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Like a scene from an old movie depicting sailors lost in the fog of the Sargasso Sea, surrounded by misery in any direction.
These are dead trees in the sulfuric like basin areas of Yellowstone.
Chickasaw, Oklahoma. Imperial Valley, California. "Black Sunday, 1934, that was the awfullest dust we ever did see".
Dorothea Lange, photographer. March 1936.
Original picture:
www.loc.gov/resource/fsa.8b31783/
© Dorothea Lange, 1936
© Alain Girard, Restored & Colorized, 2023
The Dust Bowl was the result of a period of severe dust storms that greatly damaged the ecology and agriculture of the American and Canadian prairies during the 1930s. The phenomenon was caused by a combination of natural factors (severe drought) and man-made factors: a failure to apply dryland farming methods to prevent wind erosion, most notably the destruction of the natural topsoil by settlers in the region. The drought came in three waves: 1934, 1936, and 1939–1940, but some regions of the High Plains experienced drought conditions for as long as eight years.
The Dust Bowl has been the subject of many cultural works, including John Steinbeck's 1939 novel The Grapes of Wrath, the folk music of Woody Guthrie, and Dorothea Lange's photographs depicting the conditions of migrants, particularly Migrant Mother, taken in 1936.
Depicted on the silo is champion racehorse Winx and her famous rider Hugh Bowman who was born in Dunedoo NSW, standing beside them is Winx's trainer Chris Waller
Dunedoo, NSW, Australia
The four evangelists are traditionally depicted on the sails of the dome, and their symbolic images are written below them.
The evangelists are depicted with open books, the figure of each of them is twice the size of a person.
Saint Matthew the Evangelist is on the southeast sail. Below, Matthew is an angel, a man with wings, with his right hand he gives the evangelist a scroll, and in his left hand he holds a pen.
According to the fathers of the church, each of the four animals, in addition to the evangelists, expresses a style or character that is characteristic of the gospel of each of them. The image of the winged man must be assimilated by Matthew, since he begins his gospel with the human genealogy of the Savior.
Artist V. M. Vasnetsov.
Matthew the Apostle, also known as Saint Matthew and possibly as Levi, was, according to the New Testament, one of the twelve apostles of Jesus. According to Christian traditions, he was also one of the four Evangelists as author of the Gospel of Matthew, and thus is also known as Matthew the Evangelist, a claim rejected by most biblical scholars, though the "traditional authorship still has its defenders."
На вітрилах купола традиційні чотири євангелісти, а під ними, у вигляді таємничих апокаліптичних тварин, що зустрічаються в Книзі пророка Єзекіїля та Одкровенні Іоанна Богослова, притаманні їм в іконографії, їх символічні зображення - істоти стали символами євангелістів та формою їхнього традиційного зображення з VII століття.
Євангелісти зображені з розкритими книгами, фігура кожного з них удвічі більша за людський зріст.
На південно-східному вітрилі Святий євангеліст Матвій. Нижче Матвія - ангел, людина з крилами, правою рукою він подає євангелісту сувій, а в лівій - тримає перо. Образ крилатої людини пов’язують з Матвієм, оскільки він починає своє євангеліє людською генеалогією Спасителя.
Художник Віктор Михайлович Васнєцов.
В Одкровенні Іоанна тетраморф представлений в образі окремих чотирьох апокаліптичних істот (лат. quattuor animalia «чотири живуть»; чотири живі істоти у протестантів) — вартових чотирьох кутів Трона Господа та чотирьох меж раю.
На думку отців церкви, кожна з чотирьох тварин, у додатку до євангелістів, виражає собою стиль або характер, що є властивим євангелії кожного з них.
Левій Матвій, (Левій, Матей, митар, Євангеліст Матвій, Митник) — один з 12 апостолів Ісуса Христа. Матвія називають також Левієм, щоб відділяти його минуле життя від часу служіння Ісусові. Матвій написав Євангеліє від Матвія арамейською мовою.
Roses around the windows, taken in the Royal Crescent in Bath, part of the more familiar sweeping crescent of the Georgian terraces built in 1745 and depicted in photographs of this historic city.
Mural depicting the clashes between anti fascist demonstrators and The British Union of Fascists (Black Shirts led by Oswald Mosley) with the police defending the fascist marchers on 4th October 1936.
Incorporée dans les appartements Renaissance, cette pièce était le cabinet de Madame de 1528 à 1531, puis cabinet du roi ou petite chambre à coucher du roi.
