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Taiwan-based China Airlines' completing quarantine and negative test protocols allows it to restore a flight schedule that was pared back in May after a #COVID19 cluster infection hit the carrier's pilots and a Taoyuan airport hotel that houses the company's dormitory. #aviation
https://focustaiwan.tw/business/202106290015
Not Impressed by the Reputations of Men
“God had given me a clear revelation to go and confer with the other apostles concerning the message of grace I was preaching to the non-Jewish people. I spoke privately with those who were viewed as senior leaders of the church. I wanted to make certain that my labor and ministry for the Messiah had not been based on a false understanding of the gospel...Even the most honored and esteemed among the brothers were not able to add anything to my message. Who they are before men makes no difference to me, for God is not impressed by the reputations of men.” (Galatians 2:2, 6 TPT)
I love the apostle Paul’s mindset. He was not ‘starstruck’ by Peter, James, and John.
Whereas others would have been intimidated by the fame and reputation of the apostles in Jerusalem, Paul wasn’t.
He was led by God to go and meet them, and the only reason he wanted to speak with them was to confirm that he was preaching the correct Gospel.
Paul valued praise from God, not the praises of men.
If God is not impressed by the reputations of men, then as His children we shouldn’t be impressed too.
There is no need to feel intimidated when speaking to someone with a glorified title.
“When he went into the house of one of the rulers of the Pharisees on a Sabbath to eat bread, they were watching him.” (Luke 14:1 WEB)
Jesus went to a party where the most respected Pharisees were, and He still spoke straightforwardly, without mincing His words. He was not afraid to speak the truth, even if it offended reputable men.
“He spoke a parable to those who were invited, when he noticed how they chose the best seats, and said to them, “When you are invited by anyone to a marriage feast, don’t sit in the best seat, since perhaps someone more honorable than you might be invited by him, and he who invited both of you would come and tell you, ‘Make room for this person.’ Then you would begin, with shame, to take the lowest place. But when you are invited, go and sit in the lowest place, so that when he who invited you comes, he may tell you, ‘Friend, move up higher.’ Then you will be honored in the presence of all who sit at the table with you. For everyone who exalts himself will be humbled, and whoever humbles himself will be exalted.” He also said to the one who had invited him, “When you make a dinner or a supper, don’t call your friends, nor your brothers, nor your kinsmen, nor rich neighbors, or perhaps they might also return the favor, and pay you back. But when you make a feast, ask the poor, the maimed, the lame, or the blind; and you will be blessed, because they don’t have the resources to repay you. For you will be repaid in the resurrection of the righteous.”” (Luke 14:7-14 WEB)
Jesus’ words above are essentially meaning that the guests at the party were pretentious hypocrites, all trying to curry favor with the rich and famous. Think about how offensive these words would be to most people at the party.
We are a new creation in Christ in contrast to the children of Adam. We are the new and improved version 2.0. Children of Adam are transgressors, whereas children of God are royal priests and heirs of His estate.
Even the wealthiest unbeliever is only like a piece of firewood, due to be thrown in the unquenchable fires of Hell when he dies.
As for speaking to fellow believers, God’s word says that we are one in Christ and that titles don’t matter—we are all of equal standing. We are all saved by one Lord, born-again of the same Spirit, and none of us earned this salvation—it’s all by grace through faith.
“For you are all children of God, through faith in Christ Jesus. For as many of you as were baptized into Christ have put on Christ. There is neither Jew nor Greek, there is neither slave nor free man, there is neither male nor female; for you are all one in Christ Jesus.” (Galatians 3:26-28 WEB)
Don’t get me wrong, Paul respected the office of apostle which Peter, James, and John held. These positions are given by God. Paul also teaches us to respect the governing bodies and submit to them for the Lord’s sake.
We should also respect our leaders in church for the sake of the offices that they hold since they are ordained by God. Give them proper honor for the sake of the office. Submit to those who have the authority over us, as this authority was given by God.
However, we don’t need to fear reputable men. You don’t have to shrink back, feeling like you are somehow less important, less worthy, or less loved. God loves you even as (as much as) He loves Jesus—that’s how important you are to Him!
If people abuse their office of authority and mistreat you, they themselves will be accountability for it before Jesus. Maybe their eternal rewards will be given to you instead, to restore you for the injustice.
“Jesus answered, “You would have no power at all against me, unless it were given to you from above. Therefore he who delivered me to you has greater sin.”” (John 19:11 WEB)
No one can harm you when God is protecting you. Men have no power of their own. Therefore, be bold and have confidence in Christ. Straighten your shoulders and back, and raise your chin up. Be set free from the fear of reputations of men!
