View allAll Photos Tagged Entitled
From my set entitled “Heuchera”
www.flickr.com/photos/21861018@N00/sets/72157607185356154/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/HeucheraThe genus Heuchera includes at least 50 species of herbaceous perennial plants in the family Saxifragaceae, all native to North America. Common names include alumroot and coral bells. They have palmately lobed leaves on long petioles, and a thick, woody rootstock. The genus was named after Johann Heinrich von Heucher (1677–1746), an 18th century German physician.
Alumroot species grow in varied habitats, so some species look quite different from one another, and have varying preferences regarding temperature, soil, and other natural factors. H. maxima is found on the Channel Islands of California, where it grows on rocky, windy, saline-washed ocean shores. H. sanguinea, called coral bells because of its terra cotta-colored flowers, can be found in the warm, dry canyons of Arizona. Gardeners and horticulturists have developed a multitude of hybrids between various Heuchera species. There is an extensive array of blossom sizes, shapes, and colors, foliage types, and geographic tolerances.
Though tangy and slightly astringent, the leaves may be used to liven up bland greens.
Natives of the Northwest U.S. have used tonic derived of Alumroot roots to aid digestive difficulties, but extractions from the root can also be used to stop minor bleeding, reduce inflammation, and otherwise shrink moist tissues after swelling.
Hello Everyone -
I think to say this will be my last Image of 2011.
It has been an memorable year for me. I have lost loved ones, found love, been knocked down, got up again, learnt new things about myself I never knew, and yet I'm still here journeying through life itself in good and positive light (or so i keep telling myself!).
I would like to say at this very moment to everyone who has commented on my photos a big Thank You and for those' who added any of my photos as a favourite. Your encouragement has been greatly appreciated, and although I'm hardly on flickr, I have made a new year resolution to make use of it more often!
So to end 2011 let me say to everyone, Have a Brilliant New Year :)
Looking forward to 2012 on Flickr with you all!
Kindest Regards
Rukhsana
aka Rukz_dslr
From my set entitled “Yew”
www.flickr.com/photos/organize/?start_tab=one_set72157607...
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
Links:
www.google.com/url?sa=t&source=web&ct=res&cd=...
www.pendernursery.com/Catalog/Detail/taxusxmediahicksii.html
This photographic portfolio entitled "THE MAASAI" is the result of a period of one month lived with them from Kenya to Tanzania. Earth, fire, sun, blood: red is the color of the Maasai. Red is the earth, “Osinyai”, of the rough path that, a two hour drive from Nairobi, plunges into the Kenyan highlands crossed by arid rivers, in this ignored corner of the bush. A dozen low and narrow huts made of branches covered with a mixture of earth and dung, which the women build and rebuild that do everything, housing, food and milking the cattle. Tattered children dressed in variegated fabrics, old cloths draped in colorful fabrics, sparkling pearl necklaces and bracelets.
In the land of the Maasai, nothing is the same as before: the extension of the outskirts of the capital, first of all, has made these nomads withdraw, fleeing from civilization and refusing to mix with other ethnic groups. They bought their land which these shepherds, indifferent to land ownership and reluctant to agriculture, abandoned. The state created huge animal reserves, which further expropriated them of their territories. Gradually they withdrew to Tanzania, where today they emigrate in large numbers, there were also those years of terrible drought, which saw their herds wither.
From my set entitled “Heuchera”
www.flickr.com/photos/21861018@N00/sets/72157607185356154/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/HeucheraThe genus Heuchera includes at least 50 species of herbaceous perennial plants in the family Saxifragaceae, all native to North America. Common names include alumroot and coral bells. They have palmately lobed leaves on long petioles, and a thick, woody rootstock. The genus was named after Johann Heinrich von Heucher (1677–1746), an 18th century German physician.
Alumroot species grow in varied habitats, so some species look quite different from one another, and have varying preferences regarding temperature, soil, and other natural factors. H. maxima is found on the Channel Islands of California, where it grows on rocky, windy, saline-washed ocean shores. H. sanguinea, called coral bells because of its terra cotta-colored flowers, can be found in the warm, dry canyons of Arizona. Gardeners and horticulturists have developed a multitude of hybrids between various Heuchera species. There is an extensive array of blossom sizes, shapes, and colors, foliage types, and geographic tolerances.
Though tangy and slightly astringent, the leaves may be used to liven up bland greens.
Natives of the Northwest U.S. have used tonic derived of Alumroot roots to aid digestive difficulties, but extractions from the root can also be used to stop minor bleeding, reduce inflammation, and otherwise shrink moist tissues after swelling.
I got this popup book entitled ''Disney Frozen: A Pop-Up Adventure'' by Matthew Reinhart. I got it a couple of weeks ago from 20th Century Music Company on Main Street in Disneyland. It had just been released last month (October 2016). It came wrapped in clear plastic, with a paper insert in the back. It tells the story of Frozen in pop-up drawings depicting actual scenes from the movie. There are six double page pop-ups, with some of them transforming into two separate scenes by means of pull tabs. There are also many smaller pop-ups tucked inside of side panels next to the main pop-ups. It costs $40.