Le Cabinet du Roi a été décoré entre 1543-1545. Les peintures réalisées sur des dessins de Primatice consistaient en représentation de héros et de Vertus, associés par couple sur les portes des armoires.
Devenue grand cabinet ou cabinet du conseil en 1737, elle est achevée en 1753. François Boucher y réalise des lambris peints avec des allégories, Alexis Peyrotte peint quant à lui les encadrements de fleurs. La pièce est décorée dans le style Louis XV. Le mobilier est celui mis en place sous Napoléon Ier.
Incorporated into the Renaissance flats, this room was Madame's cabinet from 1528 to 1531, then the king's cabinet or small bedroom.
The Cabinet du Roi was decorated between 1543 and 1545. The paintings, based on drawings by Primaticcio, consisted of depictions of heroes and virtues in pairs on the doors of the cupboards.
It became a grand cabinet or cabinet du conseil in 1737 and was completed in 1753. François Boucher painted the panelling with allegories, while Alexis Peyrotte painted the flower frames. The room is decorated in the Louis XV style. The furniture is the one put in place under Napoleon I.
This is a tile I saw at a charity store. I am guessing it's all about Noah's Ark. I didn't buy it.
#18/122 Conservation: 122 Pictures in 2022
En los últimos doce años, una serie de pinturas al fresco han aparecido en toda la ciudad de Quebec, convirtiéndose en una verdadera atracción turística y un componente importante del patrimonio urbano de la ciudad. Estos frescos representan la historia de la ciudad y sus habitantes, y ayudan a los visitantes a descubrir o recordar fragmentos del pasado. Los murales, que son un proyecto de la herencia en curso, siguen cambiando el rostro de la ciudad de Quebec; que cautivan a los transeúntes y añadir un toque de color y la historia de los espacios urbanos otrora anónimos.
In the last dozen years, a number of fresco paintings have popped up across Quebec City, becoming a real tourist attraction and a major component of the city's urban heritage. These frescoes depict the history of the city and its inhabitants and help visitors discover or recall fragments of the past. The murals, which are an ongoing heritage project, continue to change the face of Quebec City; they captivate passers-by and add a splash of colour and history to once-anonymous urban spaces.
Dans les douze dernières années, un certain nombre de fresques ont surgi dans la ville de Québec, devenant une véritable attraction touristique et une composante majeure du patrimoine urbain de la ville. Ces fresques représentent l'histoire de la ville et de ses habitants et aident les visiteurs à découvrir ou rappeler des fragments du passé. Les peintures murales, qui sont un projet de patrimoine continue, continuent à changer le visage de la ville de Québec; ils séduisent les passants et ajouter une touche de couleur et de l'histoire aux espaces urbains fois-anonymes.
The monument depicts Nicolaus Copernicus dressed in a professor's toga, holding an armillary sphere in his left hand and pointing to the sky with the finger of his right hand, which is supposed to indicate Copernicus's connections with astronomy and celestial research
On the pedestal on the front side there is an inscription in Latin, which when translated reads: Nicolaus Copernicus of Toruń, He Moved the Earth, Stopped the Sun and the Sky
Grand Central is another of the iconic location for photographing. Therefore is included in my "Postcards from New York ". This is again an image that wants to depict a city always moving while still there is something "still". I was lucky the violinist in red just decided to start playing there. I find interesting there is an empty space around her, like the music creating a safe space.
"Old Town" at the Royal BC Museum is a walk-through display depicting early urban life in British Columbia.
Plaza de España
Un particolare della sequenza di banchi e ornamenti con piastrelle che simbolizzano le 48 provincie spagnole con le relative mappe, mosaici raffiguranti fatti storici, gli scudi di ogni città.
A detail of the sequence of benches and ornaments with tiles that symbolize the 48 Spanish provinces with their maps, mosaics depicting historical facts, the shields of each city.
Simon Bolivar statue in Cartagena, Colombia.
A statue depicts Simon Bolívar astride a horse in a park setting.
This statue is located in Bolívar park, in the center of the city of Cartagena. At the base of the statue is inscribed one of Bolívar’s famous sayings: “Cartagenians: If Caracas gave me life, Cartagena gave me glory.”
Simon Bolívar is known as “The Liberator,” of South America because of his efforts to free the colonies from Spanish rule. The movement for independence in Colombia began in 1810, but succeeded only in 1819 when Bolívar incorporated Colombia into the confederation of Gran Colombia. Gran Colombia included Ecuador and Venezuela (Panama was part of Colombia) until it dissolved into its component parts in 1830.
