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This is dedicated to my friend Paulinski.
www.flickr.com/photos/paulinski
This is his story:
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.....between strength and breakdown. As some may know, the past six months have been a very trying time for me. I’ve given up a decent job and money as an attempt to find happiness. It hasn’t exactly gone according to plans. Early this year I was diagnosed with MS and optic atrophy. Optic atrophy is a rare disease that is associated with MS. When my body heat rises, my vision becomes terrible to the point that I can’t do certain things like drive a vehicle, etc.. Anytime that I’m active my vision becomes impaired. And it’s these times that I must sit down and relax for my vision to come back to normal again.
In this new town, I still cannot find a job that I can literally tolerate. I have to be very picky with the type of job that I apply for. Basically, strictly clerical. I’ve gone through my life savings and now I have to draw out my retirement to pay what bills I have.
There’s been many things clouding my mind, like what my future will be like. Will I be able to have a job that will support me on my own? Will I find someone that I can grow old with? Someone that can accept my extreme limitations in lifestyle? Will I ever have children of my own and if so, will I be able to handle it because of my disease and will or can I be a good father? Will I really be happy in this town, or at all?
My father has also been having a lot of tests done to find out if he has cancer or not The whole family is a nervous wreck about that. He’s an incredibly strong soul though, but it’s just the whole thought of what can be. So these are some of the things I think about often these days. When bad things start to happen, we tend to focus on other things that could turn out for the worst. At least I do. Maybe I’m not the optimist I once was, but surely things will turn out at least tolerable. These are some reasons why Flickr seems a million miles away a lot of the time. Saying all of this, I want sympathy from noone, just understanding.
The photo signifies strength turning it's back on weakness. Could be better, but I did a quick job.
P.S. Mr. Vasta, I’m still a firm believer that the shitstorm will pass for the both of us. Sometimes when it rains, it pours. Sometimes it rains longer and harder than we expect or can tolerate. I’m there with you brother, all the way. One day our sun will shine.
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We are with you Paulinski. Count on me...
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I dedicated these pictures to MC who just lets me be me........
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The ancient city owes its name to the most important Macedonian sanctuary dedicated to Zeus (Dios, "of Zeus"), leader of the gods who dwelt on Mount Olympus; as recorded by Hesiod's Catalogue of Women, Thyia, daughter of Deucalion, bore Zeus two sons, Magnes and Makednos, eponyms of Magnetes and Macedonians, who dwelt in Pieria at the foot of Mount Olympus.[4] Hence from very ancient times, a large altar had been set up for the worship of Olympian Zeus and his daughters, the Muses, in a unique environment characterised by rich vegetation, towering trees, countless springs and a navigable river. For this reason Dion was the "sacred place" of the Ancient Macedonians. It was the place where the kings made splendid sacrifices to celebrate the new year of the Macedonian calendar at the end of September. In the Spring, purification rites of the army and victory feasts were held.
The first mention of Dion in history comes from Thucydides, who reports that it was the first city reached by the Spartan general Brasidas after crossing from Thessaly into Macedon on his way through the realm of his ally Perdiccas II during his expedition against the Athenian colonies of Thrace in 424 BC. According to Diodorus Siculus, it was Archelaus I who, at the end of the 5th century BC when the Macedonian state acquired great power and emerged onto the stage of history, gave the city and its sanctuary their subsequent importance by instituting a nine-day festival of games that included athletic and dramatic competitions in honor of Zeus and the Muses, whose organisation was overseen by the Macedonian kings themselves.
Philip II and Alexander the Great celebrated victories here, and Alexander assembled his armies and performed magnificent sacrifices here on the eve of his campaign to Asia in 334BC.[5]
Many ancient authors speak of the sculptural bronze masterpiece by Lysippos made for Alexander depicting 25 mounted companions who fell at the Battle of the Granicus and later taken to Rome by Metellus.
A city was built adjacent to the sacred sites that acquired monumental form during the reigns of Alexander the Great's successors and Cassander took a great interest in the city erecting strong walls and public buildings, so that in Hellenistic times Dion was renowned far and wide for its fortification and splendid monuments. Dion and its sanctuary was destroyed in 219BC by Aetolian invaders but was immediately rebuilt by Philip V. Many of the dedications from the sanctuary that had been destroyed were buried in pits, including royal inscriptions and treaties, and these have been discovered recently.
