View allAll Photos Tagged Craftsmanship
This glass combines ancient Japanese craftsmanship with the Star Wars universe. Produced by Kotobukiya it is one of the most unique Star Wars exclusives out there. Originally found at Star Wars Celebration IV in Los Angeles the glass was made with a traditional Japanese glass etching technique, known as Kiriko. Kiriko has been in existence since 1824, when artisans first began experimenting with emery powder to produce glassware engraved with patterns. As Kiriko developed during the mid-19th century, the craft went through many revisions, such as utilizing new equipment introduced from the west, while still retaining the time-honored Japanese techniques utilized until this day. In 1985, Kiriko was designated a Traditional Craft Industry by the Tokyo Metropolitan Government. Stipulations to qualify as a Traditional Craft Industry are as follows: the main process of manufacturing must require expert manual skills, the history of the techniques used must date back at least a century, and the craft must use traditional materials. Kotobukiya has taken the Kiriko technique and blasted it to Tatooine, with this R2-D2 KIRIKO GLASS. It's a 10oz whisky style glass and is hand etched at different levels, taking the pattern of R2-D2's droid body and transforming it into a work of art. You can easily feel the deep engravings when holding the two-toned frosted texture glass in your hands. Due to the complex production involved in creating this glassware, only a small quantity were ever made.
Aerial view of St Peter’s Church, Blaxhall — a small, isolated medieval parish church standing amid open Suffolk farmland east of Woodbridge. The flint and stone building dates mainly from the 13th century, though parts of the nave may be earlier, with later additions in the 14th and 15th centuries. Its simple plan — comprising a west tower, nave, south porch, and chancel — is typical of Suffolk’s rural churches.
The square west tower, now enveloped in scaffolding, is currently undergoing major restoration work. The project includes repointing, structural stabilisation, and repairs to the ancient flintwork and roof timbers to ensure the church’s long-term preservation. The tin sheeting at the tower base provides weather protection during the works.
Inside, St Peter’s retains a number of notable medieval and Victorian features. The 14th-century octagonal font, carved with quatrefoils, stands near the entrance. The nave windows contain a mixture of medieval glass fragments and striking 19th-century stained glass by O’Connor and Ward, installed during the Victorian restoration. The east window depicts Christ in Majesty surrounded by angels — an excellent example of late-Victorian craftsmanship that complements the building’s medieval character.
The south porch, added in the later Middle Ages, features flint and stone dressings with an arched doorway. The interior includes timber pews, a carved pulpit, and memorials to generations of local families, reflecting centuries of village life.
The churchyard, still used occasionally for burials, contains headstones dating back to the 1600s. Many are carved from local stone, now gently leaning under the passage of time. Set among mature trees and bordered by arable fields, the church captures the quiet endurance of Suffolk’s landscape and the enduring role of its parish churches.
This photograph shows St Peter’s in autumn 2025, its tower under conservation, standing as a symbol of resilience and continuity on the ever-changing edge of the East Anglian countryside.
Not many to be found like this, fewer still standing up. Our local cemetery is badly vandalized in many areas.
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♡SIZL-MIRANDA Dress♡
Introducing MIRANDA, a groundbreaking addition to the SIZL mesh original 3D clothing line. This stunning dress redefines elegance with its over-the-knee length and an exposed one-shoulder trim, offering a blend of classic sophistication and modern allure. For those who covet variety, the MIRANDA comes with an impressive selection of 20 textures, available exclusively with the purchase of fatpacks. This ensures that every fashion enthusiast finds their perfect match.
**Versatility:**
Understanding the diversity of body types, the MIRANDA dress embraces exclusivity with a wide range of sizes: Anatomy, Peach, GenX Curvy, GenX Classic, LaraX, Legacy, Legacy Bombshell, Reborn, and Reborn Waifu. This comprehensive compatibility ensures that every wearer finds their perfect fit, highlighting SIZL's commitment to celebrating all forms.
**Design:**
MIRANDA’s design is a testament to meticulous craftsmanship, featuring an over-the-knee length that strikes the perfect balance between elegance and allure. The dress's defining characteristic is its exposed one-shoulder trim, a bold statement of style that sets it apart. Accompanied by 20 diverse textures in each fatpack, from vibrant patterns to subtle monochromes, MIRANDA offers an unparalleled range of styles. Whether it’s a formal evening or a casual day out, this dress adapts to every occasion with grace.
Embark on a journey of unparalleled style with MIRANDA – where elegance meets versatility.
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Estes gatos são minha criação nasceram apartir do enorme gosto que tenho por gatos!
Sardum o gato que só come sardinhas com atum :D
Gatinha adora apanhar borboletas e espreitar os patos da vizinha :D
gatos feitos à mão com feltro e vários materiais.
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© VanveenJF Photography
Two weeks ago I posted the shot below showing one of the ebony boxes made by my Grandfather. In focus here is the other one I own, showing the pattern on the lid - it also has one inside the lid. You can just see the very long thread - which still works.
HMBT!
At the Sanctuary of Truth - Intricate wooden carvings detail an architectural structure adorned with mythological figures and elaborate patterns. The craftsmanship highlights cultural artistry and historical influences.