An inverted-color depiction of an orange-brown oak leaf lying on green grass, both covered by morning frost
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This serene photograph beautifully captures a pristine Pekin Duck gliding gracefully across the calm waters of a lake. The duck's vibrant orange bill contrasts strikingly with its immaculate white feathers, reflecting softly in the mirror-like surface of the water. This image encapsulates a moment of peace and simplicity in nature, offering a glimpse into the tranquil life of waterfowl. The subtle ripples in the water and the soft green hues of the background further enhance the calming effect of this scene, making it a perfect depiction of nature's quiet beauty. Ideal for those who cherish wildlife and the soothing allure of natural landscapes, this photo invites viewers to pause and reflect on the gentle rhythms of the natural world.
Depicted is a section of the mural titled "Freedom is Not Free."
In 2016, Thomas Zachery painted this mural honoring war veterans in downtown Bakersfield, CA - USA.
Unedited image.
It’s a serene evening in the Vesterbro Apartment, where sleek industrial fixtures meet lush greenery, evoking the perfect depiction of an industrial jungle haven. The air is a delightful mix of new upholstery, tea, smoke, and fresh leaves. The vibe is casual yet eclectic, a perfect blend of modern city life and tropical escape.
In the midst of it all, a Siamese kitty dramatically paws at a map, clearly eager to share tales of its many adventures while another waits patiently on the couch for you. It’s the perfect time to unwind with a glass of wine or tea, sink into the sofa, and listen to a record or two while snuggling with your feline travel guide.
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Depicted in this scene are some of my most favorite creations of Nature: Brilliant light, a deep blue sky showing no beginning nor end, puffy white clouds with a few threatening gray ones keeping things interesting, and a mountain lake reflecting its own version of the same scene right back to me.
I truly feel at home in a setting like this. This is "heaven" to me.
A medieval panel depicting “The Alchemist”.
The word alchemist comes from alchemy, which has origins in the Greek word khemeia, meaning "art of transmuting metals." Active since ancient times, alchemists could be considered very early chemists because of their work trying to transform base metals into gold. Alchemists could also be considered wizards because they attempted to make special elixirs that would give everlasting life and cure sickness.
A beautiful depiction of Ganesha, remover of obstacles and the lord of new beginnings.
I have mixed feelings about seeing deities and Buddhas in commercial settings such as a garden centres, alongside garden gnomes, dragons and flowerpot people.
But looking beyond to when these figures are in people's homes and gardens and giving them pleasure and maybe inspiring peaceful contemplation and then my mood changes to something more open to compassion.
Love, Light and abiding Peace to all sentient beings.
Image depicting one of the performers from the 新新荣和 (Sin Sin Yong Hwa) troupe preparing to perform (Teochew Opera) on stage @ Pulau Ubin town center's wooden wayang stage.
She's lit by the natural window light. In her pocket together with the cigarettes is a red packet (Hong Pao), given possibly by the organizer/ boss for good luck.
Chinese opera is held at Pulau Ubin on festive occasions such as the Hungry Ghost Festival and the Tua Pek Kong festival.
It depicts Christ's last joint Easter meal with his disciples on the eve of his arrest and crucifixion. During the meal, Christ instituted the sacrament of the Eucharist, gave parting instructions, predicted renunciation Peter and the betrayal of Judas (Mt. 26:17-29; Mk. 14:12-25; Lk. 22:7-38; In. 13:1 - 17:26).
After the words of Jesus: "One of you will betray Me", the disciples began to look at each other, not understanding who He was talking about. Each of them asks, "Am I not?" To Judas, Christ gives an affirmative answer: "You said," to the rest he answers with a hint: "He who dipped his hand in salt with Me."
Зображено останню спільну пасхальну трапезу Христа з учнями напередодні Його взяття під варту і хресної страти. Під час трапези Христос встановив таїнство Євхаристії, дав прощальні напучування, передрік зречення Петра та зраду Іуди (Мф. 26:17-29; Мк. 14:12-25; Лк. 22:7-38; Ін. 13:1 — 17:26).
Після слів Ісуса: «Один з вас зрадить Мене» учні стали переглядатися, не розуміючи, про кого Він говорить. Кожен з них запитує: «Чи не я?» Іуді Христос дає ствердну відповідь: «Ти сказав», решті відповідає натяком: «Той, хто омочив зі Мною руку в солило».