Fortification wall
It fell to the Romans in 169BC and the city was given a new lease of life in 32/31BC when Octavian founded the Colony of COLONIA JULIA AUGUSTA DIENSIS here. It experienced its second heyday during the reigns of 2nd- and 3rd-century AD Roman emperors who were fond of Alexander the Great. Dion's final important period was in the 4th and 5th centuries AD when it became the seat of a bishopric. It was abandoned following major earthquakes and floods.
The modern village at the site was called Malathria until 1961, when it was renamed to Dio
Dedicated in April 2007, the names of 684 known alumni who perished are listed in the memorial’s bronze Book of Names with pull-out panels
2019 - Dedicated to those who fell and to those who carry on - 911 Twin Tower Memorial Wall Relief World Trade Center - WTC Bronze Plaque South of Ground Zero near Liberty Street Next to Fire House 10 - 343 firefighters from Engine 10 Station 10 who lost their lives in the September 11 Terrorist Attack on the World Trade Centre - Lower Manhattan sculpture relief 9/11 - NYC - New York City FDNY - Artists Joseph A Oddi created the illustration design followed by the detailed sculpting of Joseph Petrovics - public art unveiled on June 10 2006
From the May 2016 trip to Thailand and Cambodia:
Angkor Wat…is the “grandest and most sublime” of all of the Khmer temples. It means ‘city pagoda.’ It was built during the reign of King Suryavarman II in the first half of the 12th century. It was both the capital and the State temple dedicated to Vishnu.
Well, this is it. Save for a return flight to Bangkok on Tuesday, May 17 (a formality, really, just to pick up the return flight to China on the 18th…and no shoots on the 17th in Bangkok), Siem Reap/Angkor Wat is the last stop – and the one I was most looking forward to.
The flight over was pretty uneventful, though amusing. At Phnom Penh International Airport, we checked in at the gate, then went outside and hopped on a bus to take us to the plane…which was literally less than 100 meters away. That amused me to no end. A quick, comfortable 45 minute flight on the prop jet later – over completely black terrain; it seems the countryside is either sparsely populated, or electricity is a premium, but we may as well have been flying over a moonless ocean – brought us to Siem Reap (which, I’m glad to say, had lights). Siem Reap is the small town (and it’s basically a tourist/party kind of town where it’s great to go out at night after spending a full day in the sweltering hot sun. It’s about 10 kilometers south of Angkor Wat.
In overview, Angkor Wat is the ancient capital of the Khmer kingdom. What remains today are temples…temples…and temples. Hindu temples. Buddhist temples. They were also a people who were animists, so some temples are reminiscent of that system, too.
The detail of the temples is also fascinating. There are more asparas here than you can shake a stick at. Of the roughly 20,000 asparas, only one is shown smiling (baring teeth, that is). It fascinates – and impresses – me that people have done such extensive research and restoration that they know this. Those are the details, though.
A macro view of the Siem Reap area is just as impressive in that these temples are a study of a civilization close to one thousand years old (yet another jaw-dropping aspect of Angkor: the longevity) and their durability. The earliest temples are over a thousand years old, and the most recent are from the 14th century. (If the guide book I bought is correct, they were all built between 790-1307.) What survives today is all original (though there have been reinforcements with stone – many foreign countries support renovations of specific temples; I recall China and India among them). It’s quite obvious to tell what’s old and what’s new in most cases. However, the restorations are all good and necessary. One last note regarding the longevity of these temples is this: If these stone temples are what remained…how impressive must the society have been who created them? (That’s to say…think of the temples, houses, and all that didn’t survive as they were built of wood; these are simply the temples built by the royals or the aristocracy.)
A tour of modern-day Angkor Wat can be done in one or two fairly vigorous days. However, if you’re looking for any classic shots, you’ll want to spend longer here. (Common sense: the more time here, the more chances for good shots.) For this trip – it may be the only time I come here, though you never know – we arrived on a Saturday night and checked into our hotel (My Home Tropical Garden Villa; $20/night)
Siem Reap feels, at first, like a small dusty outpost of a town. The center of town is about four square blocks of small dive restaurants (and a bar street) and slightly pricier restaurants. There is also a night market street, an art street…all in all, it’s quite nice and has a bit of a party feel to it in addition to the endless souvenir stands you would expect. Though we didn’t go out on Saturday night (since we didn’t get checked in until around 9:30 p.m.), we did get a chance to go on Sunday.