From my set entitled “Heuchera”
www.flickr.com/photos/21861018@N00/sets/72157607185356154/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/HeucheraThe genus Heuchera includes at least 50 species of herbaceous perennial plants in the family Saxifragaceae, all native to North America. Common names include alumroot and coral bells. They have palmately lobed leaves on long petioles, and a thick, woody rootstock. The genus was named after Johann Heinrich von Heucher (1677–1746), an 18th century German physician.
Alumroot species grow in varied habitats, so some species look quite different from one another, and have varying preferences regarding temperature, soil, and other natural factors. H. maxima is found on the Channel Islands of California, where it grows on rocky, windy, saline-washed ocean shores. H. sanguinea, called coral bells because of its terra cotta-colored flowers, can be found in the warm, dry canyons of Arizona. Gardeners and horticulturists have developed a multitude of hybrids between various Heuchera species. There is an extensive array of blossom sizes, shapes, and colors, foliage types, and geographic tolerances.
Though tangy and slightly astringent, the leaves may be used to liven up bland greens.
Natives of the Northwest U.S. have used tonic derived of Alumroot roots to aid digestive difficulties, but extractions from the root can also be used to stop minor bleeding, reduce inflammation, and otherwise shrink moist tissues after swelling.
1. Farah Oi, 2. Love is.. recieving with joy what is entitled to you, 3. Oh Tumblr, 4. Love is ... Being grateful for the little blessing that come your way, 5. Jump on the water, 6. Farah Oi, 7. , 8. Malthida,
9. Happy Bokeh, 10. , 11. Young Women in streets of Kuala Lumpur, 12. Red Angle, 13. its so free, 14. 31 | 365, 15. , 16. its so free ( part 11 ),
17. Oh Hujan!, 18. Bokeh, 19. , 20. Amanda Breathes, 21. Color your life, 22. , 23. Ashley Polk, 24. Wish,
25. Classic photo, 26. 91.365, 27. Lemonate, 28. When you walk, 29. 215.2.365, 30. Aen, 31. Heart bokeh on you #Explore, 32. 33 | 365,
33. Green harmonie, 34. Amanda Breathes ❤❤❤, 35. Lolita, 36. Tell me your wish, 37. Fatimah, 38. ♪, 39. , 40. ,
41. Picture 137, 42. Nikon FG 20, 43. Tell me your dreams, 44. splash!, 45. Fatimah, 46. , 47. Action!, 48. Love is... giving up self - pretense and simply be who you are,
49. Dont try this at school ( # Explore 26 May 209), 50. , 51. Farah Oi, 52. Farah Oi, 53. Citrus splash, 54. Oh Mia, 55. Bridge, 56. ,
57. Coat Buttons, 58. , 59. The Man That Speaks To Thypoon, 60. 55.365 ~ Record, 61. Urban, 62. , 63. 109.365, 64. Nikon FG20,
65. , 66. Mist, 67. Nobody has ever measured, not even poets, how much a heart can hold., 68. Pinky, 69. I Love Tumblr, 70. Alone, 71. , 72. silhouettes
This is a page from my AS Art and Design coursework, entitled "A Day at the Seaside". The idea behind my theme was memories we have, particularly from childhood, of going on day trips to the seaside or beach. On this sheet, I thought about the food we eat on these holidays, from picnics to traditional fish and chips served in newspaper. On the top left, there is an image of fish and chips which was created with chalk pastel. Under that is a starfish print. I made several of these prints and then ripped them up to collage together. For me, this made my print work more colourful and interesting to the eye. On the top right is a piece of photoshop work in which I scanned my own pieces in and put them together to make a new image. In the middle of the page is a watercolour painting of my brother with an ice cream. I thought that this piece could use more tone after painting, so I used chalk pastel over it. I further developed this idea of ice-cream with clay work. I used strings of clay to create the effect of ice-cream and then used a cross-hatching technique to make the cone look more realistic. On the bottom left is a mixed-media study of a picnic on the beach. I painted the children and picnic using acrylics first. I then put coffee on the page and painted over it to give the effect of a sandy beach. However, I was not completely satisfied with the result and in further work experimented with different materials to better give the illusion of sand. Beside that is mixed media work of chips in a bag. The paper was made using newspaper which I painted and the chips were created with paper maché and ModRoc. This was painted using acrylics. On the bottom right is my first felt work of a melting ice-cream cone. Ice-cream on this page was important because it is what I most associate with trips to the seaside. Thinking of the different sauces added to ice-cream, I made a patterned background of red and pink stripes. I then sewed into them with thread.
Installation of Glen Cinema Memorial entitled Rattle Little Mother at Dunn Square Paisley.
Location Of Names On Rattle Little Mother, Glen Cinema Memorial
Front “ To The Children Of The Glen Cinema “
Left Panel as you face front of memorial which faces in the direction of the Piazza “ Elizabeth Leonard - Samuel McBlane - Sarah McCafferty - Robert McConnell - Nellie McCran - Minnie McCran - Edward McEnhill - Margaret McEnhill - James McEnhill - Denis McGarrity - Robert McGirr - Jeanie McGrattan - Mary McWattie - Margaret Morrow - Robert Niven - Georgina Peacock - Tom Perkins - John Pinkerton - William Pinkerton - Alexander Telfer - William Rae - Thomas Renfrew - George Scott - William Spears - Jane Stevenson - Robert Wingate.
