Icon Quotes
Quotes tagged as "icon"
Showing 1-30 of 41
“Some believe that as an icon the image of Oscar Wilde is too old and notorious--all right, not an icon, let him be our oriflamme.”
― Forever Jocelyn
― Forever Jocelyn
“If an artist can occupy the void of artistry while simultaneously parodying its iconography, they can have their metaphorical cake and cannibalise its crumbs too.”
―
―
“And it really breaks her. But it is also how she grows up to become an icon. We love broken, beautiful people.”
― Daisy Jones & The Six
― Daisy Jones & The Six
“Imagine a piece of spaghetti that looks edible but that never ends once you start sucking it in—that’s fame in a nutshell.”
― Cali the Destroyer
― Cali the Destroyer
“Idol worship” is so deeply ingrained in the human brain synapses that it would be almost impossible to be bereft of it. And in absence of an external icon we are always going to look for it inside us. In fact, in many regions of the world this process is already in progress resulting in the pandemic of “self-admiration” and “self-deification” of our modern times.”
― A PHILOSOPHICAL KALEIDOSCOPE: Thoughts, Contemplations, Aphorisms
― A PHILOSOPHICAL KALEIDOSCOPE: Thoughts, Contemplations, Aphorisms
“I remember when Elvis died. I wrote my sentiments with words of a little girl in my dear diary, "Many people wanted to see his body. They literally wanted to dig his bones out just to make sure that he was being buried. And I could not understand why. Why people could not leave him alone and let his soul rest in peace." I couldn't get it. I didn't grasp it at that time. In a head of a little girl it was hard to believe that there were mysteries to be solved. That there ruled a conspiracy theory that people thought it was odd that he was buried and the casket was never opened. They didn't believe he was dead! Oh yes. Elvis Lives! And as the world needs his songs, his words, his thoughts, his love, his light more than ever before.”
― Mysterious Murder of Marilyn Monroe
― Mysterious Murder of Marilyn Monroe
“Now we find ourselves in the knowledge of what is cheating. It is cheating to treat oneself as an object, or as an image to tend to, or as an icon.”
― How Should a Person Be?
― How Should a Person Be?
“As we stare into the icon, the world we are looking into ishn't shrinking or vanishing. Rather, it is expanding and growing. I like to call this The Wardrobe Effect, borrowed from the scene in C. S. Lewis' The Lion, the Witch and the Wardrobe, where the children move into and through a small space (the Wardrobe) to emerge into this vast expansive space (Narnia). An icon is trying to create, via reverse perspective, this same effect upon us. Heaven is more real and larger than this world.”
― A Light So Lovely: The Spiritual Legacy of Madeleine L'Engle, Author of A Wrinkle in Time
― A Light So Lovely: The Spiritual Legacy of Madeleine L'Engle, Author of A Wrinkle in Time
“Your grandmother had an icon, your mother had a little portrait of Lenin, and you have your TV.”
― Time Shelter
― Time Shelter
“Be no longer willing to be placed in someone’s personal trophy collection only to be dusted off and placed back at their discretion! You are a work of art, made for a museum full of the most valuable pieces! Be who you are, Be one of a kind, Be an ICON, BE AN ICONIC WORK OF ART!”
― KYNG SUPA NOVA'S ADVENTURES OPERATION COVID-19: WITH FAMILY WE CAN CONQUER ALL
― KYNG SUPA NOVA'S ADVENTURES OPERATION COVID-19: WITH FAMILY WE CAN CONQUER ALL
“This" said Wenzil, pointing to the stunner in her cutaway holster, "is an icon of my religion. It would violate my cultural personhood to give it up".”
― Blood and War
― Blood and War
“The problem is that you think 30 and 40 and 50 is a lot when you should be using the same logic to explain why 30,000,000 and 40,000,000 and 50,000,000 is a lot.
The number is not the problem. The application of your logic to a small number instead of a big one is the problem.”
―
The number is not the problem. The application of your logic to a small number instead of a big one is the problem.”
―
“Freedom is Chaos.
It is the absence of structure, logic, control and discipline.
A free person is a chaotic person.
I don't want to be free.
I enjoy my discipline.
I like control.
I like having a goal.
I find it soothing to work hard.
Freedom scares me. There is so little definition to it I wouldn't even know where to start. I don't like freedom. It's a ball of anxiety if you ask me.
When I think of free people, I imagine hippies, alcoholics, drug addicts, homeless people, fat people and unscholarly teenagers.”
―
It is the absence of structure, logic, control and discipline.
A free person is a chaotic person.
I don't want to be free.
I enjoy my discipline.
I like control.
I like having a goal.
I find it soothing to work hard.
Freedom scares me. There is so little definition to it I wouldn't even know where to start. I don't like freedom. It's a ball of anxiety if you ask me.