Sunday morning was an awfully early start. Before having left Phnom Penh, I jumped on Facebook and, by chance, found and hired a local tuktuk driver, Mao Khvan, for $25/day. He agreed to pick us up at 4:50 a.m. to catch the sunrise at Angkor Wat.
Now, a quick note on tuktuks: almost every single hotel/hostel/guesthouse probably has tuktuks available for hire. Also, when we were picked up at the airport, the taxi driver offered to drive us for the time we were there. In short…it’s a competitive market, and finding a driver for the day will be no problem. $25 may even be slightly pricy (you could probably find a driver for $15-20), however, I was so impressed with Mao’s service that, if I were to return, I’d gladly hire him again. He wasn’t rude or pushy, provides all the ice water you could possibly want to drink, and though he’s not an “official” guide, he’s very, very knowledgeable and made both days pleasant. I even had him take us to the airport the morning we left, and he brought his wife and daughter to meet us. He’s just a genuinely good and decent guy. (For anyone who goes to Angkor Wat, here’s Mao’s contact info if you want to arrange his services ahead of time: www.facebook.com/maotuktuksiemreap/?fref=ts )
Back to the actual touring itself, Angkor is geared towards tourism and they do it well. You can buy an admission ticket for either one, three, or seven days. ($20, $40, or…$60?). It’s also nice because they don’t have to be used in consecutive days (for the three and seven day passes, obviously). The three days can be used in a given week. The seven day pass, within a month.
Conventionally, two days is enough to see the “main” sites (albeit quickly) in about 8 hours each day. There’s a small loop (which we did the first morning) in which we caught the sunrise (not a great one, but…there was one, and it wasn’t terrible, by any stretch) at Angkor Wat, followed by a quick tour of the grounds – but not the temple itself. Afterwards (we were at Angkor Wat from 5:30 until 7:00 or 8:00, I’d say), we hopped back in the tuktuk and headed over to Ta Prohm, about 15-20 minutes away. Ta Prohm is famous for those who are fans of the Lara Croft Tomb Raider movies. (The first, I think. I’m not, so I don’t recall it vividly.) After those two spots – probably two of the three most famous – we went to the Khmer Country Kitchen for a rather nice, relaxing, and cheap breakfast where we spent an hour with the other two members of our group. Around 10:00, we went to our third stop: Ta Keo Temple. In 40 degree heat (roughly 104F), I was feeling a bit too exhausted to climb the somewhat steep stairs to the top of this temple, but I did enjoy the lower area just as well. From Ta Keo, we made a quick stop at two temples (they form a pair): Thommanon and Chau Say Tevoda for about 20 minutes. Between these three, I’d say we spent about an hour. Our last stop of the morning, around high noon, was the Bayon complex of Angkor Thom. Passing through Bayon’s east gate, we stopped for a few quick pictures before going to the main compound of Bayon, which I would say is the the last of the three most-recognizable places here. We spent a good hour, or a little longer, shooting here after which point we were completely spent. Mao would have gladly taken us back to Angkor for sunset, but we actually decided to call it a day around 1:00. 9 hours in high heat was more than enough.
Back at the hotel, we rested, and I enjoyed myself immensely in the swimming pool. In the early evening, we walked about 600 meters to the “happening” part of town where we wandered the various streets and had a rather nice Khmer dinner. After eating and walking off a rather good dinner, we called it a night and headed back to our room. (For what it’s worth, the afternoon sky clouded over quite a bit and I heard we didn’t miss much as far as sunsets go. Mao also told us the following morning that the sunrise was a wash, as was Tuesday morning’s. Perhaps he was just trying to make us feel good.)
