Tradesmen & Craftsmen
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For me, it is always mysterious what a monk has to do in a big city. I saw this monk crossing a main road in Colombo. I wonder if he had to go to a bank to get money for the temple. Maybe for a renovation? In Sri Lanka, craftsmen are always paid in cash in the evening for their day's work. Judging by the bag, it must be a major renovation. There were several tropical downpours that day. He carries his umbrella casually tucked under his arm.
The first town, built by Celts in the first century BC, occupied about 30 hectares along the slopes of Gellért Hill. Archaeological finds suggest that it may have been a densely populated settlement with a separate district of craftsmen (potteries and bronze foundries). It may have been a trading centre as well, as coins coming from different regions would indicate. The town was occupied by the Romans at the beginning of the Christian era. Its inhabitants moved to the Danube plains to a city retaining the Celtic name (Aquincum) in the first century AD. In AD 106, the city became the capital of the Roman province of Pannonia Inferior. The headquarters of the governor and significant military force were stationed here, and its population numbered about 20,000. It was frequently involved in wars on the border of the Roman Empire (formed by the Danube River).
The city of Budapest was officially created on 17 November 1873 from a merger of the three neighboring cities of Pest, Buda and Óbuda. Smaller towns on the outskirts of the original city were amalgamated into Greater Budapest in 1950. ( wikipedia )
#macromondays #Screw
The latest #macromondays challenge #screw prompts me to share this picture with you.
We Germans think that we are the ultimate hobby craftsmen. We think we can build anything. But sometimes we can't even get a wood screw screwed in straight. It is advantageous to use a cordless screwdriver at the right angle.That's when the little helpers come into play once again. Sometimes we need their support to finish our project correctly. Fortunately, the little helpers are a helpful community. :)
The used screws in this image are "Spax Universal Screws 4x25 mm"!
Thank you for visits, comments and favs!
Vielen Dank für Eure Besuche, Kommentare und Sternchen!
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
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Jaisalmer (Inde) - Des photos de tailleurs je dois en avoir une centaine, prises au cours de mes nombreux séjours en Inde. Tailleurs et artisans en tout genre sont pour moi, des sujets de prédilection lors de mes balades qui m’entraînent au hasard des ruelles tortueuses des villes et villages. Quand je n’ai pas de séries ou reportages programmés, ces artisans sont toujours l’occasion d’exercer mon oeil et l’occasion d’agréables rencontres, même fugaces.
Tailor (2)
Jaisalmer (India) - I must have around a hundred photos of tailors, taken during my numerous stays in India. Tailors and craftsmen of all kinds are for me, favorite subjects during my walks which lead me randomly through the winding streets of towns and villages. When I don't have any series or reports scheduled, these artisans are always an opportunity to exercise my eye and a pretext for pleasant encounters.
Craftsmen George, a carpenter/ guitar maker and Charlie, a sheet metal worker ... outside their workshop in Inverclyde
A fragment of the famous Baroque three-tiered iconostasis with its 39 unique images of the faces of saints (1754-1761), which was made according to a drawing by B. F. Rastrelli by St. Petersburg craftsmen from linden covered with gold leaf. Assembled on site in parts. The notable color of the iconostasis is bright red.
It is the only completely authentic iconostasis designed by Rastrelli in the world that has survived to this day.
Gilded pilasters with molded gilded capitals. Golden Imperial cartouches on a red background, into which picturesque icons are inserted, inform about who exactly should have been a parishioner of this church.
Фрагмент знаменитого барочного триярусного іконостаса із його 39 унікальними зображеннями ликів святих (1754-1761), який був виготовлений за малюнком Б. Ф. Растреллі петербурзькими майстрами з липи з покриттям сусальним золотом. Зібраний на місці частинами. Примітний колір іконостасу – яскраво-червоний.
Це єдиний у світі, повністю автентичний цілісний іконостас за проектом Растреллі, який зберігся незмінним до наших часів.
Рами іконостасу переважно завжди виготовляли з липи. Ця порода дерева м'яка та пластична. Рідше використовували дуб. З цією породою дерева важко працювати. Наприклад, дубовий іконостас є лише у церкві Різдва Пресвятої Богородиці біля далеких печер Києво-Печерської лаври.
Покриті золотом пілястри коринфського ордера з ліпними позолоченими капітелями, особливістю яких є те, що вони відтворюють мотив кошика - калафа, чашки квітки, прикрашеної стилізованим листям аканта. Такі капітелі, прикрашені натуралістичним ліпним рослинним орнаментом, відрізняють Андріївську церкву від інших храмів України першої половини XVIII століття.
Золоті Імператорські картуші на червоному фоні, в які вставлені мальовничі ікони, однозначно сповіщають про те, хто саме мали бути парафіянами цього храму.
Інтер'єр Андріївської церкви відрізняється пишністю та різноманітністю: чудовий живопис, декоративне ліплення та різьблення по дереву створюють досконалий ансамбль. Квіткові гірлянди, пальмові гілки, головки херувимів та інший ліпний декор органічно поєднуються з архітектурою, прикрашаючи купол, двері та вікна.
Внутрішнє оздоблення Андріївської церкви неможливо уявити без хитромудрого різьблення, яке вражає не лише масштабами, а й вдалим поєднанням пласких та рельєфних візерунків, золоченої та поліхромної скульптури.