«У вівтарі Трапезної церкви Г. І. Попов написав «Тайну вечерю». Художнє розкриття композиції є цілком традиційним для церковного мистецтва. Автор застосував той тип «Тайної вечері», коли історичні обставини прощальної трапези є поєднаними з літургійною сутністю Євхаристії. На довгій прямокутній білій скатертині живописець зображує хліб і потир із вином. Ліворуч на підлозі – предмети, що залишилися після омивання ніг: глечик, рушник і мідниця.
Реакцію апостолів на слова, сказані Христом, автор убачає в діаметрально протилежних імпульсах. Група учнів ліворуч мимоволі подалася вперед, група апостолів, яку написано праворуч, відринула, вражена почутим, назад. Христа зображено відчуженим від подій, що відбуваються навколо нього: у цю хвилину він немов провидить майбутнє.
Художник не ставить за мету відокремлювати Іуду від інших учнів за допомогою рухів чи погляду. Від переживань, які охопили його товаришів, Іуду відсторонено його власними думками. Хвиля емоційного пориву не торкнулася душі апостола, який вже зробив вибір і сам собі підписав вирок зрадника. Після пророчих слів Господа, які щойно прозвучали, Іуда застиг: його пальці, що судорожно потягли було скатертину, торкнувшись її, завмерли; кисть руки ніби скам’яніла, приросла до гаманця; застигли очі, що вдивляються в себе і нічого там, незрячі, не бачать. Вираз величезних Іудиних очей художникові особливо вдався. Майже непомітно він скошує праву зіницю, завдяки чому погляд, який втратив спрямованість, не може покинути очниць. Виразний психологічній образ Іуди, «речі в собі», – формують саме очі персонажа».
/Пітатєлева О. В., с.н.с. науково-дослідного відділу вивчення мистецької спадщини/
Примітка: текст автора описує іншу композицію.
This expressionist photo depicts a distorted and fragmented figure, conveying a sense of isolation and anguish. The blurred and obscured features of the model's face, as well as the contorted positioning of their hands, evoke a sense of emotional turmoil and inner conflict. The obscured identity of the subject in the photo, coupled with their closed eyes and obscured face, adds to the enigmatic quality of the photo. The high contrast between light and shadow, as well as the soft focus and blurred edges, contribute to the overall mood of unease and intensity. The photo is intended to leave the viewer with a sense of ambiguity, uncertainty, and existential angst.
Located on the Piazza del Duomo in Bergamo Citta Alta, one can admire the Basilica of Santa Maria Maggiore, a remarkable example of Lombard Romanesque. Building work started in 1137 (twelfth century) thanks to a town vote which promised the construction of a splendid church in exchange for the end of the plague epidemic which had afflicted the city. The primitive Romanesque structure (one nave and two aisles, with two major portals, two minor portals and an octagonal cupola) has been reworked over the centuries to the point where it is now very difficult to detect it. The most radical change was the construction of the Colleoni Chapel in the place of the old sacristy, at the same time as the addition, on the northern side, of the new sacristy. The Gothic steeple which dominates the portal is, in turn, an addition made in the fifteenth century. All the portals are the work of Giovanni da Campione. Of these the one next to the Colleoni Chapel (1353) deserves particular attention, as it blends Romanesque features (the round type of arch, the decoration of the portal depicting medieval animals and warriors), with a more exquisitely Gothic flavour. Giovanni da Campione is actually one of the last of the group of so-called "Campionese masters", who lived and worked in the transitional period from the Romanesque to the Gothic style. The equestrian statue of St Alexander by the same artist, which dominates the portal can already be fully classed as Gothic style.
The inside has also been radically changed compared to the original Romanesque structure, by decorations in stucco and marble from the seventeenth century; a wooden choir by Andrea Previtali (1470-1528) and Bernardino Zenale (1450-1526, one of the architects who contributed to the building of Milan Cathedral), following a design by Lorenzo Lotto; a wooden confessional by Andrea Fantoni, an interesting example of baroque art; Flemish tapestries from the sixteenth and seventeenth centuries, the one which depicts the "Crocefissione" (Crucifixion) is particularly spectacular; frescos from the Giottesque school of the 1400s, representing the Stories of the Life of St Eligio and an "Ultima Cena" (Last Supper).
This black-and-white image depicts an elegant woman seen from behind, standing on a train station platform.
She is wearing a long dress and holding a handbag.