Monday morning we gladly skipped the sunrise and had a late start around…10:00. After a good old-fashioned breakfast of a ham & cheese omelet, Mao came by and we spent the second full day on the large loop. The first stop of the day was at Ba Phuon, a lesser temple just north of Bayon in Angkhor Thom. This was accompanied by quick stops at the adjacent Elephant Terrace and Leper King Terrace. After about an hour in the Ba Phuon area, we rode off to the northeast and stopped at Preah Khan, which was a rather interesting ruins. Another hour or so gone, we continued along the northeastern loop, bypassing Neak Pean (which, following English pronunciation rules, could theoretically be pronounced “neck pain,” which amused me for some reason…). The next stop was a rather small temple named Ta Som on the eastern end of the outer loop. Just down the road from Ta Som, we stopped at the East Mebon temple. When it was constructed, this was an island, only accessible by boat. That, however, was centuries ago. Now, it’s just a very dry, dusty area – with the temple still standing – and it’s hard to imagine it was once surrounded by water. At any rate, it was a quick stop at East Mebon, followed by another nice meal at the Khmer Country Kitchen before we continued with the tour. The next stop on the list was due east of the restaurant (southeast corner of the outer loop, which is really slightly northeast of Angkor Wat). Pre Rup (or Bre Rup) was a fairly photogenic temple. By this point, the heat – also around 40 degrees, just like Sunday – was starting to take a toll, though we still managed to stay out and see all we could. The last “new” temple for us was Banteay Kdei, a citadel that is at the corner of where the inner and outer loop meet on the eastern side of Angkor Wat. Directly across the street from Bnateay Kdei is what should be a nice lake called Sra Srang. A long, rectangular lake, which is also across the street from the Khmer Country Kitchen, it’s now nothing but a dustbowl. Though it’s rainy season now, there’s been so little rain that the lake has completely dried up. (But, please don’t tell any “right”-thinking politicians in my country that global warming is a problem. It certainly isn’t, despite what your eyes see.) After some rather sad contemplation at Sra Srang, we went back to Angkor Wat around 4:00 and were there until 6:30 or so for sundown. However, a boomer of a thunderstorm (light rain, but heavy on thunder & lightning) came through and there wasn’t much to see. However, we did finally get to tour the interior of Angkor Wat, and found that a pretty fitting way to end the initial Siem Reap shoot. From there, we went back to the hotel where we passed out from exhaustion.
The only thing left to do was wake up on Tuesday for a quick 45 minute flight at noon to Bangkok. We concluded the trip as we started it: eating well at a Thai restaurant. Other than that, we just had a quiet night in Bangkok (no shooting at all) and a very early (3:30 a.m.) wake up call for our return flights out of Thailand. I’m definitely looking forward to seeing Thailand again soon.
This temple is dedicated to Sri Ranganatha (Lord Vishnu), as is the famous temple in Sri Rangam. Also worshiped here is Lakshmi, the consort of Lord Vishnu. There are many side temples including ones dedicated to the Alwars (Tamil Nadu Vaishnava saints), Sesa-sayi Ananta Sayanam with Lord Vishnu reclining on him, and Tirupati Balaji. Also worshiped in this temple are Lord Narasimha, Sita-Rama and Laksman, Venugopala and Ramanujacarya. This temple is managed by priests of the Sri Sampradaya, which begins from Sri Lakshmi, the goddess of fortune. This temple is constructed in the South Indian Dravidian style.
HISTORY
The construction of this temple began in 1845 and was completed in 1851, at the cost of 45 lakhs (4.5 million) rupees. It was built by Seth Radha Krishna and Seth Govindadasa of Chennai (Madras). This is the biggest temple in Vrindavana. The outer wall is 231m by 132m. This wall encloses a nice tank and garden. This temple has eight South Indian style gopurams. The main entrance to this temple is the western gate. There is a six-storey (31m) gopuram, which is completely covered by carvings. There is an 18m high flag staff (dhwaja stamba.
Worship Method The style of worship in this temple is the system established by Ramanujacarya and the worship is done by South Indian brahmanas.Earlier Non-Hindus (non-Indians) were not allowed enter the main temple area where the Deity is located, but now they can enter the courtyard If you are not an Indian, you can only enter the first two gateways.
In the month of Chaitra from the 2nd to 12th days of Krishna Chaitra (March-April) there is the huge Brahmotsava Festival of Sri Ranganatha. It is a ten-day festival in which the utsava murti (festival deity) is taken out on procession twice a day in the morning and evening. Over a hundred thousand people come to this festival. On the eighth day of Krishna Chaitra the processional Deity is pulled by devotees on a large 14m (45 ft) high cart from the Ranganath temple to Rangaji Garden, about 700m. The procession takes about 2½ hours. The cart festival is known as Ratha ka Mela. On the days when the main cart is not used, other vehicles are used to carry the Deities. There are fire-works on the tenth day of Krishna Chaitra. There is a variety of asanas (thrones) that are used to carry Lord Vishnu, which are placed on a smaller chariot. There is a Garuda, Hanuman, Surya (the Sun god), Chandra (the Moon god), a lion, an elephant and a horse.
MathuraVisit
Dedicated to all who have passed on.