The bishopric of the Lord Jesus Christ consists in the mysterious combination by Him in His Person of two titles at once - He is a Priest and a King at the same time. The Lord God announced about Him through the psalmist David: “Thou art a priest forever, according to the order of Melchizedek” (Ps. 109:4). King and priest, as was customary in pre-legal times, the Old Testament Melchizedek was a prototype of Christ and His sacred kingdom. Such a merging of two aspects of dominion - spiritual and civil, apparently gave reason for the icon of the “Savior of the Great Bishop” to also be called the “King of Kings”.
Архієрейство Господа Ісуса Христа полягає у таємничому з'єднанні Ним у Своїй Особі одразу двох звань – Він Священик і Цар одночасно. Господь Бог сповістив про Нього через псалмоспівця Давида: «Ти єш ієрей на віки, за чином Мелхиседека» (Пс. 109, 4). Цар і священик, як це було прийнято в дозаконні часи, старозавітний Мелхиседек став прообразом Христа і Його священноцарства. Таке злиття двох аспектів панування - духовного і громадянського, мабуть, дало підставу ікону "Спасителя Великого Архієрея" називати також "Царем царів".
Painted Gourds made into Folk Art bird houses by local craftsmen in North Carolina, colorful and very cheerful.
Found in the archives: Architectural detail on one of the older buildings in downtown Bridgeport, Connecticut. Some craftsmen spent a lot of time on this building.
more Black and White
more New England
more Connecticut
Others in this series posted in 2014:
From the Historic Buildings of Connecticut site:
The Court Exchange Building, at 211 State Street in Bridgeport, is a grandiose commercial structure, built in 1896. It was built by C. Barnum Seeley, the grandson of P.T. Barnum. The great showman, who had no sons, wanted the family name to continue and so he had provided that C. H. Seeley would receive the sum of $25,000, in addition to his portion of his grandfather’s estate, if he added Barnum to his name. For the Court Exchange Building, Seeley hired architect George Longstaff, whose extravagant plans caused building costs to skyrocket.
Pentax K-3 - SMC Pentax DA 55-300mm F4-5.8ED
(IMG35184ec2b3)
It is a real art to build these - proper craftsmen do it, although there are lots of courses for interested people to learn the skills too. But this is what happens, suddenly, often with no warning.... and then it gets expensive. One of our neighbours phoned yesterday to say that her side of a wall we share, had collapsed - great joy!!
The highly educated Prince-Archbishop Albert I of Käfernburg, having had traveled in Italy and France, decided to construct the new cathedral modelled upon the Gothic architecture that had intrigued him in France. The French style was completely unknown in Germany, and the hired craftsmen only gradually mastered it.
The construction of the choir started in 1209, only two years after the fire that destroyed the previous church, but this choir is still in a very Romanesque style, initially still using romanesque groin vaults, combined with a gothic center stone, which however is not needed for Romanesque groin vaults.
The Gothic influence increased especially between 1235 and 1260 under Archbishop Wilbrand. As the construction was supervised by different people in the span of 300 years, many changes were made to the original plan, and the cathedral size expanded greatly. The people of Magdeburg were not always happy with this, since they had to pay for the construction. In some cases already constructed walls and pillars were torn down to suit the wishes of the current supervisor.
Construction stopped after 1274. In 1325, Archbishop Burchard III. von Schraplau was killed by the people of Magdeburg because of extreme taxes. Folklore says that especially the beer tax increase caused much anger. Afterwards Magdeburg was under a ban, and only after the donation of five atonement altars did the construction of the cathedral continue under Archbishop Otto von Hessen. Otto was also able to complete the interior construction, and formally opened the dome in 1363 in a week-long festival. At this time the cathedral was dedicated not only to St Maurice as before, but also to Saint Catherine.
In 1360 the construction stopped again after the uncompleted parts have been covered provisionally. Only in 1477 did the construction start again under Archbishop Ernst von Sachsen, including the two towers. The towers were constructed by master builder Bastian Binder, the only master builder of the cathedral known by name. The construction of the cathedral was completed in 1520 with the placement of the ornamental cross on the north tower.
Orthodox congregation in Valmiera was established in the 1920s, when many Russian merchants, craftsmen and soldiers settled in the city. In Vidzeme in general, the conversion of Latvian farmers to Orthodoxy is widespread, both under the general policy of Russification and hoping to acquire land in this way.
The construction of the new Valmiera Orthodox church began in 1877 and was completed in December 1878. Its author is the first academically educated Latvian architect Jānis Frīdrihs Baumanis (1834–1891). The church was consecrated on May 16, 1879. The church was built of torn gray boulders. Eaves, corners and cornices are made of red locally made bricks. Next to the church is the Mengden family chapel - a mausoleum (built in 1903). A new iron fence was built around the chapel, on stone poles and on a stone foundation. The money, 2000 rubles, was given for the construction of the fence by Count George Mengden's son Georgy Mengden. On November 9th, 1903, in the presence of Dmitry Muraveisk, a clergyman of the Church of St. Sergey of Radonezh, took the coffin of Count George Mengden's father with ashes from the Lutheran chapel to the chapel of the Orthodox church. Inside it, on the east wall, a marble slab with an inscription was fastened and the symbol "Resurrection" was placed in a special niche.
These three men are craftsmen after completing their apprenticeship. In Germany, it has been the custom since the Middle Ages for journeymen to go on a “traveling” journey for 2-3 years after completing their apprenticeship. Today this custom is voluntary; previously, the journeymen were only fully trained after completing this journey. All “Tippel brothers” wear the same outfit, which also includes the wide-brimmed black hat. The photo was taken in Wismar in northern Germany; There was probably a big meeting of journeymen on that day, as hundreds could be seen in Wismar.
Annual cultural event in the country, artists and craftsmen open up there gates to present their work and culture.