Her hair and dress appear to be swept by the air displacement caused by a high-speed train passing on the left, visible as blurred lines that emphasize its rapid motion.
The background highlights the metallic and geometric structure of the station, with intense light at the end of the platform, creating a dramatic and dynamic atmosphere.
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The Sanctuary of Truth is a magnificent temple in Pattaya, Thailand, that stands as a tribute to traditional Thai architecture and craftsmanship. The temple is entirely made of wood, with intricate carvings depicting various Hindu and Buddhist deities, as well as ancient Thai mythological figures. The construction of the Sanctuary of Truth began in 1981 and is still ongoing. The temple covers an area of over two hectares and is over 100 meters tall. It was designed by a local businessman named Lek Viriyaphant. The Sanctuary of Truth is not affiliated with any specific religion, but rather serves as a symbol of the unity of all religions and beliefs. It is a peaceful and tranquil place where visitors can reflect and appreciate the beauty of Thai culture and tradition. The Sanctuary of Truth also serves as a cultural and educational center. It hosts various workshops and events throughout the year, aimed at promoting traditional Thai arts and crafts. The temple is known for its beautiful carvings and statues of mythological figures. One of the goddesses seen there is the Goddess of the Earth, who is often depicted sitting on the ground. This goddess is associated in many cultures with fertility, growth and the cycle of the seasons. She is often depicted embracing the earth or digging into the ground with her hands. Her presence in the Sanctuary of Truth can be seen as a tribute to the power of nature and the important role the earth plays in our lives.
The left hall in the Sanctuary of Truth is an impressive wooden structure that resembles a cathedral. The hall has an imposing height of about 30 meters and is decorated with numerous statues and sculptures depicting Thai mythology and history. With high arches, vaults and elaborate carvings, it is reminiscent of Gothic architecture. Built using traditional woodworking techniques, the hall has over 100 beautiful carvings and sculptures depicting various aspects of Buddhism, Hindu mythology, and Thai culture. It represents the birth of life and humanity. It contains statues and sculptures depicting the creation of humanity, the earth and the cosmos. It is a fascinating place to visit for anyone interested in Thai culture and history, and who appreciate the beauty of traditional woodworking and architecture. There are images of gods and goddesses, Buddhist teachings and symbols of life and nature. Another interesting feature of the interior of the left hall is the large central atrium, which is lit by a skylight. This atrium serves as a kind of sanctuary, where visitors can meditate. In general, the inside of the left hall is a wonderful example of the rich Thai culture and history, and the wood carving techniques used to create it are very impressive.
The Sanctuary of Truth is een prachtige tempel in Pattaya, Thailand, die een eerbetoon is aan de traditionele Thaise architectuur en vakmanschap. De tempel is volledig gemaakt van hout, met ingewikkeld houtsnijwerk dat verschillende hindoeïstische en boeddhistische godheden uitbeeldt, evenals oude Thaise mythologische figuren. In de Thaise cultuur worden godinnen vaak afgebeeld met blote borsten als symbool van vruchtbaarheid, overvloed en zorgzaamheid. De bouw van het Sanctuary of Truth begon in 1981 en is nog steeds aan de gang. De tempel heeft een oppervlakte van ruim twee hectare en is meer dan 100 meter hoog. Het is ontworpen door een lokale zakenman genaamd Lek Viriyaphant. The Sanctuary of Truth is niet gelieerd aan een specifieke religie, maar dient eerder als een symbool van de eenheid van alle religies en overtuigingen. Het is een vredige en rustige plek waar bezoekers de schoonheid van de Thaise cultuur en traditie kunnen overdenken en waarderen. De linker hal in de Sanctuary of Truth is een indrukwekkende houten structuur die lijkt op een kathedraal. Met hoge bogen, gewelven en uitgebreide houtsnijwerk versieringen doet dit denken aan gotische architectuur. Het vertegenwoordigt de geboorte van het leven en de mensheid. Het bevat beelden en sculpturen die de schepping van de mensheid, de aarde en de kosmos weergeven. Het is een fascinerende plek om te bezoeken voor iedereen die geïnteresseerd is in de Thaise cultuur en geschiedenis, en die de schoonheid van traditionele houtbewerking en architectuur waarderen. Er zijn afbeeldingen van goden en godinnen, boeddhistische leerstellingen en symbolen van het leven en de natuur. Eén van de godinnen die daar te zien is, is de Godin van de Aarde, die vaak wordt afgebeeld terwijl ze op de grond zit. Deze godin wordt in veel culturen geassocieerd met vruchtbaarheid, groei en de cyclus van de seizoenen. Ze wordt vaak afgebeeld terwijl ze de aarde omhelst of met haar handen in de grond graaft. Haar aanwezigheid in de Sanctuary of Truth kan worden gezien als een eerbetoon aan de kracht van de natuur en de belangrijke rol die de aarde speelt in ons leven. Een ander interessant kenmerk van de binnenkant van de linker hal is het grote centrale atrium, dat wordt verlicht door een dakraam. Dit atrium dient als een soort van heiligdom, waar bezoekers kunnen mediteren en ontspannen
The murals depict a magnificent tribute to five Coonalpyn Primary School children, whose images will now live on in the history of the town forever. The lucky five were six-year-olds Kiarah Leske and Blake Thompson, five-year-olds Macey Jacobs and Reef Gregor and nine-year-old Ciara Johnson. The children are in various poses with two children looking to be actually drawing onto the face of two of the silos.