Back of Memorial which faces Paisley Town Hall “ James Gielty - John Gielty - Norman Gillies - John Goodwin - Henry Green - Mary Green - Archibald Grogan - Annie Hamilton - George Hammond “ 31 December 1929 “ Elizabeth Hart - Peter Houston - Thomas Howard - Julia Irvine - William Irvine - Thomas Jackson - James Johnston - George Kennedy - Helen Kilkie - Thomas Kilkie.
Right panel as you face front of memorial which faces towards Forbes Place “ Robert Adams - Robert Alexander - John Bell - William Black - Hugh Blue - John Bowes - David Boyd - Caroline Brain - Lily Buchanan - John Cairns - Daniel Corbett - Elizabeth Corrigan - Agnes Coyle - Robert Craig - Francis Curran - Elizabeth Dempster - Leah Dixon - Mary Dolan - George Elliott - Henry Elliott - Bessie Finlay - Enso Fiori - Janet Fitch - William Fitch - James Gatherer - Margaret Gibson.
N.B All lettering in gold except from “ 31 December 1929 “ on rear of memorial which is in black, both sides contain 26 names whilst there is 19 names on the back.
Postcard photograph entitled Garrison Church, Chatham comprising view of west end and south side of Chatham Garrison Church, Maxwell Road, Brompton looking north-east from southern end of Maxwell Road, showing in foreground tree and in middle ground church.
The Garrison Church,Maxwell Road,Brompton dates from 1854 and cost £4,500 to build.
In 1851 it became evident that the existing Chapel was not adequate for the large garrison,which used it as a Chapel and School,and the needs of the Royal Engineers establishment (now the RSME) for model rooms and other instructional rooms were not fully met.
It was also expected that the Sapper and Miner depot (now Royal Engineers) would move from Woolwich to chatham.
Therefore on 17th October 1851 the war office suggested that the Chapel in Brompton Barracks should be used as a model room and that a new Chapel was to be sited as close as possible to the infantry Barracks (now Kitchener).
On 27th April 1854 The Times reported:
"Ground has been cleared near Fort Amherst Guard, Chatham, for a new garrison church, which will also be used, it is understood, for the regimental schools. The present garrison church in Brompton is expected to be converted into model rooms for the Royal Sappers and Miners and other purposes, for which several of the barrack-rooms are at present used by that corps. This arrangement will afford a great deal of additional room in the Brompton Barracks, and also place those rooms in the Chatham Barracks occupied as schoolrooms at the disposal of the barrack-master for the accommodation of troops."
From my set entitled “Heuchera”
www.flickr.com/photos/21861018@N00/sets/72157607185356154/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/HeucheraThe genus Heuchera includes at least 50 species of herbaceous perennial plants in the family Saxifragaceae, all native to North America. Common names include alumroot and coral bells. They have palmately lobed leaves on long petioles, and a thick, woody rootstock. The genus was named after Johann Heinrich von Heucher (1677–1746), an 18th century German physician.
Alumroot species grow in varied habitats, so some species look quite different from one another, and have varying preferences regarding temperature, soil, and other natural factors. H. maxima is found on the Channel Islands of California, where it grows on rocky, windy, saline-washed ocean shores. H. sanguinea, called coral bells because of its terra cotta-colored flowers, can be found in the warm, dry canyons of Arizona. Gardeners and horticulturists have developed a multitude of hybrids between various Heuchera species. There is an extensive array of blossom sizes, shapes, and colors, foliage types, and geographic tolerances.
Though tangy and slightly astringent, the leaves may be used to liven up bland greens.
Natives of the Northwest U.S. have used tonic derived of Alumroot roots to aid digestive difficulties, but extractions from the root can also be used to stop minor bleeding, reduce inflammation, and otherwise shrink moist tissues after swelling.
Entitled 'Ice Blue and Spring Green Chandelier' when it was installed in 1999, it was enlarged and modified by its creator, Dale Chihuly in 2002 and hangs at the museum's Cromwell Road entrance.
Entitled “Thinking of Leaving Cuba” this drawing was made by a Cuban rafter in 1994-1996 while detained at the U.S. Naval Station at Guantánamo Bay, Cuba. Artist unknown. Photo courtesy of Dr. Elizabeth Campisi.
The exhibition entitled Picture/Readings, is a collection of works from 1978, which reflect that era's captivation with photography as forthright, conceptual ideology, and feminist consciousness. Hence the Picture/Readings presage the iconic photo/text works for which Kruger would become known.
Kruger, Barbara. Picture/Readings. [s.l.: s.n.], 1978.
See MCAD Library's catalog record for this book.
Installation of Glen Cinema Memorial entitled Rattle Little Mother at Dunn Square Paisley.