Glaswerkstatt Frank Meurer
Kapana neighborhood in the center of Plovdiv used to be the craftsmen's quarter, then was apparently derelict, and was revived as the place where the best restaurants of Plovdiv are now concentrated as part of the city's preparation to be the Cultural Capital of Europe in 2019
Район Капана в центре Пловдива был в прошлом районом ремесленником но потом пришёл в упадок. Капана была возрождена как место где сконцентрированы лучшие рестораны Пловдива когда город готовился стать Культурной Столицей Европы в 2019 г.
Centro di artigiani tessili di Chinchero.
Presentazione del lavoro nel centro:
- Cardatura delle lane ovine e alpaca.
- Colorazione con materiali naturali
- Tessitura tramite semplici telai manuali.
Center of textile craftsmen of Chinchero.
Presentation of the work in the center:
- Wool carding of sheep and alpaca origin.
- Coloring with natural materials
- Weaving through simple manual looms.
Silverware making. Thai craftman are making silverware. The original of the silver craftsmen on Wua Lai road, Chiang Mai. Thailand
The building was constructed by local craftsmen of handhewn blue granite sourced on the property. The antique pews came from the Royal London Society for the Blind. The chandeliers are hand-crafted wrought iron. A very peaceful place. Carved into one of the granite blocks at the right of the entryway is this:
"BEHOLD, HEAVEN AND THE HEAVEN OF HEAVENS CANNOT CONTAIN THEE; HOW MUCH LESS THIS HOUSE WHICH I HAVE BUILT (2 Chronicles 6:18 KJV)"
When the day has come to change your life and you are finally ready to join the Light Side of the Force - and you can't get the key for your Snowspeeder, because the craftsman has installed the new key rack beyond your reach. Inspired by the current situation at home: craftsmen and renovation work. Makes me want to join the Dark Side of the Force.
Yes. I did it, I went to the toy shop and bought Star Wars Lego. Just for MMs. The Stormtrooper figure is really tiny, just 4,5 cm (1,77165 inches), and the key, a pendant (a present from my brother), is even tinier, 1,5 cm (0,590551 inches).
Size of what you see in the frame: 7,5 x 7,5 cm (2,95276 x 2,95276 inches).
Thank you for your comments and faves, they are highly appreciated!
A Happy Macro Monday, Everyone!
Wenn der Tag gekommen ist, an dem Du Dein Leben ändern und Du Dich endlich der hellen Seite der Macht anschließen möchtest. Und nicht an den Schlüssel für den Snowspeeder kommst, weil der Handwerker das neue Schlüsselbrett zu hoch angebracht hat. Zur Zeit in der Wohnung: Handwerker. Und nein, es läuft nicht direkt nach Plan. Zeit, mich der dunklen Seite der Macht anzuschließen.
Vielen Dank für Eure lieben Kommentare und Faves, über die ich mich stets freue, und einen schönen, sonnigen Montag!
The Taj Mahl "crown of palaces",is a white marble mausoleum located in Agra, Uttar Pradesh, India. It was built by Mughal emperor Shah Jahan in memory of his third wife, Mumtaz Mahal. The Taj Mahal is widely recognized as "the jewel of Muslim art in India and one of the universally admired masterpieces of the world's heritage".
Taj Mahal is regarded by many as the finest example of Mughal architecture, a style that combines elements from Persian and Indian architectural styles.
In 1983, the Taj Mahal became a UNESCO World Heritage Site. While the white domed marble mausoleum is the most familiar component of the Taj Mahal, it is actually an integrated complex of structures. The construction began around 1632 and was completed around 1653, employing thousands of artisans and craftsmen. The construction of the Taj Mahal was entrusted to a board of architects under imperial supervision, including Abd ul-Karim Ma'mur Khan, Makramat Khan, and Ustad Ahmad Lahauri. Lahauri is generally considered to be the principal designer.
de/from Wikipedia:
es.wikipedia.org/wiki/Patio_de_los_Arrayanes
El patio de los Arrayanes es el gran patio escenográfico perteneciente al Palacio de Comares de la Alhambra, situado en su centro, al este del patio del Cuarto Dorado y al oeste de la sala de Baños y patio de los Leones. A su alrededor se articulan una serie de estancias siendo las más importantes las destinadas a cuarto de trabajo del sultán (diwan) o sala del trono y de audiencias (situadas al norte del patio). El patio es rectangular de dimensiones bastante considerables y con un estanque o alberca en el centro rodeado de plantaciones de arrayanes (o mirtos). Se le conoce también con los nombres de patio de los Mirtos, patio de la Alberca y patio de Comares.
En el centro se encuentra el estanque que mide 34 metros por 7,10 metros; se abastece de agua por medio de dos pilas de mármol situadas en cada extremo. Está enmarcado por unos pasillos pavimentados en mármol blanco, delimitados a su vez por la plantación de los mirtos o arrayanes bien recortados que forman como un seto, de un verde brillante que contrasta con el mármol y con el agua.nota 1 Alrededor del estanque y los mirtos y por sus cuatro costados, hay un gran espacio que constituye el patio propiamente dicho, cuyo suelo es también de mármol blanco. En su origen estaba adornado también por naranjos silvestres de fruto amargo, según la descripción hecha por el embajador veneciano Andrea Navagiero que hizo una visita a la Alhambra en el siglo XVI.
El patio fue restaurado en el siglo XIX como tantos otros sitios de la Alhambra. El restaurador principal fue el académico arquitecto Rafael Contreras Muñoz (1826-1890). Uno de los cambios más espectaculares consistió en levantar el pavimento que estaba enlosado con lápidas procedentes de cementerios musulmanes, sustituyéndolas por un enlosado de mármol.