When I think of free people, I imagine hippies, alcoholics, drug addicts, homeless people, fat people and unscholarly teenagers.”
―
“We compete on various levels as humans.
Popularity. Intellectual capacity. Social status. Titles. Monetary superiority. Physical strength and fitness. Beauty. Ability to get romantic partners. Power. Influence. Morality. Talents. Skills. Achievements. Awards. Recognition. Personal qualities.
Even a nun, a priest of the highest echelon, and the religious worker taking photos with random children in Africa, are competing for superior morality and recognition for their selfless deeds.
Just because your inherent needs for recognition differ from those next to you does not mean you are free of them.”
―
Popularity. Intellectual capacity. Social status. Titles. Monetary superiority. Physical strength and fitness. Beauty. Ability to get romantic partners. Power. Influence. Morality. Talents. Skills. Achievements. Awards. Recognition. Personal qualities.
Even a nun, a priest of the highest echelon, and the religious worker taking photos with random children in Africa, are competing for superior morality and recognition for their selfless deeds.
Just because your inherent needs for recognition differ from those next to you does not mean you are free of them.”
―
“You are sculpting yourself. Of course it's painful.
Carving every detail you want in your life into the tender fabrics of your own existence. Your body, your mind, your business, your home.
Is it not beautiful? How there are those of us that are willing to bear insufferable pain, all to achieve their highest form.
And then there's the rest of the world, fragile creatures, porcelain dolls, the unscuplted masses. All too scared to bear the burden.
Pain is the seed of power. If you can not tolerate it, you should not compete with those who will.”
―
Carving every detail you want in your life into the tender fabrics of your own existence. Your body, your mind, your business, your home.
Is it not beautiful? How there are those of us that are willing to bear insufferable pain, all to achieve their highest form.
And then there's the rest of the world, fragile creatures, porcelain dolls, the unscuplted masses. All too scared to bear the burden.
Pain is the seed of power. If you can not tolerate it, you should not compete with those who will.”
―
“Power is the result of rigorous self-observation.
Self-observation causes a higher degree of self-consciousness, especially of the things we do not like about ourselves, which causes us to change or inadequacies into strengths, and so we achieve power.
Power comes from identifying your weaknesses rapidly and eradicating them for good.
Assuming that you're correct is the fastest way to remain incorrect. You're probably doing something wrong somewhere, which is why you are in the position where you are instead of where you want to be. The more you ignore it, the worse it gets.
You need to stop avoiding it and face the facts.
Study yourself to study your weaknesses. And when you do, they will disappear.
If I avoid the mirror I will eventually be unable to face it. If I avoid my balance sheet, it won't get any bigger.
So I watch myself. I observe and I criticize. I exercise self-discipline and judgement, reward and punishment, a focused routine of self-evaluation.”
―
Self-observation causes a higher degree of self-consciousness, especially of the things we do not like about ourselves, which causes us to change or inadequacies into strengths, and so we achieve power.
Power comes from identifying your weaknesses rapidly and eradicating them for good.
Assuming that you're correct is the fastest way to remain incorrect. You're probably doing something wrong somewhere, which is why you are in the position where you are instead of where you want to be. The more you ignore it, the worse it gets.
You need to stop avoiding it and face the facts.
Study yourself to study your weaknesses. And when you do, they will disappear.
If I avoid the mirror I will eventually be unable to face it. If I avoid my balance sheet, it won't get any bigger.
So I watch myself. I observe and I criticize. I exercise self-discipline and judgement, reward and punishment, a focused routine of self-evaluation.”
―
“What you consume is what you create.
Reader becomes writer, listener becomes speaker, music lover becomes singer, driver becomes fleet owner, it's the cycle we're bound to.”
―
Reader becomes writer, listener becomes speaker, music lover becomes singer, driver becomes fleet owner, it's the cycle we're bound to.”
―
“It should be illegal not to allow children to earn income and build businesses. Our children should be allowed to be millionaires at any age. Reward by merit, not by age.”
―
―
“Standing out makes you unique. Standing alone makes you strong. Standing for something makes you remembered.”
― Sips And Little Portions
― Sips And Little Portions
“There are indeed no dead heroes or heroines; for they are still breathing through their undying legacies.”
― Sips And Little Portions
― Sips And Little Portions
“SANG PENARI
V — Wirasa para Bayang Penanda
Pada malam di mana kota kehilangan listrik
dan cahaya hanya datang dari bara rokok para gelandangan,
Sang Penari memasuki ruang kosong
yang seakan dibangun dari gema ribuan panggung yang pernah runtuh.
Di sana, bayang-bayang empat maestro dunia
menunggu seperti para begawan dari peradaban yang jauh lebih tua.
—Mata kosong dari Teater Noh — “Hannya”—
Topeng iblis perempuan dari Jepang kuno itu
menggantung di udara seperti wajah kesedihan yang diawetkan.