The Viterra Coonalpyn Silos were the first silos to be painted in South Australia and are the seventh silos to be included in the Australian Silo Art Trail Collection. They were completed in March 2017.
They were painted by world-renowned large scale mural artist Guido van Helten who was given full creative license to create what he believed would best reflect community spirit, culture and local identity.
It depicts seven life-size figures. Aspects of Ketchikan's past.
Chief Johnson, the lumberjack - the fisherman - the miner - the aviator - an elderly woman and an elegant lady.
In this way, prominent Alaska Natives, the logging, fishing and mining industries, the town's historic heavy reliance on air links and - despite its relative isolation - its maintenance as a centre of cosmopolitan fashion are all incorporated into the work.
locatiion : Daitokuji Temple Ryogenin, Kyoto city , Kyoro Prefecture,Japan
大徳寺 龍源院 方丈北庭 龍吟庭 室町/枯山水
Ryogintei Garden 龍吟庭
Constructed during the Muromachi Period.(1336-1573),this Karesansui ( dry landscape ) garden depicts Mt.Sumeru** ,which is believed to lie at the centre of the Buddhist universe.This garden is the oldest in the Daitokuji Temple,and is a famous example of true Zen temple garden.
The garden consists of a three formations of sacred rocks ,with the one protruding in the centre representing.
Mt.Sumeru,and the moss around it representing the vast oceans.
Here is how the Buddhist scriptures describe Mt.Sumeru.” Our universe is made up of nine mountains and eight oeans,and the one in the centre is called Mt.Sumeru.Its height and depth is said to be 80,000 yojanas*, a distance we cannot measure.This is absolute humanity that we all innately possess,and the original form which no one can violate.”
The Ryogentei Garden depicts this teaching, and discovering this on one’s own in Zen enlightenment.
- Kyoto city
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*One Yojana can be taken to mean about 11.5 km (9 miles)
** Mt.Sumeru ( Mt.Meru ) ( Japanese : 須弥山syumi-sen)
Mount Meru is a sacred mountain with five peaks in Hindu, Jain and Buddhist cosmology and is considered to be the center of all the physical, metaphysical and spiritual universes.
Meru (Sanskrit: मेरु), also called Sumeru (Sanskrit) or Sineru (Pāli) (Tibetan: ཪི་རྒྱལ་པོ་རི་རབ་), to which can be added the approbatory prefix su-, resulting in the meaning "excellent Meru" or "wonderful Meru" and Mahameru i.e. "Great Meru" (Chinese: 須彌山 Xumi Shan; Pāli Neru;).
Many famous Hindu and similar Jain as well as Buddhist temples have been built as symbolic representations of this mountain. The highest point (the finial bud) on the pyatthat, a Burmese-style multi-tiered roof, represents Mount Meru.
- wikipedia
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Daitoku ji Ryogenin Temple
This is one of the sub-temple of Daitokuji Temple, and it is the head temple of the South School of Daitokuji.
It was built in1502 by Yoshimoto Hatakeyama,the load of Noto province ( today’s Ishikawa Prefecture) together with some others including Yoshinaga Omoto of Bungo Province.(today’s Oita Prefecture) ,and Soboku Totei,the 72nd priest of prayed the role of the founder.
The Hojo Building ,the entrance and the Omotemon Gate were all built at the same time of the founding the temple and still exist today in their original form. It is said that the Hojo building is the oldest all the buildings inside the precinct of the Daitokuji Temple. And shows the typical style of Zen.