Psalms 121
I will lift up mine eyes unto the hills, from whence cometh my help.
2 My help cometh from the LORD, which made heaven and earth.
3 He will not suffer thy foot to be moved: he that keepeth thee will not slumber.
4 Behold, he that keepeth Israel shall neither slumber nor sleep.
5 The LORD is thy keeper: the LORD is thy shade upon thy right hand.
6 The sun shall not smite thee by day, nor the moon by night.
7 The LORD shall preserve thee from all evil: he shall preserve thy soul.
8 The LORD shall preserve thy going out and thy coming in from this time forth, and even for evermore.
On Friday, September 5, 2014, the City of Marietta and the Marietta Fire Department honored the life and dedicated service of one of its own, Fire Fighter Engineer Lonnie Nutt who lost his life in the line of duty.
This city of Marietta photograph is being made available for publication by news organizations and/or for personal use printing by the subject(s) of the photograph. The photograph may not be manipulated in any way and may not be used in commercial or political materials, advertisements, e-mails, products or promotions that in any way suggests approval or endorsement of the city of Marietta, its elected officials or staff. Publication of this photograph must include a credit: Photo courtesy of the city of Marietta.
Joseph Stella ( 1877 – 1946 )
Nocturne - circa 1918
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Joseph Stella: Visionary Nature
February 24 – May 21, 2023
Italian-born American modernist Joseph Stella (1877–1946) is primarily recognized for his dynamic Futurist-inspired paintings of New York, especially the Brooklyn Bridge and Coney Island. Lesser known, but equally as ambitious, is his work dedicated to the natural world, a theme that served as a lifelong inspiration. Throughout his career, Stella produced an extraordinary number of works—in many formats and in diverse media—that take nature as their subject. These lush and colorful works are filled with flowers, trees, birds, and fish—some of which he encountered on his travels across continents or during his visits to botanical gardens, while others are abstracted and fantastical. Through these pictures, he created a rich and variegated portrait of nature, a sanctuary for a painter in a modern world.
Joseph Stella: Visionary Nature is co-organized by the High and the Brandywine River Museum of Art and is the first major museum exhibition to exclusively examine Stella’s nature-based works. The exhibition features more than one hundred paintings and works on paper that reveal the complexity and spirituality that drove Stella’s nature-based works and the breadth of his artistic vision. Through expanded in-gallery didactics, including a graphic timeline of Stella’s career and a short film, the exhibition digs deeply into the context of the works, exploring their inspirations, meanings, and stylistic influences.
Touring Dates:
Norton Museum of Art, West Palm Beach, Florida (October 15, 2022–January 15, 2023)
Brandywine Museum of Art, Chadds Ford, Pennsylvania (June 17, 2023–September 24, 2023)
www.nytimes.com/2022/11/30/arts/design/joseph-stella-flor...
www.forbes.com/sites/natashagural/2022/12/21/joseph-stell...
www.atlantamagazine.com/news-culture-articles/joseph-stel...
If you know the painter Joseph Stella, it’s probably from his famous urban landscapes like Brooklyn Bridge (1921), a futurist interpretation of New York’s dramatic 20th-century industrialization. But Stella was just as captivated by the botanical world as he was by cityscapes, and today, Atlantans can see that side of the artist in vivid color. Joseph Stella: Visionary Nature, an explosive new exhibit at the High Museum of Art, features dozens of his flower and plant-filled paintings and drawings. In Atlanta through May 21, the exhibit travels chronologically through Stella’s lifelong love-affair with the natural world, from an early study of a piece of bark to the epic, intricate Tree of My Life.
Visionary Nature was a joint effort between the High; the Norton Museum in West Palm Beach, Florida; and the Brandywine Museum in Chadds Ford, Pennsylvania, where it heads next. “They were really focused on [Stella’s] nature works, and we have a great work by Stella here at the High,” said Stephanie Heydt, the museum’s Margaret and Terry Stent Curator of American Art. “It was a great collaboration.”
Stella was born in 1877 in Muro Lucano, a hilly city in southern Italy. He immigrated to New York originally intending to follow his brother into medicine, but after a uninspired stint in medical school, he pivoted to painting. Stella studied briefly under the impressionist painter William Merritt Chase at the New York School of Art and soon developed a reputation as a sensitive interpreter of the urban working class.