Al muro norte se abre primero una galería o pórtico abierto en cuyo centro hay una pequeña cúpula. En los extremos hay unas alcobas que se supone fueran de tertulia mientras esperaban la audiencia del sultán. En las paredes y por encima del zócalo de azulejos se escribieron poesías de Ibn Zamrak, ministro de Muhammad V, en alabanza de este sultán. Hay también dos nichos o tacas, esculpidos en mármol y adornados con azulejos, donde se colocaban jarrones con flores o lámparas de aceite. A lo largo de la galería hay un zócalo de azulejos realizados por Antonio Tenorio y el morisco Gaspar Hernández entre 1587 y 1599.
La galería del muro sur está compuesta por tres arcos iguales y uno central más elevado. La recorre un zócalo de azulejos. Esta galería también recibe a sus visitantes con una leyenda:
"La ayuda y la protección de Dios y una victoria espléndida para nuestro Señor Abu Abd' Allah, emir de los musulmanes."
No se tiene mucha noticia sobre las dependencias que había en este lado. Fueron destruidas parcialmente para la construcción del palacio de Carlos V en el siglo XVI. Por encima de esta galería hay un corredor y sobre éste otra galería de seis arcos iguales y otro con dintel y zapatas de madera en el centro. Las celosías son del siglo XIX.
En el lado este del patio se abren distintas puertas que conducen a estancias privadas del sultán y su corte.
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en.wikipedia.org/wiki/Court_of_the_Myrtles
The Court of the Myrtles (Patio de los Arrayanes) is part of the palace and fortress complex of the Alhambra. It is located east of the Gilded Room (Cuarto Dorado) and west of the Patio of the Lions and the Baths. Its current name is due to the myrtle bushes that surround the central pond and the bright green colour of which contrasts with the white marble of the patio. It was also called the Patio of the Pond or the Reservoir (Patio del Estanque o de la Alberca) because of the central pond, which is 34 metres long and 7,10 meters wide. The patio is divided in two sides by the pond, which receives its water from two fountains. The space has chambers and porticoes around it. These porticoes rest on columns with cubic capitals, which have seven semicircular arches decorated with fretwork rhombuses and inscriptions praising God. The central arch is greater than the other six and has solid scallops decorated with stylised vegetal forms and capitals of Mocárabes.
The most important chambers that surround the Patio are the ones in the north side, which are part of the Comares Palace, the official residence of the King.
Comares Palace
The name of the Palace, Comares, has led to various etymological research. For instance, Diego de Guadix wrote a dictionary about Arabic words in which it is said that Comares originally comes from cun and ari. The first term means stand up and the second one look, in other words it would have meant Stand up and look around or possibly Open your eyes and see, which is a way of referring the beauty of the place.
In the sixteenth century, a historian from Granada called Luis de Mármol Carvajal claimed that the term Comares derived from the word Comaraxía, that actually has a meaning related to a craftsmanship labor very appreciated by Muslims: a manufacturing technique of glass for exterior and ceilings.
A third suggested theory is that the name comes from the Arab word qumariyya or qamariyya. These ones designate the stained glasses that can even be glimpsed from the Hall of the Ambassadors' balcony.
There's another possibility that says that Qumarish is the name of a region in the North of Africa where most craftsmen came from, in other words, the place might be called Comares in honour of the people who worked there.
The Chinese Garden of Friendship in Sydney was built with the help of designers and artisans / craftsmen from Guangdong province in China. It is so authentic in appearance that it could be somewhere in China.
Built by indigenous craftsmen.
The estate features about 20 single-story rooms, an enclosed plaza and a large enclosed kiva. The entire great house contains 90 ground-floor rooms, 40 second-story rooms, and 5 third-story rooms.
That should accommodate plenty of guests, a real party house.
Uliczka rzemieślników w Norymberdze. Można tu kupić wyroby rzemieślnicze tradycyjne i charakterystyczne dla Norymbergi. /
You can buy there traditional craftsmanship and products typical of Nuremberg
This splendid parade vessel is extremely impressive to look at and was built by Venetian craftsmen in the Arsenale, probably between the first half and middle of the 18th century during the period of Hapsburg rule. The vessel was used in St. Mark's Basin for festivities, historical and social events in the city. The semicircular stern forms a small platform for a wooden group of sculptures, decorated with gold leaf depicting "the Coronation of Italy by the Venetian Republic"; this was completed after King Vittorio Emanuele II's visit to Venice on 7 November 1866. This historic event is documented by Girolamo Induna's painting, which is preserved in the Museo del Risorgimento in Milan.
The painting depicts the Scalé Reale sailing through St. Mark's Basin; a crowd standing in the Piazzetta and in front of the Doge's Palace is watching the luxurious vessel with its tricolored flags go past. Wearing the Doge's ducal hat, the statue of Venice is standing up and placing a laurel crown on Italy's head (the seated figure), surrounded by a crenellated crown. A small angel is walking in front of the two statues with its arms upwards. Below the stern is an elegant crimson red velvet train that reaches down into the water. The canopy that protects the illustrious guests is completely glazed and support by four Doric columns; a frieze decorated of gold leaf with mock- classical racemes and lions' heads runs down the entire length of the boat. The side of the hull is painted red while the lower part is white. Placed at the bow, the statue of St. Mark's Lion was also made when the King visited Venice. The Savoy coats of arms have been replaced by those of the Italian Navy and can be seen on the bow hull.