Setiap denting langkah Sang Penari
menghidupkan memori ratusan aktor
yang pernah mengabdi pada ritual panggung
yang mengaburkan batas antara tubuh dan arwah.
Hannya berbisik:
“Kemarahan yang kau sembunyikan adalah dewa yang kelaparan.”
Dan Sang Penari pun bergerak
seolah sedang kerasukan,
memanggil monster yang ia takutkan.
—Bayang Lorca di Granada—
Dari kejauhan terlihat siluet Federico García Lorca,
penyair yang mati karena rezim yang membenci imajinasi.
Tubuhnya yang tak ditemukan
mengirimkan resonansi gelap ke dalam tarian itu.
Ia membawa gitar patah,
dan setiap petikan memanggil ingatan perang saudara
yang pernah memakan generasi muda Spanyol.
“Tarianmu bukan hiburan,” katanya,
“itu adalah pemberontakan sunyi terhadap sejarah yang lupa belajar.”
Sang Penari menekuk tubuhnya
seperti ingin memecahkan waktu
dan dari gerakan itu terpancar bintang-bintang.
—Siluet Anna Pavlova — The Dying Swan—
Dari kabut lampu panggung, muncul bayang ratu balet itu,
gaunnya tampak koyak, sayap putihnya hitam terbakar
seperti burung yang gagal melintasi api neraka.
Ia menari pelan,
penuh luka yang dilipat-lipat menjadi keanggunan.
“Tak ada kecantikan yang lahir dari kemenangan,”
bisiknya seperti bulu angsa yang tercerabut dari akarnya.
“Kecantikan hanya lahir dari kehancuran yang kau terima tanpa menunduk.”
Dan Sang Penari mengikuti geraknya:
sebuah tarian kematian yang memurnikan diri.
—Bayang Bhairava — Penari Kosmik India—
Dari dasar ruangan muncul langkah-langkah keras
dari Bhairava, aspek tergelap dari Śiva,
penari yang menari untuk menghancurkan dunia
agar dunia dapat dilahirkan kembali.
Rambut gimbalnya menyulut angin hitam,
lonceng-lonceng di pergelangan kakinya
menggetarkan mimpi buruk yang sejak lama ia tinggalkan.
“Kalau kau ingin hidup baru,” suara Bhairava membelah udara,
“tarianmu harus membinasakan dirimu yang lama.”
Dan Sang Penari mulai berputar dengan sangat cepat,
meninggalkan serpih-serpih identitas yang terlepas dari tubuhnya
seperti sisik ular yang terkelupas.
Agustus 2025”
―
V — Wirasa para Bayang Penanda
Pada malam di mana kota kehilangan listrik
dan cahaya hanya datang dari bara rokok para gelandangan,
Sang Penari memasuki ruang kosong
yang seakan dibangun dari gema ribuan panggung yang pernah runtuh.
Di sana, bayang-bayang empat maestro dunia
menunggu seperti para begawan dari peradaban yang jauh lebih tua.
—Mata kosong dari Teater Noh — “Hannya”—
Topeng iblis perempuan dari Jepang kuno itu
menggantung di udara seperti wajah kesedihan yang diawetkan.
Setiap denting langkah Sang Penari
menghidupkan memori ratusan aktor
yang pernah mengabdi pada ritual panggung
yang mengaburkan batas antara tubuh dan arwah.
Hannya berbisik:
“Kemarahan yang kau sembunyikan adalah dewa yang kelaparan.”
Dan Sang Penari pun bergerak
seolah sedang kerasukan,
memanggil monster yang ia takutkan.
—Bayang Lorca di Granada—
Dari kejauhan terlihat siluet Federico García Lorca,
penyair yang mati karena rezim yang membenci imajinasi.
Tubuhnya yang tak ditemukan
mengirimkan resonansi gelap ke dalam tarian itu.
Ia membawa gitar patah,
dan setiap petikan memanggil ingatan perang saudara
yang pernah memakan generasi muda Spanyol.
“Tarianmu bukan hiburan,” katanya,
“itu adalah pemberontakan sunyi terhadap sejarah yang lupa belajar.”
Sang Penari menekuk tubuhnya
seperti ingin memecahkan waktu
dan dari gerakan itu terpancar bintang-bintang.
—Siluet Anna Pavlova — The Dying Swan—
Dari kabut lampu panggung, muncul bayang ratu balet itu,
gaunnya tampak koyak, sayap putihnya hitam terbakar
seperti burung yang gagal melintasi api neraka.
Ia menari pelan,
penuh luka yang dilipat-lipat menjadi keanggunan.
“Tak ada kecantikan yang lahir dari kemenangan,”
bisiknya seperti bulu angsa yang tercerabut dari akarnya.