To the south ,east and north of the Hojo building,there are three gardens with diffirent tastes.
The Ryogentei Garden located the the north is renowned Shumisen-style 須弥山形式 dry landscape garden with Buddhist triad stones (sangonseki)on moss.Moreover ,the south garden ( the front garden of Hojo) is a Horai style garden with moss and stone arrangements inside an ‘ ocean’ of white stones ,resembling cranes and turtles.
The Tortekitei garden is regarded as the smallest stones garden in Japan, in which very small traces of wave patterns remind us of the far-reaching ocean.
As for treasure owned by the temple,there are such items as the four –side lacquer painted go boad 碁盤with which according to tradition, Hideyoshi Toyotomi and Ieyasu Tokugawa played the game of go碁,and the Tanegashima firearm with the year of its manufacture,1583 marked on it.
- Kyoto city
These cases take their name from the virgin Roman goddess of fire, home, hearth and family. Usually Vesta was depicted as the fire in her temple. Only Vestals (her priestesses) were allowed into her temple. Her association with fire made her name the natural choice for British companies who manufactured matches.
The Calling of Saint Matthew is an oil painting by Caravaggio that depicts the moment Jesus Christ calls on the tax collector Matthew to follow him. It was completed in 1599–1600 for the Contarelli Chapel in the church of the French congregation, San Luigi dei Francesi in Rome, where it remains. It hangs alongside two other paintings of Matthew by Caravaggio, The Martyrdom of Saint Matthew (painted around the same time as the Calling) and The Inspiration of Saint Matthew (1602).
More than a decade earlier, Cardinal Matthieu Cointerel (in Italian, Matteo Contarelli) had left funds and specific instructions in his will for the decoration of a chapel based on themes related to his namesake, Saint Matthew. The dome of the chapel was decorated with frescoes by the late Mannerist artist Giuseppe Cesari, Caravaggio's former employer and one of the most popular painters in Rome at the time. But as Cesari became busy with royal and papal patronage, Cardinal Francesco Del Monte, Caravaggio's patron and also the prefect of the Fabbrica of St Peter's (the Vatican office for Church property), intervened to obtain for Caravaggio his first major church commission and his first painting with more than a handful of figures.
Caravaggio's Calling of Saint Matthew hangs opposite The Martyrdom of Saint Matthew. While the Martyrdom was probably the first to be started, the Calling was, by report, the first to be completed.[citation needed] The commission for these two lateral paintings — the Calling and the Martyrdom — is dated July 1599, and final payment was made in July 1600. Between the two, at the altar, is The Inspiration of Saint Matthew (1602).
The painting depicts the story from the Gospel of Matthew (Matthew 9:9): "Jesus saw a man named Matthew at his seat in the custom house, and said to him, "Follow me", and Matthew rose and followed Him." Caravaggio depicts Matthew the tax collector sitting at a table with four other men. Jesus Christ and Saint Peter have entered the room, and Jesus is pointing at Matthew. A beam of light illuminates the faces of the men at the table who are looking at Jesus Christ. This is a depiction of a moment of spiritual awakening and conversion, which was something many Baroque artists were interested in painting, especially Caravaggio.
There is some debate over which man in the picture is Saint Matthew, as the surprised gesture of the bearded man at the table can be read in two ways.
Most writers on the Calling assume Saint Matthew to be the bearded man, and see him to be pointing at himself, as if to ask "Me?" in response to Christ's summons. This theory is strengthened when one takes into consideration the other two works in this series, The Inspiration of Saint Matthew, and The Martyrdom of Saint Matthew. The bearded man who models as Saint Matthew appears in all three works, with him unequivocally playing the role of Saint Matthew in both the "Inspiration" and the "Martyrdom".
A more recent interpretation proposes that the bearded man is in fact pointing at the young man at the end of the table, whose head is slumped. In this reading, the bearded man is asking "Him?" in response to Christ's summons, and the painting is depicting the moment immediately before a young Matthew raises his head to see Christ. Other writers describe the painting as deliberately ambiguous.