The last time this magnificent vessel sailed was in 1959 for the funeral of Pope Pius X, who had been patriarch of Venice and whose funeral was held in the Basilica of St. Mark. He was buried in St. Peter's Basilica in Rome. The Scalé Reale was a source of inspiration for the shape of the eighteen-oar bissona Serenissima, built by the local shipwright Giovanni Giuponi between 1958 and 1965 that we can admire each year during the Regata Storica procession in Venice.
The church is renowned for its 12th century mosaics executed by craftsmen working in the Byzantine style. The mosaics show many iconographic and formal similarities to the roughly contemporary programs in the Cappella Palatina, in Monreale Cathedral, and in Cefalù Cathedral, although they were probably executed by a distinct atelier.[16]
The walls display two mosaics taken from the original Norman façade, depicting King Roger II, George of Antioch's lord, receiving the crown of Sicily from Jesus, and, on the northern side of the aisle, George himself, at the feet of the Virgin. The depiction of Roger was highly significant in terms of its iconography. In Western Christian tradition, kings were customarily crowned by the Pope or his representatives; however, Roger is shown in Byzantine dress being crowned by Jesus in the Byzantine fashion. Roger was renowned for presenting himself as an emperor during his reign, being addressed as basileus ("king" in koine Greek). The mosaic of the crowning of Roger carries a Latin inscription written in koine Greek characters (Rogerios Rex ΡΟΓΕΡΙΟΣ ΡΗΞ "king Roger").
The nave dome is occupied by the traditional byzantine image of Christ Pantokrator surrounded by the archangel saints: Michael, Gabriel, Raphael, and Uriel. The register below depicts the eight prophets of the Old Testament and, in the pendentives, the four evangelists of the New Testament. The nave vault depicts the Nativity and the Death of the Virgin.
c/o Wikipedia
FRENCH : A l' occasion de l'exposition de mes photos "Nights and Days in Paris" dans une galerie de Tokyo, voilà 6 jours et 7 nuits que je suis dans cette effervescente City. Ce sera ma dernière journée sur Tokyo. Ce 6ème livret sur cette ville est donc consacré à ce dernier "INCERTAIN JOUR", à cette ville étonnante aux yeux de lumières. Après un ultime pèlerinage matinal en mes lieux favoris de Ginza, où se trouve ma galerie, je décide de prendre un train de banlieue et d'aller voir un nouveau cimetière du grand Tokyo, celui de Yanaka, perché sur des hauteurs et non loin de quartiers populaires. Là où l'on trouve les si nombreux "artisans ancestraux du funéraire" par exemple. Puis revenant à pied sur Ginza, je me perds un peu partout avec délice jusqu'au crazy quartier d'Akihabara, lieu des jeux et débauches virtuelles. Un dernier souper tokyoïte, puis dernières lueurs sur la City. On ferme ses yeux et l'on pense à l'hypothétique lendemain. En effet, demain j'embarque pour Séoul pour y exposer à nouveau mes photos initialement présentées à Tokyo. A suivre.
ENGLISH : On the occasion of the exhibition of my photos "Nights and Days in Paris" in a gallery of Tokyo, here are 6 days and 7 nights that I am in this effervescente City. My last day. This 6th booklet on this city is dedicated to this last "UNCERTAIN DAY",to this amazing city with light eyes. After a final morning pilgrimage to my favorite places in Ginza, where my hotel is, I decided to take a suburban train and visit a new cemetery in Greater Tokyo, that of Yanaka, perched on heights and not far from neighborhoods so typical and so alive. Where we find so many "ancestral craftsmen of the funeral". Then walking back on Ginza, I get lost everywhere with delight to the crazy neighborhood of Akihabara, place of games and virtual debauchery.Then last supper, last glow on Tokyo. We close our eyes and we think of the hypothetical tomorrow Indeed, tomorrow I embark for Seoul to expose, again, my photos initially presented in Tokyo. To be continued.
A bazaar is a permanently enclosed marketplace or street where goods and services are exchanged or sold. The term originates from the Persian word bāzār, from Middle Persian wāzār, from Old Persian vāčar,[3] from Proto-Indo-Iranian *wahā-čarana. The term bazaar is sometimes also used to refer to the "network of merchants, bankers and craftsmen" who work in that area. Although the current meaning of the word is believed to have originated in native Zoroastrian Persia, its use has spread and now has been accepted into the vernacular in countries around the world. In Balinese, the word pasar, means market. The capital of Bali province, in Indonesia, is Denpasar, which means North market. Souq is another word used in the Middle East for an open-air marketplace or commercial quarter.
Evidence for the existence of bazaars dates to around 3,000 BCE. Although the lack of archaeological evidence has limited detailed studies of the evolution of bazaars, indications suggest that they initially developed outside city walls where they were often associated with servicing the needs of caravanserai. As towns and cities became more populous, these bazaars moved into the city center and developed in a linear pattern along streets stretching from one city gate to another gate on the opposite side of the city. Over time, these bazaars formed a network of trading centres which allowed for the exchange of produce and information. The rise of large bazaars and stock trading centres in the Muslim world allowed the creation of new capitals and eventually new empires. New and wealthy cities such as Isfahan, Golconda, Samarkand, Cairo, Baghdad and Timbuktu were founded along trade routes and bazaars. Street markets are the European and North American equivalents.
Shopping at a bazaar or market-place remains a central feature of daily life in many Middle-Eastern cities and towns and the bazaar remains the "beating heart" of Middle-Eastern city life. A number of bazaar districts have been listed as World Heritage sites due to their historical and/or architectural significance. Visiting a bazaar or souk has also become a popular tourist pastime.