Walking along the canals in Brugge you’re surrounded by history. The medieval architecture so typical of this city reflects the historic wealth and craftsmanship of the Bruggelingen (people who are from Bruges).
Close-up of a bicycles stem showcasing its sleek, polished finish. The vibrant purple hue contrasts with the shiny chrome elements, highlighting the combination of style and functionality. This image emphasizes the intricate design and craftsmanship typically found in high-end bicycles.
A sweeping view into the Chinatown–Rose Pak Station reveals one of the most distinctive public-art moments in San Francisco’s transit system. The arched concrete corridor frames a brilliant geometric tile installation that stretches across the far wall, forming a radiant mosaic of color, symmetry, and cultural resonance. Soft overhead lighting tracks the curve of the ceiling and falls evenly across the polished floor, allowing the tiled surface to become the visual anchor of the space. Reflections shimmer below the artwork, subtly doubling its pattern and giving the hallway a calm, almost meditative quality.
The tile composition itself is an intricate interplay of circular and petaled forms, echoing classical Chinese latticework, textile motifs, and the mathematical beauty of repeating geometry. Each tile quadrant introduces a new combination of color and pattern—some warm and earthy, others bright and playful, many referencing traditional Chinese decorative arts. Collectively they form an expansive tapestry that honors both the cultural history of the neighborhood and the contemporary design ambitions of the Central Subway project.
The Chinatown–Rose Pak Station was conceived not only as transportation infrastructure but as a celebration of community identity. Built deep beneath Stockton Street, the station is one of the most technically ambitious portions of the Central Subway, threading through dense urban layers while responding to a neighborhood defined by immigration, resilience, and continuity across generations. This particular corridor is a transitional space—neither platform nor street—but it carries the emotional weight of arrival. Commuters come through here on their way up into Chinatown’s street-level bustle, stepping from a serene, modernist tunnel into one of the city’s most historic and energetic districts.
The artwork reinforces that transition. The clean concrete envelope represents contemporary engineering, while the tile wall reintroduces ornament, cultural specificity, and a sense of handcrafted detail. It’s an intentional bridge between the present and the past, the subterranean quiet of the subway and the vibrancy of the neighborhood above. The installation also resonates with the station’s dedication to Rose Pak, the influential community advocate whose work shaped modern Chinatown and helped bring the Central Subway to life.
From a photographic standpoint, the symmetry of the frame highlights the corridor’s architectural precision. The centered perspective draws the viewer straight toward the art, while the smooth floor’s subtle reflections add visual depth. The absence of people emphasizes the station’s scale and the contemplative quality of the space—an unusual sense of stillness in a city that rarely pauses.
Artesania india
Check it out my Portfolio: GETTY IMAGES
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HIT THE 'L' KEY FOR A BETTER VIEW! Thanks for the favs and comments. Much Appreciated.
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All of my photographs are under copyright ©. None of these photographs may be reproduced and/or used in any way without my permission....talk to me 😊
© VanveenJF Photography
China, Xian, “Qin Shi Huang Terracotta Warriors & Horses Museum”
The bronze chariot & horses, “Bronze Chariot No. 2” of Emperor Qin Shi Huang's seat, is stable &comfortable.
There are three windows, one out front, & one on each side in the compartment, a door opens at the back. The roof is umbrella shaped to be symbolic of the round sky.
These half size scale-models of real chariots, authentically copied down to the very last details, complete with horses & individuals. No. 1 bronze chariot was the leading chariot of Emperor Qin Shi Huang with 2.25 mtr long & 1 mtr tall. No. 2 was the seat of Emperor Qin Shi Huang with 3.17 mtr long & 1 mtr tall.
Each of the two chariots is enclosed for protection from dust & visitors with an airtight glass-box.
Two large scale-models of bronze chariots came unearthed in December 1980 & opened on October 1983, about 20 mtr east of Emperor Qin Shihuang's mausoleum. They were tagged Chariot No. 1 & No. 2 respectively, this are the biggest items of bronze ware ever found in the world.
These were encased in the large wooden coffins for over 2000 years without any corrosion.
These two bronze chariots & horses are the masterpieces of bronze ware, represented high bronze-casting, mechanic & joining technology during the Qin Dynasty. The two chariots are made up of more than 7,000 pieces of spare parts that reappear knowledge of the ancient craftsmanship.
Both chariots are decorated with nearly 4,000 pieces of bullion, made the bronze chariots brilliant, glorious & honourable.
The chariots were supposed to serve as the vehicle for the emperor's inspection tours in his afterlife. They are decorated with geometric & cloud patterns.
However, the whole place is really impressive & should be visited if you get a chance.
…👀,
…👉 since October, 01. 2017 all visitors need to show ID certificates like passports etc. when purchasing tickets & entering the museum.
👉 One World one Dream,
...Danke, Xièxie 谢谢, Thanks, Gracias, Merci, Grazie, Obrigado, Arigatô, Dhanyavad, Chokrane to you & over
8 million visits in my photostream with countless motivating comments