Location Of Names On Rattle Little Mother, Glen Cinema Memorial
Front “ To The Children Of The Glen Cinema “
Left Panel as you face front of memorial which faces in the direction of the Piazza “ Elizabeth Leonard - Samuel McBlane - Sarah McCafferty - Robert McConnell - Nellie McCran - Minnie McCran - Edward McEnhill - Margaret McEnhill - James McEnhill - Denis McGarrity - Robert McGirr - Jeanie McGrattan - Mary McWattie - Margaret Morrow - Robert Niven - Georgina Peacock - Tom Perkins - John Pinkerton - William Pinkerton - Alexander Telfer - William Rae - Thomas Renfrew - George Scott - William Spears - Jane Stevenson - Robert Wingate.
Back of Memorial which faces Paisley Town Hall “ James Gielty - John Gielty - Norman Gillies - John Goodwin - Henry Green - Mary Green - Archibald Grogan - Annie Hamilton - George Hammond “ 31 December 1929 “ Elizabeth Hart - Peter Houston - Thomas Howard - Julia Irvine - William Irvine - Thomas Jackson - James Johnston - George Kennedy - Helen Kilkie - Thomas Kilkie.
Right panel as you face front of memorial which faces towards Forbes Place “ Robert Adams - Robert Alexander - John Bell - William Black - Hugh Blue - John Bowes - David Boyd - Caroline Brain - Lily Buchanan - John Cairns - Daniel Corbett - Elizabeth Corrigan - Agnes Coyle - Robert Craig - Francis Curran - Elizabeth Dempster - Leah Dixon - Mary Dolan - George Elliott - Henry Elliott - Bessie Finlay - Enso Fiori - Janet Fitch - William Fitch - James Gatherer - Margaret Gibson.
N.B All lettering in gold except from “ 31 December 1929 “ on rear of memorial which is in black, both sides contain 26 names whilst there is 19 names on the back.
An official British press photograph entitled “A British Gun Higher than the Housetops on the Western Front”. No date or location is, not surprisingly, given in the photograph’s caption text. However, much can still be described now. The artillery piece is the BL (Breech Loading) 6in. Mark VII naval gun fitted to a carriage for use on land rather than on ships or static coast gun mounts. The usage of naval guns as field pieces was not at all uncommon and all major sides in World War One did so as a means to rapidly deploy large caliber guns into combat. The gun itself was first used by British naval ships beginning in 1901. It had a 46 inch long barrel and fired a 100lb. shell to a maximum range of 7.8 miles (when used as a field gun). It was one of the first British naval guns to use bagged propellant instead of brass shells. There was no recoil mechanism which meant the recoil forces were spent by the backwards motion of the entire gun. This meant that gunners typically were not anywhere close to the gun when it fired and it also meant that the gun had to be moved back into position after each shot which meant a low rate of fire. The tremendous recoil forces were so strong that the gun’s aiming mechanism had to be removed before firing else it become damaged and rendered useless. To limit the backwards motion, scotches were emplaced behind the wheels which allowed the gun and carriage to ride up the scotches and bleed off the recoil forces and then roll back into, more or less, the same position. This gun crew also has smaller scotches to put in front of the wheels to stop any unwanted forward motion after firing. The British first deployed the Mk. VII in 1915 though this particular gun uses one of the later carriages which featured cleated wheels (the original Scott’s Carriage had smooth wheels) to improve traction. The Mk. VII was so heavy at 25 tons that it was impossible for horses to move the gun and so this gun was usually towed by a Holt 75 or Holt 120 tractor. Because of its excellent range, the Mk. VII was typically tasked with conducting counter-battery fire missions against enemy artillery positions. It was also used for reducing enemy defensive emplacements and for barbed wire clearing prior to attacks. The Mk. VII would continue to see service into the 1950s as part of Britain’s coastal defense network. Only one Mk. VII field gun survives today and can be seen at The Front Museum in Lappohja, Finland.
From my set entitled “Heuchera”
www.flickr.com/photos/21861018@N00/sets/72157607185356154/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/HeucheraThe genus Heuchera includes at least 50 species of herbaceous perennial plants in the family Saxifragaceae, all native to North America. Common names include alumroot and coral bells. They have palmately lobed leaves on long petioles, and a thick, woody rootstock. The genus was named after Johann Heinrich von Heucher (1677–1746), an 18th century German physician.
Alumroot species grow in varied habitats, so some species look quite different from one another, and have varying preferences regarding temperature, soil, and other natural factors. H. maxima is found on the Channel Islands of California, where it grows on rocky, windy, saline-washed ocean shores. H. sanguinea, called coral bells because of its terra cotta-colored flowers, can be found in the warm, dry canyons of Arizona. Gardeners and horticulturists have developed a multitude of hybrids between various Heuchera species. There is an extensive array of blossom sizes, shapes, and colors, foliage types, and geographic tolerances.
Though tangy and slightly astringent, the leaves may be used to liven up bland greens.
Natives of the Northwest U.S. have used tonic derived of Alumroot roots to aid digestive difficulties, but extractions from the root can also be used to stop minor bleeding, reduce inflammation, and otherwise shrink moist tissues after swelling.
From my set entitled “Heuchera”
www.flickr.com/photos/21861018@N00/sets/72157607185356154/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/HeucheraThe genus Heuchera includes at least 50 species of herbaceous perennial plants in the family Saxifragaceae, all native to North America. Common names include alumroot and coral bells. They have palmately lobed leaves on long petioles, and a thick, woody rootstock. The genus was named after Johann Heinrich von Heucher (1677–1746), an 18th century German physician.