“Kecantikan hanya lahir dari kehancuran yang kau terima tanpa menunduk.”
Dan Sang Penari mengikuti geraknya:
sebuah tarian kematian yang memurnikan diri.
—Bayang Bhairava — Penari Kosmik India—
Dari dasar ruangan muncul langkah-langkah keras
dari Bhairava, aspek tergelap dari Śiva,
penari yang menari untuk menghancurkan dunia
agar dunia dapat dilahirkan kembali.
Rambut gimbalnya menyulut angin hitam,
lonceng-lonceng di pergelangan kakinya
menggetarkan mimpi buruk yang sejak lama ia tinggalkan.
“Kalau kau ingin hidup baru,” suara Bhairava membelah udara,
“tarianmu harus membinasakan dirimu yang lama.”
Dan Sang Penari mulai berputar dengan sangat cepat,
meninggalkan serpih-serpih identitas yang terlepas dari tubuhnya
seperti sisik ular yang terkelupas.
Agustus 2025”
―
“Sang Penari
VI — Perjumpaan Puncak — Litani Penanggalan Roh—
Keempat empu itu mengitari Sang Penari seperti konstelasi gelap yang menolak memberikan arah.
Topeng Hannya—membuka rahasia luka batin yang ia simpan sejak remaja.
Lorca—memberinya bahasa untuk mengutuk ketidakadilan yang ia alami.
Pavlova—mengajarinya bahwa keanggunan adalah bentuk terakhir dari keputusasaan.
Bhairava—menuntut ia menghabisi semua bentuk “aku” yang masih ia genggam.
Sang Penari bergerak di tengah mereka,
gerakannya membentuk huruf-huruf tak dikenal
seperti alfabet kuno dari peradaban yang hilang.
Ia menari sampai tubuhnya bukan tubuh,
waktu bukan waktu,
dan seluruh ruangan berubah menjadi ruang batin.
Di puncak putaran terakhir,
ia merasakan dirinya terbelah:
separuh menjadi angin,
separuh menjadi debu,
separuh lagi menjadi sesuatu yang tak memiliki wujud
namun menyimpan kecerdasan tak terlukiskan.
Dan tiba-tiba, sunyi.
Hannya jatuh menjadi topeng kosong.
Lorca lenyap seperti tembakan yang tak punya peluru.
Pavlova memudar menjadi serbuk putih.
Bhairava kembali menjadi cahaya merah gelap
yang mengalir ke tanah seperti darah dari dimensi lain.
Sang Penari berdiri sendirian.
Tapi ia bukan lagi manusia.
Ia adalah penanda,
arsip hidup tentang apa yang terjadi
ketika seseorang menari sampai inti jiwanya menghilang.
Dan dari ruang gelap itu,
sebuah suara tanpa bentuk terdengar:
“Kini kau bukan lagi penari.
Kau adalah tarian itu sendiri.”
Agustus 2025”
―
VI — Perjumpaan Puncak — Litani Penanggalan Roh—
Keempat empu itu mengitari Sang Penari seperti konstelasi gelap yang menolak memberikan arah.
Topeng Hannya—membuka rahasia luka batin yang ia simpan sejak remaja.
Lorca—memberinya bahasa untuk mengutuk ketidakadilan yang ia alami.
Pavlova—mengajarinya bahwa keanggunan adalah bentuk terakhir dari keputusasaan.
Bhairava—menuntut ia menghabisi semua bentuk “aku” yang masih ia genggam.
Sang Penari bergerak di tengah mereka,
gerakannya membentuk huruf-huruf tak dikenal
seperti alfabet kuno dari peradaban yang hilang.
Ia menari sampai tubuhnya bukan tubuh,
waktu bukan waktu,
dan seluruh ruangan berubah menjadi ruang batin.
Di puncak putaran terakhir,
ia merasakan dirinya terbelah:
separuh menjadi angin,
separuh menjadi debu,
separuh lagi menjadi sesuatu yang tak memiliki wujud
namun menyimpan kecerdasan tak terlukiskan.
Dan tiba-tiba, sunyi.
Hannya jatuh menjadi topeng kosong.
Lorca lenyap seperti tembakan yang tak punya peluru.
Pavlova memudar menjadi serbuk putih.
Bhairava kembali menjadi cahaya merah gelap
yang mengalir ke tanah seperti darah dari dimensi lain.
Sang Penari berdiri sendirian.
Tapi ia bukan lagi manusia.
Ia adalah penanda,
arsip hidup tentang apa yang terjadi
ketika seseorang menari sampai inti jiwanya menghilang.
Dan dari ruang gelap itu,
sebuah suara tanpa bentuk terdengar:
“Kini kau bukan lagi penari.
Kau adalah tarian itu sendiri.”
Agustus 2025”
―
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