The Marble Bridge (Palladian Bridge) is located in in Catherine Park, Pushkin, Saint Petersburg.
In the Landscape Park (the Catherine Park), near the Great Pond, stand the Marble or Palladian Bridge, also known as the Siberian Marble Gallery. The bridge spans the narrow water course that links the Great Pond with several others dug in 1769–70.
The prototypes for the Marble Bridge, which was built from a model made by Vasily Neyelov, were bridges in the English parks of Stowe and Wilton that followed a famous design of the celebrated architect Andrea Palladio.
In the early 1770s craftsmen at the Yekaterinburg Lapidary Works under the supervision of Valerio Tortori cut from local blue-grey Gornoshitsky and white Stanovsky marble columns, capitals, pedestals, balusters and other elements to the patterns provided. The panels to face the abutments of the bridge were made from grey-pink granite.
The foundations for the Marble Bridge were laid in 1773. In 1774 the bridge was assembled on site by Valerio Tortori and his assistants Ivanov, Grigoryev, Petrovsky and Shakhurin.
Click to enlargeThe Marble Bridge takes the form of a colonnade set on a granite base approached by flights of steps at either end. The large, shallow central arch of the bridge is flanked by small semicircular arches. The upper part consists of two square-based pavilions placed above the arched spans. The pavilions are linked by a colonnade of light, slender Ionic columns. The spaces between their pedestals are filled with balustrades with attractive balusters.
В пейзажной части Екатерининского парка, около Большого пруда, находится Мраморный (Палладиев) мост, или Сибирская Мраморная галерея. Мост поставлен над узкой протокой, соединяющей Большой пруд с несколькими прудами, вырытыми в 1769–1770 годах. Здесь был искусственно создан архипелаг из 7 островков, на которых в раскрашенных по рисункам А. Ринальди домиках жили лебеди. Эти острова и пруды по сей день сохраняют название Лебяжьих.
Образцом для Мраморного моста, сооруженного по модели В. И. Неелова, послужили мосты в английских парках Стоу и Уилтон, созданные на основе известного проекта А. Палладио.
Постройка фундаментов Мраморного моста датируется 1773 годом; в 1774 году мост был собран из готовых деталей в Царском Селе мастером В. Тортори и его помощниками И. Ивановым, И. Григорьевым, П. Петровским и Ф. Шахуриным.
FRENCH : A l' occasion de l'exposition de mes photos "Nights and Days in Paris" dans une galerie de Tokyo, voilà 6 jours et 7 nuits que je suis dans cette effervescente City. Ce sera ma dernière journée sur Tokyo. Ce 6ème livret sur cette ville est donc consacré à ce dernier "INCERTAIN JOUR", à cette ville étonnante aux yeux de lumières. Après un ultime pèlerinage matinal en mes lieux favoris de Ginza, où se trouve ma galerie, je décide de prendre un train de banlieue et d'aller voir un nouveau cimetière du grand Tokyo, celui de Yanaka, perché sur des hauteurs et non loin de quartiers populaires. Là où l'on trouve les si nombreux "artisans ancestraux du funéraire" par exemple. Puis revenant à pied sur Ginza, je me perds un peu partout avec délice jusqu'au crazy quartier d'Akihabara, lieu des jeux et débauches virtuelles. Un dernier souper tokyoïte, puis dernières lueurs sur la City. On ferme ses yeux et l'on pense à l'hypothétique lendemain. En effet, demain j'embarque pour Séoul pour y exposer à nouveau mes photos initialement présentées à Tokyo. A suivre.
ENGLISH : On the occasion of the exhibition of my photos "Nights and Days in Paris" in a gallery of Tokyo, here are 6 days and 7 nights that I am in this effervescente City. My last day. This 6th booklet on this city is dedicated to this last "UNCERTAIN DAY",to this amazing city with light eyes. After a final morning pilgrimage to my favorite places in Ginza, where my hotel is, I decided to take a suburban train and visit a new cemetery in Greater Tokyo, that of Yanaka, perched on heights and not far from neighborhoods so typical and so alive. Where we find so many "ancestral craftsmen of the funeral". Then walking back on Ginza, I get lost everywhere with delight to the crazy neighborhood of Akihabara, place of games and virtual debauchery.Then last supper, last glow on Tokyo. We close our eyes and we think of the hypothetical tomorrow Indeed, tomorrow I embark for Seoul to expose, again, my photos initially presented in Tokyo. To be continued.
Sony CyberShot DSC-RX 100
Carl Zeiss Vario-Sonnar T* 1.8-4.9/10.4-37.1
The wandering of a journeyman craftsman after completing his journeyman examination is known as the "Walz" or the "Tippelei". The apprentice is "cleared" by the master and goes on the roll. Young craftsmen have been roaming the country since the 12th century to get to know other regions, cultures, but above all new skills in their field.
This splendid parade vessel is extremely impressive to look at and was built by Venetian craftsmen in the Arsenale, probably between the first half and middle of the 18th century during the period of Hapsburg rule. The vessel was used in St. Mark's Basin for festivities, historical and social events in the city. The semicircular stern forms a small platform for a wooden group of sculptures, decorated with gold leaf depicting "the Coronation of Italy by the Venetian Republic"; this was completed after King Vittorio Emanuele II's visit to Venice on 7 November 1866. This historic event is documented by Girolamo Induna's painting, which is preserved in the Museo del Risorgimento in Milan.