Some scholars speculate that Jesus is portrayed as the Last Adam or Second Adam as titled in the New Testament. This is displayed in Christ's hand as it reaches out towards Matthew. It is almost a mirrored image of Adam's hand in The Creation of Adam by Michelangelo, the namesake of Caravaggio. Twice in the New Testament, an explicit comparison is made between Jesus and Adam. In Romans 5:12–21, Paul argues that "just as through the disobedience of the one man the many were made sinners, so also through the obedience of the one man the many will be made righteous" (Romans 5:19, NIV). In 1 Corinthians 15:22, Paul argues that "as in Adam all die, so in Christ, all will be made alive," while in verse 45 he calls Jesus the "last/ultimate/final Adam".
At the West end of town, a depiction of a Comanche hunting party greets speeding traffic on Interstate 10.
This image depicts a charming, historic building facade in Taormina, a picturesque town in Sicily, Italy. The structure shows the weathered and textured stone walls, indicative of its age and the passage of time. The arched doorway in the center, framed by a decorative stone border, suggests a blend of medieval and Renaissance architectural influences. Above the entrance is a circular stone design, resembling a rose window, which adds an ornate touch to the otherwise rustic appearance.
To the left of the doorway, a small shop window displays colorful souvenirs, such as ceramics and local products, which hint at the town's vibrant artisan culture. This little shop fits snugly within the stone structure, with a lantern hanging nearby to illuminate the narrow street at night. The overall atmosphere feels warm and inviting, combining old-world charm with the liveliness of the local commerce.
On the right side of the image, a modern clothing boutique adds a contrasting touch to the historic setting. The entrance is decorated with bright pink flowers that frame the doorway, giving a burst of color against the muted tones of the ancient stone walls. The shop window showcases a variety of garments, blending traditional and contemporary styles, which reflects the fusion of history and modernity in Taormina.
The wet pavement in front suggests a recent rain, with the dark, shiny surface adding depth to the scene. It adds a fresh feel to the image, enhancing the textures of the stonework and the vibrancy of the storefronts. This juxtaposition of old and new, rustic and refined, captures the essence of Taormina's charm as a destination where history, culture, and daily life beautifully intertwine.
RX_02530_20240509_Taormina
Excerpt from the booklet Fun-Filled Sha Tau Kok:
Murals featuring the heritage of Sha Tau Kok:
To experience a stroll by the sea, there is no better place than the long catwalk of the pier which extends far into the middle of the sea. The walls along the catwalk are decorated with murals depicting the people, places and stories in Sha Tau Kok painted by local primary school students.
Excerpt from cbc.ca:
Mary Wiens · CBC News · Posted: Jul 20, 2017 11:00 AM ET | Last Updated: July 20, 2017
Few passengers boarding the subway at Old Mill where it crosses over Humber Park realize that the massive concrete pylons supporting the station have become a series of concrete canvases in the park below.
But walk past the station, down Old Mill Road and turn right into Humber Park, and you'll find Indigenous artist Philip Cote, perched on a scaffold, working on any one of ten murals that transform the pylons into teaching tools for Indigenous history.
Cote's circular murals depicting the Anishinaabe creation story are a public art commission for the Pan Am Path, the 80-kilometre path that will eventually link walking and cycling paths across the city.
For Cote, the murals are a chance to share Indigenous history and science, informed by a spiritual understanding — typical of Indigenous thought.
"The whole idea of this mural is a small seed that's going to get planted and it's going to go somewhere," said Cote. "It's the creation story of the Anishinaabe people, so we're talking about a different way of looking at the world."
"This mural is man's arrival on the land. He's connecting with all the animals," said Cote. "I wanted to show that Indigenous thinking, that everything's connected and we're all on the same path."
The subway bridge was built almost 50 years ago but Cote's murals depict a history preserved through an oral tradition that survived the Ice Age.
Ten murals capture different epochs of Indigenous history, going back more than 13,500 years, like one mural depicting animals that became extinct during the Ice Age. It includes an image of a man called Oh-kwa-ming I-nini-wug, the Anishinaabe word for 'ancient people,' passed down through an oral tradition that western science is only now beginning to accord more respect.
Cote's murals for the Pan Am Path are a partnership with two graffitti artists, Jarus and Kwest.
Depicting the creatures from the paintings of Jheronimus Bosch this daily lightshow in 's-Hertogenbosch is a spectacle not to be missed!!
The building on the far left (De Kleine Winst) is the building where Bosch grew up
Depiction of a 1926 Ford Police Van, City of Chicago - 18th Precinct.
Mixed media project in 3D using:
Deep Dream AI Generator - Background.
Lightwave & Okino Nugraph - Modeling
Paint Shop Pro & Photoshop - Texturing.
Bryce - Staging, Lighting and Final render.
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