The High’s exhibit features of some of these early works, in which the natural world spills out amidst the smokestacks and steel mills of America’s industrial revolution. “This is the Progressive Era at the turn of the twentieth century,” Heydt explained. “And he’s looking at the people in his own community, specifically the Italian immigrants.”
Traveling back in Europe, Stella was inspired by the contemporary artists he saw there: the cubism of Pablo Picasso and early futurism of Umberto Boccioni. He drew on these sources back in the U.S, earning acclaim for his dynamic geometric paintings of the metropolis; several choice selections, including American Landscape (1929), and Smoke Stacks (1921), are on view in this exhibit.
But even as Stella built his career on the towering achievements of urban industry, he yearned for the sunny landscapes of his youth. He frequented havens like the Bronx Botanical Gardens, which opened in 1891 and offered escape from New York’s sooty streets. Walking through Brooklyn one day, he later wrote in an essay, he stumbled across a sapling.
“This little tree is coming up from a crack in the sidewalk, shadowed by a factory, and he sees himself in this tree,” Heydt said. “He says, This is me.”
That encounter inspired Tree of My Life (1919) a florid aria sung to the natural world. A sturdy olive tree—Stella himself—anchors the canvas, surrounded by a vortex of tropical plants, birds, and, in the background, Stella’s native Italian hills. Brandywine Museum Director Thomas Padon envisaged the exhibit after seeing Tree of My Life in a private collection. “I was transfixed,” Padon told the New York Times.
Stella painted Tree of My Life and Brooklyn Bridge within a year of each other, announcing a duality that would define the rest of this career. While he painted flowers throughout his life, it was his moody, futurist treatments of New York that made him an art-world celebrity. European artists fleeing World War I were landing in New York in droves, sparking a new creative fascination with the cutting-edge American city. “(Marcel) Duchamp says the art of Europe is dead, and this century is about America,” explained Heydt. “Stella’s understood to be one of the first American-based painters to figure out . . . how to paint the new modern city.”
But Stella’s love of the natural world—and of Europe—endured. He returned to botanical themes throughout his life, infused with the Old Master styles of the Italian Renaissance. Many works in this exhibit invoke the sun-drenched vistas and towering cathedrals of Italy, overrun by sumptuous flowers that are decidedly not native to the Iberian peninsula. Stella—a native turned immigrant—seems to delight in the contradiction: in Dance of Spring (1924), tropical orchids and calla lilies burst open in a beam of beatific light, like Jesus rising to the heavens in a Raphael. Purissima (1927), part of the High’s own collection, evokes the iconic Renaissance Madonna, here transformed by Stella’s whimsy: the stamens of a lily serve as her celestial crown, while snowy egrets (the Florida kind) grace her sides.
With saturations of color abounding in every room, Visionary Nature enjoys an added depth through words. Stella was a prolific writer, and the exhibit makes canny use of text to explore his passion for the living world. “My devout wish,” reads one such diary segment on view, “That my every working day might begin and end . . . with the light, gay painting of a flower.” In a unique addition to their exhibition, the High created a short video featuring more of Stella’s own thoughts. “We wanted to end with his voice telling us how he felt about various paintings in the show . . . or his ideas about art,” explained Heydt.
Stella, who died in 1946, spent the last years of his life in ill health, largely confined to his studio. He never stopped painting the natural world; a few of those last works, modest trees still full of flair, are on view here. A few years before his death, his friend and fellow artist Charmion von Wiegand paid a visit to his studio. She found Stella amidst a riot of color, studiously painting his favorite subject. “Flower studies of all kinds litter the floor,” wrote von Wiegand, “and turn it into a growing garden.”
Dedicated to the designers, developers and engineers who build the world’s most engaging user interfaces. From the community, for the community.
Built early 1900s, dedicated as Holy Trinity Anglican 1970. First services in schoolroom. The Aboriginal Mission Station was established 1868 with 600 acres for the Narungga people, in 1894 former residents from closed Poonindie Mission near Port Lincoln were moved to Point Pearce, station taken over by State Govt 1915, aboriginals given control 1972 with transfer of further land.