The painting depicts the Scalé Reale sailing through St. Mark's Basin; a crowd standing in the Piazzetta and in front of the Doge's Palace is watching the luxurious vessel with its tricolored flags go past. Wearing the Doge's ducal hat, the statue of Venice is standing up and placing a laurel crown on Italy's head (the seated figure), surrounded by a crenellated crown. A small angel is walking in front of the two statues with its arms upwards. Below the stern is an elegant crimson red velvet train that reaches down into the water. The canopy that protects the illustrious guests is completely glazed and support by four Doric columns; a frieze decorated of gold leaf with mock- classical racemes and lions' heads runs down the entire length of the boat. The side of the hull is painted red while the lower part is white. Placed at the bow, the statue of St. Mark's Lion was also made when the King visited Venice. The Savoy coats of arms have been replaced by those of the Italian Navy and can be seen on the bow hull.
The last time this magnificent vessel sailed was in 1959 for the funeral of Pope Pius X, who had been patriarch of Venice and whose funeral was held in the Basilica of St. Mark. He was buried in St. Peter's Basilica in Rome. The Scalé Reale was a source of inspiration for the shape of the eighteen-oar bissona Serenissima, built by the local shipwright Giovanni Giuponi between 1958 and 1965 that we can admire each year during the Regata Storica procession in Venice.
This intrigued me...not much protection in battle...Today, repurposed for jewelry and some costumes seen at Renaissance Faires...I liked the scarred face "model" which seemed realistic for those times...
The Annunciation Cathedral was built by Russian craftsmen in the traditions of Pskov and Moscow architecture on the old basement, preserved from the previous temple. The modern appearance of the cathedral with covered galleries and four aisles at their corners, with a pyramidal silhouette crowned with nine gilded domes, took shape in the 60s of the 16th century.
The walls of the cathedral are dissected by shoulder blades and completed with keel-shaped zakomars, which is typical of early Moscow architecture;
The eastern wall was originally covered by a gallery, so only a modest belt of balusters was placed high on the apses. At first it was terracotta, as on the Church of the Deposition of the Robe, built simultaneously with the Annunciation Cathedral and by the same masters, but in the 19th century it was replaced with a stone one.
The chapels added in the 1560s successfully complement the main volume: their walls are dissected by square flyers and completed with small kokoshniks echoing the zakomaras of the cathedral. The construction of aisles in the Annunciation Cathedral in 1564-1566 fundamentally changed the artistic appearance of the monument, made it sound in a new way in the Cathedral Square ensemble. The Cathedral of the Annunciation has four chapels - small single-domed pillarless churches with thin walls one brick thick. They are erected over the corners of the galleries. Researchers associate the creation of side chapels with the largest events of the Grozny time in the middle of the 16th century - the wedding of Ivan the Terrible, the capture of Kazan, the capture of Polotsk in 1563 (one of the victories in the Livonian War).
Cathedral of the Annunciation.
The well-preserved interiors of the aisles with carved white stone floors and the iconostasis complexes of the 60s of the 16th century make it possible to restore the interiors of these interesting cultural monuments of Rus' during the time of Ivan the Terrible.
Having surrounded the central volume of the building with small detached aisles-churches, the architects of the middle of the 16th century fundamentally changed the original ideological and artistic design of the monument. Having lost the slender silhouette and harmonious balance of the interior and exterior of a small Moscow church of the end of the 15th century, the Annunciation Cathedral acquired the picturesque splendor characteristic of the architectural monuments of the Grozny time, became a kind of monument, representing on Cathedral Square from the Grand Duke's house, emphasizing the significance of the new position of the Moscow sovereign - "Tsar of all Rus'." The nine-domed pyramidal composition brings the Cathedral of the Annunciation closer to the monument to the Kazan victory - the Cathedral of the Intercession on Red Square.
The building of the cathedral stands on a high basement. The basement is an architectural monument of the late 14th century. This is a square room under the central part of the cathedral, built of large white stone blocks. In the center of it is a massive pillar with low arches thrown from it to the walls. An apse adjoins it from the east. Probably, initially the grand ducal treasury was kept in the basement. Since 1989, an archaeological exhibition has been opened in it, the exhibits of which are related to the history of settlement and development of Borovitsky Hill, with unique treasures that were found in the 19th - 20th centuries. on the territory of the Kremlin.
The cathedral is surrounded by galleries on three sides. The architecture of the northern and western front galleries clearly shows the features of the Italian Renaissance. They are covered with cross vaults of beautiful outlines, the pillars bearing them are decorated with panels and crowned with carved white stone capitals, similar capitals adorn the shoulder blades of the walls. The northern and western galleries were used in solemn processions, for the passage of royal processions, the Orthodox guests of the tsar for a reception at the Palace of Facets.
The southern and now lost eastern galleries were erected simultaneously in 1489. The southern porch already then was a separate enclosed space. Probably in the middle of the 16th century. the chapel of Basil of Caesarea was moved here from the deacon. In 1562-1564, the chapel located in the gallery was renovated.
The plan and the northern facade of the Annunciation Cathedral and the Armory (designed by D.V. Ukhtomsky). Section of the Annunciation Cathedral (along the southern gallery and St. George's chapel) and the Armory (designed by D.V. Ukhtomsky). Annunciation Cathedral.
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Благовещенский собор построен русскими мастерами в традициях псковской и московской архитектуры на старом подклете, сохраненном от предшествовавшего храма. Современный облик собора с крытыми галереями и четырьмя приделами на их углах, с пирамидальным силуэтом, увенчанным девятью золочеными куполами, сложился в 60-е годы XVI века.
Стены собора расчленены лопатками и завершены килевидными закомарами, что свойственно раннемосковской архитектуре, ритм закомар повторяют кокошники в основании центральной главы, в аркатурный фриз вписаны узкие щелевидные окна.