Alumroot species grow in varied habitats, so some species look quite different from one another, and have varying preferences regarding temperature, soil, and other natural factors. H. maxima is found on the Channel Islands of California, where it grows on rocky, windy, saline-washed ocean shores. H. sanguinea, called coral bells because of its terra cotta-colored flowers, can be found in the warm, dry canyons of Arizona. Gardeners and horticulturists have developed a multitude of hybrids between various Heuchera species. There is an extensive array of blossom sizes, shapes, and colors, foliage types, and geographic tolerances.
Though tangy and slightly astringent, the leaves may be used to liven up bland greens.
Natives of the Northwest U.S. have used tonic derived of Alumroot roots to aid digestive difficulties, but extractions from the root can also be used to stop minor bleeding, reduce inflammation, and otherwise shrink moist tissues after swelling.
This is a part of an ongoing & experimental photo project of mine entitled "Corpse Photo-Poetics." It was conceived as a sort of abstraction of the Surrealist game, "Exquisite Corpse."
This one was recently run through the camera (7.23.05 =), and I realize that it was my Dad who took the other shot (I took him out of town for a medical procedure. We stayed @ a hotel and that's my bag, laptop & other crap on the bed.) ^_^
CPP is currently becoming an active project again, so I look forward to having more shots to post in the future.
TANGENT ALERT. Ok. You've been warned. I think that it was on this trip -- to Morgantown, WV -- that we were there when 50 Cent was playing at WVU. After we checked in, Dad wandered around, talking to people and looking for snacks & other freebies, as he loves to do. At some point in the lobby, he met a group of younger men, and introduced himself. Based on the way they were dressed -- sweats, killer basketball shoes, et al. -- Dad asked if they were athletes. "No sir," one of them spoke up, very politely. "We're musicians." "Oh," returned Dad, also being quite polite. "Best of luck with that."
The next morning, as I walked near the front counter in a daze, w/ a paper and some steeping breakfast tea, a clerk said, "hey, I heard your Dad was hanging out with 50 Cent last night before the show!" "Huh??" ;) Unbeknownst to me @ the time, 50 was staying @ our hotel.
My nieces loved the story most of all, telling all their friends that Granddad hung out with "Fiddy." ;-)
Again, you were warned...
From my set entitled “Aster”
www.flickr.com/photos/organize/?start_tab=one_set72157607...
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Aster_(genus)
Aster (syn. Diplopappus Cass.) is a genus of flowering plants in the family Asteraceae. The genus once contained nearly 600 species in Eurasia and North America, but after morphologic and molecular research on the genus during the 1990s, it was decided that the North American species are better treated in a series of other genera. After this split there are roughly 180 species within the genus, all but one being confined to Eurasia.[1] The name Aster comes from the Ancient Greek word astron, meaning "star", arriving through the Latin word astrum with the same meaning, referring to the shape of the flower head. Many species and a variety of hybrids and varieties are popular as garden plants because of their attractive and colourful flowers. Aster species are used as food plants by the larvae of a number of Lepidoptera species - see list of Lepidoptera that feed on Aster. Asters can grow in all hardiness zones.
The genus Aster is now generally restricted to the Old World species, with Aster amellus being the type species of the genus, as well as of the family Asteraceae. The New World species have now been reclassified in the genera Almutaster, Canadanthus, Doellingeria, Eucephalus, Eurybia, Ionactis, Oligoneuron, Oreostemma, Sericocarpus and Symphyotrichum, though all are treated within the tribe Astereae. Regardless of the taxonomic change, all are still widely referred to as "asters" in the horticultural trades. See the List of Aster synonyms for more information.
In the UK there are only two native members of the genus of which one, Goldilocks is very rare, the other being Aster tripolium, the Sea aster. Aster alpinus spp. vierhapperi is the only species native to North America.[1]
Museum de Fundatie Zwolle NL presents an exhibition entitled Giacometti-Chadwick, Facing Fear, to run from 22 September 2018 to 6 January 2019. The sculptures of Alberto Giacometti (1901-1966) and Lynn Chadwick (1914-2003) are manifestations of the sense of fear and disillusionment that pervaded Europe during the Cold War period. Their work bids a final farewell to pre-war romanticism and aestheticism, and lands with both feet in the raw reality of the post-war world. While Giacometti reduced the human form to its bare essentials, Chadwick created powerful archetypal images of both people and animals. The exhibition includes more than 150 works. Never before has the work of Giacometti and Chadwick been so explicitly brought together.
Their paths first crossed in 1956, when Chadwick became the youngest person ever to win the Grand Prix for Sculpture at the Venice Biennale. With only six years’ experience as a sculptor, the British artist snatched the prize from Giacometti, the hot favourite, who was thirteen years older and already a major name in Paris. Giacometti would go on to win the prize in 1962, but which of the two men was awarded it in 1956 is less significant than the fact that these two particular sculptors were the front-runners at that time. Each of them was expressing, in his own individual way, the sense of deep-seated angst that overshadowed day-to-day life in Europe in the fifties and sixties: the fear of a global nuclear disaster that would wipe out human civilisation.
