact cabinet tips the scales at 220 pounds. That’s a grunt-inducing, two-man lift. Now, take a look at the figures for bandwidth and sensitivity, and an in-room response that digs down as far as 28Hz combined with 94dB efficiency should raise your eyebrows, especially given the compact cabinet dimensions. Which brings us to the first experiential disconnect: boxes this size shouldn’t produce this much bass or do it so easily. Nor should they weigh so much -- although therein lies the clue to this particular conundrum. When it comes to bass extension, it’s not the external dimensions of the box that matter, but its internal volume. Just like the Crystal Cable Minissimo, a thin-wall cabinet makes for a much larger internal volume than the external dimensions might suggest -- especially if we apply the expectations of more conventional wood-based construction. Throw in the sheer weight of the aluminum panels and the combination of mass and physical dimensions would subconsciously suggest massively thick walls -- and a correspondingly limited internal volume. Instead, what we have here is a deceptively large volume, which, combined with the inertia of the heavy cabinet and the mechanical stability provided by the material, makes for an effective mechanical reference for driver movement, meaning that more of the energy your amplifier sticks into the speaker comes out as sound and (at least in theory) it will be more precisely rendered.
So far, not very much that’s new. It’s not like Stenheim (or Magico, or YG Acoustics) has exclusivity when it comes to aluminum cabinets. But what does make Stenheim different is the unique material they use in damping their cabinet panels. Of course, the separate enclosures and the internal baffles they demand make for an inherently heavily braced structure, but look inside a dismantled Alumine Five and you’ll find strategically placed pads stuck to the cabinet walls. These three-layer, self-adhesive pads combine a heavy damping layer (adjacent to the cabinet wall itself) with added foam and impervious layers, allowing the low-volume pads to influence both the mechanical behavior of the cabinet itself and the enclosed volume. It’s an interesting solution because it manages to overcome the weakness so often audible in simple, braced aluminum cabinets (the all-too-recognizable resonant signature of the material itself) while maximizing the benefits (large volume and rigidity) by obviating the need to stuff the internal space full of wadding or long-haired wool. In fact, if the Stenheims were stood behind a sonically transparent curtain, you’d be hard-pressed to recognize the music as emanating from an aluminum cabinet at all. The absence of the bleached, grainy or lean colorations, the lack of sterile, mechanistic reproduction, is one big half of the Stenheim story, living, breathing proof that it’s not what you use but how you use it that counts.
The other half is down to the drive units, and after the cabinets, those come as quite a surprise, both the lineup and the chosen materials. In stark contrast to the use of the latest, precision CNC techniques, complex damping pads and finishing options, the Alumine Five's drivers are as traditional as they come, with a coated silk-dome tweeter and pulp or laminated paper midrange and bass drivers. The cone drivers use textile double-roll surrounds and massive magnets more normally found in pro-audio applications, and while Stenheim doesn’t build its own drivers, the company works closely with its chosen supplier (PHL, definitely not one of the usual suspects) to specify the electrical parameters, mechanical characteristics and precise details of the surface coating.
The use of such lightweight cone materials and large motors aids the system efficiency, while a hybrid second-order/Linkwitz-Riley crossover, the result of extended listening and evolution, ensures phase coherence and excellent out-of-band attenuation and makes for easy non-reactive load characteristics, despite the three-way topology. The other aspect of the driver lineup that might be considered slightly unusual is the use of a large-diameter (6 1/2") midrange unit -- although less so since Vandersteen’s patent on the approach lapsed some years ago, resulting in a rash of companies suddenly exploring the possibilities of the topology.
Perhaps more important, in the case of the Alumine Five, it means that you are getting the tweeter and midrange drivers from the Ultime Reference series speakers, teamed here with a pair of 10" woofers but without the benefit of a super tweeter. Even so, Stenheim quotes bandwidth out to 35kHz, which should suffice for most purposes. The review speakers arrived with the optional second set of terminals installed, allowing for biwiring or, more significantly, biamping, an upgrade opportunity that makes this an option you should take. If, in the meantime, you are single-wiring the speakers, make sure you factor in a set of jumpers that match your speaker cables: the Alumine Five's overall sense of musical coherence makes the benefits especially obvious. Likewise, good wiring practice is essential, both in terms of cable dressing and diagonal connection (red to midrange/treble, black to bass, with jumpers arranged accordingly).
Aside from the speaker's substantial weight, the parallel sides and flat surfaces of the four-square cabinet make setting up the Fives an absolute joy. Precise, repeatable, angular adjustments are easily achieved, while changes in attitude are just as straightforward, helped by the beautifully profiled stainless-steel spiked feet and deeply cupped footers. Both the cones and their locking rings have nice, large ports to take the supplied pry bars, but it’s worth greasing the threads before installation. One other thing to watch out for: the spikes are seriously (refreshingly) sharp -- sharp enough to penetrate a thick rug and score the floor below, so be careful where you stand the speakers once the feet are installed. Final positioning disposed the speakers on a broad front with minimal toe-in. When it came to dialing in their considerable musical energy, the most critical factor proved to be height off the ground, with tiny adjustments of the spikes making profound differences to the weight and pace of the presentation. Likewise, equal weighting of the four spikes was crucial to a proper sense of grounded weight and dynamic authority.
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Price: $60,000 per pair.
Warranty: Five years parts and labor.
(Source: The Audio Beat)
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