Восточную стену первоначально закрывала галерея, поэтому только высоко на апсидах помещен скромный поясок балясин. Сначала он был терракотовым, как на построенной одновременно с Благовещенским собором и теми же мастерами церкви Ризположения, но в XIX веке его заменили на каменный.
Пристроенные в 1560-х годах приделы удачно дополняют основной объем: их стены расчленены квадратными ширинками и завершены небольшими кокошниками перекликающимися с закомарами собора. Строительство приделов в Благовещенском соборе в 1564—1566 годах принципиально изменило художественный облик памятника, заставило его по-новому звучать в ансамбле Соборной площади. Благовещенский собор имеет четыре придела - небольшие одноглавые бесстолпные церковки с тонкими стенами толщиной в один кирпич. Они возведены над углами галерей. Создание приделов исследователи связывают с крупнейшими событиями грозненского времени середины XVI века – венчанием на царство Ивана Грозного, взятием Казани, взятием Полоцка 1563 года (одной из побед в Ливонской войне).
Благовещенский собор.
Хорошо сохранившиеся внутренние помещения приделов с резными белокаменными полами и комплексы иконостасов 60-х годов XVI века позволяют восстановить интерьеры этих интересных памятников культуры Руси времени Иоанна Грозного.
Окружив центральный объем здания небольшими отдельно стоящими приделами-церковками, зодчие середины XVI века принципиально изменили первоначальный идейно-художественный замысел памятника. Утратив стройный силуэт и гармоничное равновесие интерьера и внешнего облика небольшого московского храма конца XV века, Благовещенский собор приобрел живописную парадность, свойственную памятникам архитектуры грозненского времени, стал своеобразным монументом, представительствующим на Соборной площади от великокняжеского дома, подчеркивающим значимость нового положения московского государя — «царя всея Руси». Девятиглавая пирамидальная композиция сближает Благовещенский собор с памятником Казанской победы – Покровским собором на Красной площади.
Здание собора стоит на высоком подклете. Подклет представляет собою памятник архитектуры конца XIV в. Это квадратное в плане помещение под центральной частью собора, выложенное из крупных белокаменных блоков. В центре его массивный столп с перекинутыми от него на стены низкими арками. С востока к нему примыкает апсида. Вероятно, изначально в подклете хранилась великокняжеская казна. С 1989 года в нем открыта археологическая выставка, экспонаты которой связаны с историей заселения и освоения Боровицкого холма, с уникальными кладами, которые были найдены в XIX – XX вв. на территории Кремля.
Собор с трех сторон окружен галереями. В архитектуре северной и западной парадных галерей явно видны черты итальянского Возрождения. Они перекрыты красивыми по очертаниям крестовыми сводами, несущие их столпы украшены филенками и увенчаны резными белокаменными капителями, подобные капители украшают и лопатки стен. Северная и западная галереи использовались в торжественных процессиях, для прохода царских шествий, православных гостей царя на прием в Грановитую палату.
Южная и ныне утраченная восточная галереи были возведены одновременно в 1489 году. Южная паперть уже тогда представляла собой отдельное закрытое помещение. Вероятно, в середине XVI в. сюда из дьяконника был перенесен придел Василия Кесарийского. В 1562-1564 годах придел, расположенный в галерее, был обновлен.
Sighisoara: The Outstanding Citadel of Saxon Transylvania
- During the 12th century, German craftsmen and merchants known as the Transylvanian Saxons were invited to Transylvania by the King of Hungary to settle and defend the frontier of his realm. The chronicler Krauss lists a Saxon settlement in present-day Sighișoara by 1191.The city played an important strategic and commercial role at the edges of Central Europe for several centuries. Sighișoara became one of the most important cities of Transylvania, with artisans from throughout the Holy Roman Empire visiting the settlement. The German artisans and craftsmen dominated the urban economy, as well as building the fortifications protecting it. It is estimated that during the 16th and 17th centuries Sighișoara had as many as 15 guilds and 20 handicraft branches. The Baroque sculptor Elias Nicolai lived in the city. The Wallachian voivode Vlad Dracul (father of Vlad the Impaler (Dracula)), who lived in exile in the town, had coins minted in the city (otherwise coinage was the monopoly of the Hungarian kings in the Kingdom of Hungary) and issued the first document listing the city's Romanian name, Sighișoara.
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Whenever you are down and trouble...
Wake up and fight on...
Whenever you are lost and lonely....
I will be there to help you carry on :-)...
Have a great day and sweet dream tonight :-)..
I will always send you nice sunshine, sweet smile and warm love from Thailand, my Dearest :-)..
Ich liebe dich..I LOVE YOU now and forever...
J-A-S-M-I-N-E..
A little pretty girl in Thailand..
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DATA: www.ancientcity.com/?q=en
The Lan Chang Styled Scripture Repository and Wihan...
The northeastern community, established since the early Buddhist era, has created its own unique artistic style that is different from other types of indigenous architecture. The art became known as the art of Lan Chang.
Muang Boran has constructed this particular scripture repository and wihan in Lan Chang style in order to demonstrate the unique artistic features of Lan Chang art. The extraordinary architectural style and design of the buildings are worth studying. The local architecture is ordinarily made of wood, the material often used by northeastern craftsmen. These architectures can hardly be seen today.
For more information, please visit : www.ancientcity.com/?q=en
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The ancient city (Muang Boran), Samutprakan, Thailand..
***NO INVITES PLEASE***...Thanks so much for your visits and also for any comments and faves. I am so appreciated for all. All your words are nice awards for me. Thank you..thank you :-)..