Alberto Giacometti is among the most significant figures in the whole field of modern European sculpture. A member of a notable family of Swiss artists, he moved to Paris in 1922 and would remain there for the rest of his life, working as a sculptor, painter and graphic artist. After training with Émile-Antoine Bourdelle, he discovered modernism and so-called ‘primitive’ ethnographic art of Africa and Oceania. In response to these influences, his work became more abstract. In the early thirties, his Surrealist sculptures expressing subconscious emotions created a furore. From 1935, however, personal psychological tensions triggered a crisis in his life and work that led to a return to the human figure. Initially, his portraits and figures became both increasingly tiny and more and more attenuated. This thinness was to remain the most distinctive feature of Giacometti’s art. After the Second World War, he began to create the elongated, emaciated figures that would bring him worldwide fame. In all their attenuation, they reduce humanity to its very essence and appear both vulnerable and enigmatic.
In the early fifties, up-and-coming artist Lynn Chadwick managed to dislodge Henry Moore and Barbara Hepworth from their dominant position in the field of British sculpture. Born in London, Chadwick had started his career as a technical draughtsman and exhibition stand designer. He took an equally constructional approach to his sculpture: rather than model his human and animal figures in clay or wax, he constructed them by welding steel rods together to create an armature and then filling in the gaps with a kind of cement. The angularity of the work being produced by him and other young British artists was described in 1952 as ‘the geometry of fear’, a reference to the constant dread of nuclear annihilation. Chadwick’s apocalyptic Dancers and stoical Watchers gave powerful expression to this sense of angst. From the early seventies, he broadened his repertoire to include subjects that seem to restore the sovereignty of the human spirit. Sculptures like Cloaked Figure and Sitting Couple no longer look threatening, but emanate a sense of composure and invulnerability.
Giacometti’s pre-war work influenced Chadwick’s development and the two men were keenly aware of each other’s presence. In addition to the vast differences, there are also many similarities between their oeuvres. Giacometti-Chadwick, Facing Fear is the product of close cooperation with the Fondation Marguerite et Aimé Maeght in Saint-Paul-de-Vence and the Chadwick Estate and Blain|Southern gallery in London.
This Christmas bauble, entitled "Silver Bells" depicting a silver bell tied with a bow was hand beaded with sequins and pins by me. I have a Christmas tradition. I bead one Christmas bauble for a select group of friends every year.
"Silver Bells" is going to a friend of mine, who sings in a choir and has a beautiful soprano voice. We have many great memories of singing Christmas carols together, as I also sing. Her Christmas baubles always feature things that can be associated to Christmas carols, either traditional or modern. Past baubles have featured such things as a pear from the partridge in the pear tree from the "Twelve Days of Christmas", and holly and ivy representing "The Holly and the Ivy". My singing friend does not have a Christmas tree, but puts her baubles on the table on Christmas Day as ornaments and keeps them in a glass bowl in her hallway in the lead up to Christmas.
Each bauble is 25 centimetres in diameter and contain hundreds of sequins, varying in number depending upon the complexity of the image and the type of sequins I use. Most sequins in this bauble are 5mm in diameter, except the white background ones which are 8mm. Depending upon the colour of the sequin, I will use either a gold or a silver pin to attach it to the bauble. The white, silver, blue and black sequins all use silver pins, The magenta and pink sequins are affixed with gold pins.
Each bauble takes approximately 6 hours per side, and this is why my select group of friends only get one each year!
It is however, a labour of love which I do to pass the time throughout the year.
Reading Abbey Exhibition, preparatory work for joint exhibition with artist Keith Lawrence entitled "Journeying"
For the past six weeks I've been working at some new artworks based on Reading Abbey and the town's historic churches. The exhibition will be held in the middle of Reading near the site of its ancient Abbey ruins at Abbey Baptist Church whose foundations were laid in 1640 close to the Holy Brook. These illustrations/prints are still in their early stages. One tends to start a few things to see how certain ideas will work together. I hope to show a selection of about ten of these in September, it's great to look at buildings I've been familiar with one way or another throughout my adult life. I'm not idealising them in any way; I want to show Reading as the busy modern place it is a shopping Mecca, whose medieval past is somehow forgotten, and yet the towers of St Laurence, Mary Minster and the classical portico of St Mary's Castle Street remind one that this was not always the case. Over the past few weeks I've been drawing various people on their way to work on foot, bike or car to fit the theme of Journeying. Gradually the compositions are coming together. At this stage I'm blocking in colour so they appear rather jagged brash and angular in some ways. So far I've started about fourteen works. I have taken hundreds of photographs to aid me, and have studied some of the history in Reading Museum.
From top left St Giles (Church Street), St Laurence (Friar Street), St Laurence, Tower, Reading Abbey and Prison and St Mary Castle Street. Early colour map layouts for prints uncorrected.
I hope to cover some of the following themes in this series:-Reading Gaol/ Abbey Ruins/Contemporary Reading/Trades ancient modern cloth to computers/shopping People walking, cars on bikes/The Holy Brook/ The Kennet/ Ancient paths streets.