I shared more about the time when Jesus went to that Pharisee’s party in my book “Messiah’s Miracles: The Power of Having Faith in Jesus Christ”. Did you know that He healed a man with dropsy there? There is a spectacular lesson in it. See God’s Grace and love towards you in all the 37 recorded miracles of Jesus Christ, and let faith arise for your own supernatural breakthroughs: https://bit.ly/messiahs-miracles
DIMPY BHALOTIA
Poche, pochissime erano le foto in casa di Henri Cartier-Bresson; una, forse due. Una, per cui il grande fotografo aveva una vera e propria ammirazione, era “Three Boys at Lake Tanganika” di Martin Munkácsi. Tre ragazzini immortalati di spalle che sprigionano un’incontenibile vitalità mentre corrono verso le acque del lago. Perché Cartier-Bresson amava quella fotografia? Perché, come ha detto lui stesso: “Ho capito improvvisamente che la fotografia può fissare l’eternità in un momento”. Osservando la fotografia “Flying Boys” di Dimpy Bhalotia, e con la quale si è aggiudicato il Female in Focus Award 2020 del British Journal of Photography, sembra che i tre ragazzini di Munkácsi siano tornati dopo un viaggio lungo novant’anni. Di più, pare che siano tornati per spiccare il volo e catturati nel preciso momento in cui occhio, cuore e mente del fotografo sono perfettamente allineati come una costellazione lontana. C’è, nelle fotografie della giovane indiana di Londra, qualcosa che arriva da una precisa tradizione fotografica e che àncora saldamente la composizione a quelle tre fondamentali componenti cui si faceva cenno, orientandola verso la ricerca del momento in cui un episodio umano – e non solo – ha la capacità di espletare il suo senso. Irripetibilmente. I riferimenti non mancano, e sono segno di una solida cultura visiva. Quanto guardiamo nelle fotografie di Dimpy Bhalotia sembra fuoriuscire da un racconto riscritto con nuove parole, nuovi cenni ma fermamente determinato a essere interpretato attraverso un lessico che costringe a sostare nello spazio citazionista giusto il tempo che occorre prima di assumere una vita propria. E questa sottile e aggraziata visione delle cose che plana sugli avvenimenti, ha quel respiro che sta dentro in una visione poetica della vita, perché per scattare fotografie che sappiano restituire la bellezza d’un gesto occorre amare la vita e i suoi interpreti. Ecco che uomini e animali, colti singolarmente o al crocevia della reciproca interazione, ci appaiono come soggetti appena involontariamente dialoganti ma che, a ben guardare, sono catturati nell’esatto momento di un dialogo segreto. La forza delle fotografie di Dimpy Bhalotia viene da lontano e dunque è ben strutturata. E si vede soprattutto nell’azzardo di forme, nella scommessa formale giocata sul corpo dei soggetti animali, da cui, in altre circostanze, cogliamo una felice traccia surrealista, un terreno ideale nel quale risolvere talune spericolatezze compositive. Il lavoro di Dimpy Bhalotia sosta alla confluenza di due differenti correnti fotografiche: l’umanesimo e il surrealismo (lo stesso Cartier-Bresson sperimentò un delicatissimo surrealismo prima di fondare la Magnum), maneggiati entrambi con disinvoltura e sicurezza. La sua è una voce limpidissima, minimale. Le composizioni obbediscono al comandamento d’essere rigidamente impostate su un registro essenziale, al limite del calligrafico, ma la sobrietà ci convince del risultato. Il solco della tradizione è tracciato, ma seguirne il percorso senza aggiungere le proprie impronte è come non averci camminato. La fotografia è un libro che non finisce mai di essere scritto, a patto d’avere qualcosa da dire. Come in questo caso.
Giuseppe Cicozzetti
foto Dimpy Bhalotia
https://www.dimpybhalotia.com/
DIMPY BHALOTIA
Few, very few were the photos in Henri Cartier-Bresson's house; one, maybe two. One, for which the great photographer had a real admiration, was Martin Munkácsi's “Three Boys at Lake Tanganika”. Three kids immortalized from behind who release an irrepressible vitality as they run towards the waters of the lake. Why did Cartier-Bresson love that photograph? Because, as he himself said: "I suddenly understood that photography can fix eternity in a moment". Looking at Dimpy Bhalotia's “Flying Boys” photograph, and with which she won the British Journal of Photography's Female in Focus Award 2020, it seems that the three kids from Munkácsi are back after a 90-year journey. What's more, they seem to have returned to take flight and captured at the precise moment when the photographer's eye, heart and mind are perfectly aligned like a distant constellation. There is, in the photographs of the young Indian woman based in London, something that comes from a precise photographic tradition and that firmly anchors the composition to those three fundamental components mentioned, orienting it towards the search for the moment in which a human episode - and not alone - has the ability to carry out its meaning. Unrepeatable. There’s no shortage of references, and they are a sign of a solid visual culture. What we look at in Dimpy Bhalotia's photographs seems to come out of a story rewritten with new words, new hints but firmly determined to be interpreted through a lexicon that forces us to pause in the quotationist space just the time it takes before taking on a life of its own. And this subtle and graceful vision of things that hovers over events, has that breath that lies within a poetic vision of life, because to take photographs that are able to restore the beauty of a gesture, you need to love life and its interpreters. Here men and animals, caught individually or at the crossroads of mutual interaction, appear to us as subjects that are barely involuntary in dialogue but who, on closer inspection, are captured in the exact moment of a secret dialogue. The strength of Dimpy Bhalotia's photographs comes from afar and therefore is well structured. And it is seen above all in the balancing of forms, in the formal bet played on the body of animal subjects, from which, in other circumstances, we grasp a happy surrealist trace, an ideal terrain in which to resolve certain compositional recklessness. Dimpy Bhalotia's work stops at the confluence of two different photographic currents: humanism and surrealism (Cartier-Bresson himself experienced a very delicate surrealism before founding Magnum), both handled with ease and confidence. Her is a very clear, minimal voice. The compositions obey the commandment to be rigidly set on an essential register, bordering on calligraphic, but the sobriety convinces us of the result. The groove of tradition is traced, but following its path without adding one's footprints is like not having walked through it. Photography is a book that never stops being written, as long as you have something to say. As in this case.
Giuseppe Cicozzetti
ph. Dimpy Bhalotia
https://www.dimpybhalotia.com/
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