“The present location of the mission is at Point Pearce, where a school-house and cottage are in course of erection.” [Register 21 May 1868]
“towards Point Pearce, and after a few hours' ride reached the station of the Boorkooyanna Native Mission. The buildings are all of stone, situate in the middle of a small plain of which Boorkooyanna is the native name. . . under the management of the Rev. W. J. Kuhn, is conducted mainly upon the principle of self-support, and an important part, though by no means the whole, of the work is sheepfarming.. . . A service is held every Sunday in the: schoolroom . . . At present cultivation of the land has not been attempted, but this season a small piece now being ploughed is to be sowed and cut for hay, to supply the horses that, are required for the use of the station, and perhaps a small quantity may be saved for grain.” [Register 9 Mar 1874]
“Point Pearce Mission Station. . . There is a church on the station. The chaplain is Mr. Finlayson, who has also a good knowledge of medicine.” [Register 28 Aug 1903]
“It has recently been decided that the Yorke's Peninsula Mission Station shall in future be directly under the control of the Government. . . Mr F. .Garnett will retain his position as superintendent, and represent the Government at Point Pearce.” [Yorke’s Peninsula Advertiser 10 Sep 1915]
“The: Methodist Church has for many years given the people of the station a regular Sunday morning preaching service. Wet or dry, the ministers and lay preachers have faithfully fulfilled their appointments there, the former driving 12 miles, and the latter, some more, some less, to do so. . . the Anglican Church has in recent years given the natives a regular monthly Sunday afternoon, service. The present rector of the Maitland .parish has been most attentive to the wants of the .station, cheerfully travelling thither in all weathers. . . the manager Mr. F. Garnett, and Mr. D. Roper; the assistant manager . . . Every Sunday evening one or other of these conducts divine worship and preaches in the mission chapel.” [Register 20 Mar 1919]
“Rev. Walter Owen. . . was appointed] missionary at Point Pearce. . . Mr. Owen is connected with the Presbyterian body.” [Observer 8 Oct 1923]
“For many years the Point Pearce Aborigines' Mission has been under the charge of a Presbyterian minister as missioner. As he has now been called to church work the Aborigines' Friends' Association, which controls the station on behalf of the Government, has requested the churches adjacent to the mission to conduct the religious services. The churches concerned are Anglican, Methodist and Congregational.” [News 31 May 1924]
“Point Pearce Mission Station, the only aboriginal reserve on Yorke's Peninsula . . . contains 20 square miles of agricultural and pastoral land, in addition to Wardang Island, with an area of seven square mile, some three miles to the south-west from the mainland. . . The Point Paarce village consists of 30 native cottages (laid out in municipal style), a church (which is generally well filled), a modern dayschool (under the control of the' Education Department), officers' houses, public baths, bachelors' quarters, the usual farm buildings (and implements), and a splendidly equipped windmill water scheme. . . The natives are employed principally in agricultural work, end many of them are experts in shearing, wollclassing [sic], road making, fencing, building, carpentering, blacksmithing, painting, and indeed all work pertaining to farm life. . . the present number carried being 4,500 sheep, 100 head of cattle, and 50 pigs.” [Register 6 Jul 1926]
“The Bishop of Adelaide (Right Rev. B. P. Robin) will preach at 2 p.m. today at Point Pearce.” [Advertiser 23 Oct 1943]
Hibiscus rosa-sinensis Linn. (family Malvaceae), known colloquially as the Chinese hibiscus, is an evergreen flowering shrub native to East Asia. It is also known as China rose and shoe flower. It is widely grown as an ornamental plant throughout the tropics and subtropics. The flowers are large, generally red in the original varieties, and firm, but generally lack any scent. Numerous varieties, cultivars, and hybrids are available, with flower colors ranging from white through yellow and orange to scarlet and shades of pink, with both single and double sets of petals.
Hibiscus rosa-sinensis viene coltivato in piena terra solo nelle zone a clima invernale mite.Ha foglie ovali persistenti, di colore verde scuro lucido, fiori ad imbuto che fioriscono dalla primavera all'estate.
Hibiscus rosa-sinensis (famiglia Malvaceae), noto anche come ibisco cinese, è un arbusto sempreverde nativo dell'Asia orientale. E 'ampiamente coltivato come pianta ornamentale. I fiori sono grandi e senza profumo. Numerose le varietà, cultivar e ibridi con fiori dai colori che vanno dal bianco,al giallo e all'arancione,al rosso scarlatto e a tutte le sfumature del rosa, con doppie e singole serie di petali.