The massive Cluiac Abbey of Reading was founded by William of Malmesbury in 1121, many of the town's churches date back to this early period, however with the dissolution of the monestaries and the great upheavals of the C16 and C17 left Reading's ecclesiastical buildings forever changed. Unlike Oxford, Reading had no historic university (until 1892), and its town's history was shaped by trade and its important location on the road between London and Bath and the rivers Kennet and Thames.
Reading's prosperity has meant that its town churches were all heavily restored in the nineteenth century, St Laurence (also recently re-ordered), St Mary Minster (Butts) , Greyfriars and St Giles all have medieval origins and some remains. St Mary Castle Street (Episcopalian) 1798 was by its fine facade with six giant Corinthian columns and pediment is impressive. Its cupola was lost during last century. The portico is by H&N Briant. The church largely dates from 1840-42.
Ceremony of Glen Cinema Memorial entitled Rattle Little Mother at Dunn Square Paisley.
Location Of Names On Rattle Little Mother, Glen Cinema Memorial
Front “ To The Children Of The Glen Cinema “
Left Panel as you face front of memorial which faces in the direction of the Piazza “ Elizabeth Leonard - Samuel McBlane - Sarah McCafferty - Robert McConnell - Nellie McCran - Minnie McCran - Edward McEnhill - Margaret McEnhill - James McEnhill - Denis McGarrity - Robert McGirr - Jeanie McGrattan - Mary McWattie - Margaret Morrow - Robert Niven - Georgina Peacock - Tom Perkins - John Pinkerton - William Pinkerton - Alexander Telfer - William Rae - Thomas Renfrew - George Scott - William Spears - Jane Stevenson - Robert Wingate.
Back of Memorial which faces Paisley Town Hall “ James Gielty - John Gielty - Norman Gillies - John Goodwin - Henry Green - Mary Green - Archibald Grogan - Annie Hamilton - George Hammond “ 31 December 1929 “ Elizabeth Hart - Peter Houston - Thomas Howard - Julia Irvine - William Irvine - Thomas Jackson - James Johnston - George Kennedy - Helen Kilkie - Thomas Kilkie.
Right panel as you face front of memorial which faces towards Forbes Place “ Robert Adams - Robert Alexander - John Bell - William Black - Hugh Blue - John Bowes - David Boyd - Caroline Brain - Lily Buchanan - John Cairns - Daniel Corbett - Elizabeth Corrigan - Agnes Coyle - Robert Craig - Francis Curran - Elizabeth Dempster - Leah Dixon - Mary Dolan - George Elliott - Henry Elliott - Bessie Finlay - Enso Fiori - Janet Fitch - William Fitch - James Gatherer - Margaret Gibson.
N.B All lettering in gold except from “ 31 December 1929 “ on rear of memorial which is in black, both sides contain 26 names whilst there is 19 names on the bac
Original Caption: "San Joaquin Valley, California. Contract Labor. Sixteen Years Old and the Possessor of a Labor Contractor's Button Entitling Him to Work in the Fields Alongside Adults. He Expects to Work as a Pea Picker Making Twenty-Five Cents a Hamper--About Two-Dollars a Day"
U.S. National Archives’ Local Identifier: NWDNS-119-CAL-108
From: Series: Study of Youth Photographs (Record Group 119)
Created by: Federal Security Agency. National Youth Administration (07/01/1939 - 09/17/1942 )
Production Date: 4/9/1940
Photographer: Partridge, Rondal, 1917-
Persistent URL: catalog.archives.gov/id/532166
Repository: Still Picture Records Section, Special Media Archives Services Division (NWCS-S), National Archives at College Park, 8601 Adelphi Road, College Park, MD, 20740-6001.
For information about ordering reproductions of photographs held by the Still Picture Unit, visit: www.archives.gov/research/order/still-pictures.html
Reproductions may be ordered via an independent vendor. NARA maintains a list of vendors at www.archives.gov/research/order/vendors-photos-maps-dc.html
Access Restrictions: Unrestricted
Use Restrictions: Unrestricted
The story for the lightbox entitled, “Psyche Entering Cupid’s Garden”
I have been fascinated by the story of Cupid and Psyche for many years, and recently I was able to infuse the myth with my own creativity. The first panel of the lightbox shows Psyche nervously pushing on the door of a garden. It belongs to a god whom she has already married, yet has not met. I imagined giving the different stages of their love affair an ethereal quality, as though it was a view into an enchanted universe, with flowers blowing all over the place and lovers that can fly to the clouds. The combination of glass and light lends a number of awesome possibilities to accomplish this.
Frequently being an artist is super fun because you learn things about yourself through the artistic process which were previously hidden from your conscious mind. It's interesting that many times even as I am making the piece, I don't fully understand what’s happening. This is particularly true with “Psyche Entering Cupid’s Garden.” With “Captivated by Moonlight” my intention was to make something that would remind me of the power women can yield over men. The fact that this power was turned against the most powerful wizard of all time is even more intriguing. But because this lightbox has a death theme and is somewhat macabre, I wanted to balance it with “Psyche” by celebrating the light and love which can be shared between a man and a woman (or a god and a goddess, as the case may be…)
However, it was only after this piece was finished that I realized it was a metaphor – for how I see my life unfolding. I fall asleep at night and stare at the first panel telling myself, “That’s me right there stepping through that doorway and turning my imagination into reality.” I’ve realized that my artwork is a form of magic for both myself as well as the observer.