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Dedicated to Tonx, the roaster that helped bring Victrola from goodness to greatness. This is an HDR shot taken with a D200 on nine-shot bracket, one stop bracket jumps. Deleted the four in-between shots to end up with five shots spanning a nine-stop range. Opened these five in CS2 automated HDR, set white balance, converted to 8-bit compressing highlights and shadows as I went. I've had very mixed luck with HDR, but this one I like. Oh, and mounted the camera on a tripod and held down the shutter button - anyone have a better way to press the button once and get all 9 shots - tried reprogramming FUNC but no luck - still makes me hold the button down.
Brahmeswara Temple is a Hindu temple dedicated to Shiva located in Bhubaneswar, Odisha, erected at the end of the 9th century CE, is richly carved inside and out. This Hindu temple can be dated with fair accuracy by the use of inscriptions that were originally on the temple. They are now lost, but records of them preserve the information of around 1058 CE. The temple is built in the 18th regnal year of the Somavamsi king Udyotakesari by his mother Kolavati Devi, which corresponds to 1058 CE.
HISTORY
Historians place the temple to belong to the late 11th century as ascertained from an inscription carried to Calcutta from Bhubaneswar. The inscription indicates that the temple was built by Kolavatidevi, the mother of Somavamsi king Udyota Kesari. It was built with four Natyasalas at a place known as Siddhatirtha in Ekamra (modern day Bhubaneswar). The inscription was recorded during the 18th renal year of Udyotha Kesari, corresponding to 1060 CE. Since the inscription is not in its original place, historians indicate the possibility of the reference to another temple, but based on the location and other features specified, it is ascertained that the inscription belongs to the temple. Also, another issue raised by Panigrahi is that the four cardinal temples are Angasalas (associate temples) and not Natyasalas (dance halls) as indicated in the inscription.
ARCHITECTURE
The temple is classified as a panchatanaya temple where apart from the main shrine, there are four subsidiary shrines in the four corners around the temple. The temple on account of its later origin, has perfectly developed structure compared to its predecessors. The vimana of the temple is 18.96 m tall. The temple is built with traditional architectural methods of wood carving, but applied on stone building. The buildings were built in a shape of full volume pyramid, and then they would be carved inside and outside.The basic structure of the Orissan temple has two connecting buildings. The smaller is the Jagmohana, or assembly hall. Behind it is the Shikhara, the towering sanctuary. Later temples have two additional halls in front - one for dancing, and the other for banquets.
The Brahmeswara shows quite a bit of affinity with the much earlier Mukteswar Temple, including the carved interior of the Jagmohana, and in the sculptural iconography such as the lion head motif, which appeared for the first time in the Mukteswara, and is here evident in profusion. There are quite a number of innovations, however, including the introduction of a great number of musicians and dancers, some holding lutes, on the exterior walls. For the first time in temple architectural history iron beams find their first use.
On sandstone walls there are symbolic decorations and the notion of godlike figures that helps the believer in his meditation. The carvings over the door frame contain beautiful flower designs as well as flying figures. Like the Rajarani, there are images of the eight directional Guardian Deities. There are also quite a number of tantric-related images, and even Chamunda appears on the western facade, holding a trident and a human head, standing on a corpse. Shiva and other deities are also depicted in their horrific aspects.
One of the lost inscriptions stated that a Queen Kolavati presented 'many beautiful women' to the temple, and it has been suggested that this is an evidence of the 'Devadasi' tradition, which assumed such importance in later Orissan temple architecture and temple life.
WIKIPEDIA
American linden or bassword (Tilia americana). Dedicated to the memory of Jean Hillery and Thomas Quadros, Food Safety and Inspection Service Compliance Officers, who lost their lives in the line of duty June 21, 2000.
Plaque identifying a tree outside the U.S. Department of Agriculture headquarters (Jamie L. Whitten Federal Building), Washington, DC
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A Rule by the Agricultural Marketing Service" - December 13, 2010) at www.federalregister.gov/business-and-industry
Used by Federal Register to accompany story ("Designation of Biobased Items for Federal Procurement: A Rule by the Agriculture Department" - February 4, 2011) at www.federalregister.gov/science-and-technology
Used by Federal Register to accompany story ("BioPreferred Program: A Rule by the Agriculture Department" - August 29, 2011) at www.federalregister.gov/
I have 3 very special contacts who are the biggest horse lovers and the greatest photographers too.
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Please take a moment and pay them a visit....
cowgirlrightup..... www.flickr.com/photos/ranchdoll/
Jennifers Photography - www.flickr.com/photos/jennifersphotography/
tough enough - www.flickr.com/photos/8868552@N03/