The longer we visualize something, the more our minds bend the universe to bring that object into focus and closer to us. I do it with my life, all the time. In fact, there was magic involved in how I was guided to work with glass in the first place. Quite a beautiful story, really.
“Description of Cupid’s Palace”, as described by Robert Graves
‘The ceiling, exquisitely carved in citrus wood and ivory, was supported by golden columns; the walls were sheeted with silver on which figures of all the beasts in the world were embossed and seemed to be running towards Psyche as she came in. They were clearly the work of some demi-god, if not a full god, and the pavement was a mosaic of all kinds of precious stones arranged to form pictures. How lucky, how very lucky anyone would be to have the chance of walking on a jewelled floor like that! And the other parts of the palace which was a very large one, were just as beautiful, and just as fabulously costly. The walls were faced with massive gold blocks which glittered so brightly with their own radiance that the house had a daylight of its own even when the sun refused to shine: every room and portico and doorway streamed with light, and the furniture matched the rooms. Indeed, it seemed the sort of palace that Jupiter himself might have build as his earthly residence...'
This is a C. Richter (publishers) Ltd postcard of a long forgotten event which took place on Thursday 17th August 1939. The postcard is entitled "Bombers over Trafalgar Square", but not RAF Bombers. These are French Bombers which took part in mock attacks against British cities in order to test the RAF's response. The following report in the Times of 18th August was written by their Aeronautical correspondent who I suspect was a serving RAF Officer.
A FRIENDLY INVASION
FRENCH BOMBERS OVER ENGLAND
RECEPTION BY RAF
From Our Aeronautical Correspondent
SAFFRON WALDEN, AUG 17
The French aircraft which came seeking targets in England today as British bombers have done lately over France, must have been a little overwhelmed by their reception. The British fighters which met them and cavorted about them seemed at least as numerous as the visitors. The French arrived and passed over England in successive waves, and at various points each wave met the reception committee almost in full force. We who accompanied the fighters were only too impressed by the crowding of the sky and were thankful for the third dimension which made it safe. The French bombers numbered about 120. In addition there were reconnaissance aircraft and fighters at about half that strength. The plan was to send the reconnaissance aircraft ahead to spy out the land and to give advice by wireless to the bombers which followed them. Lastly an escort of fighters was detailed to meet the returning raiders over London and convoy them on their homeward run. The plan afforded the British fighters a whole afternoon of good practice, in which the difficulty was less to intercept the quarry than to establish the right to deliver an attack on it. Over the South Coast soon after noon today we in the Blenheim fighters had to leave the fun of attacking to Spitfires and Hurricanes.
DAWN RAID
As the French came in they were attacked. As they advanced towards their objectives at Bristol, Birmingham, Manchester, and Oxford they were again attacked. As they made their way towards the coast once more they were assailed. Their return path over London was most hotly beset of all. Everything which passed was taken as a target by the fighters, and some of the farewell blows were struck over Tonbridge by fighters which had pursued the last wave from London. The only raid which was unopposed by British aircraft was that against Liverpool in the early morning. The four-engined heavy bombers, believed to be of the Farman type, crossed the coast at Harwich at 3.15 a.m. and were over Liverpool at 6.12. Some of the searchlights caught these, and the gunners probably had some practice, but the mist in eastern and southern England caused the fighters to be kept, for safety‘s sake, on the ground. That mist, which lifted when the sun came up, was not dispersed throughout the day. It hung, a gauzy curtain, at heights up to 9,000ft., and it made the visitors much less easy to find from the air than those who watched them from the ground may have supposed. When we left some of the raiders on the east side of London this afternoon, we lost sight of them completely at four miles range. Over the sea, while we watched for them this morning, the mist was still thicker, and our flight of three aircraft opened out to serve as an aerial drag-net a mile wide, drawn over the sea approaches between Hove and Beachy Head.
AIR FULL OF FIGHTERS
There the air was full of British fighters. There were Hurricanes and Spitfires above us, Gladiators beneath us, and a few Sharks of the Coastal Command away on our flank. When the Bloch reconnaissance aircraft came dimly into sight out of the mist, they were engaged so quickly by the fighters from above that we should have had no chance of jumping their claim even if we had been closer to them. Nearly an hour later the bombers came northwards from Havre in large bodies. The twin engined Potez could not be mistaken for anything but French aircraft, but the Amiots, similar to the Blenheims, nearly led to our being attacked.
A Formation of six Spitfires, having already played havoc among all the bombers they or we could see, sat patiently above us while its leader dived condescendingly to our modest height of l2,500ft. to make sure that we belonged to the home team. Then we were all recalled while fighters farther inland took up the duty of extending a hearty welcome to the French. We were hospitably given luncheon at an aerodrome to the east of London and there, when the alarm of returning bombers was given, we had the stimulating sight of 36 Spitfires being put into the air within 12 minutes. These were some of the numerous fighters which people in London saw engaging the French visitors high in the mist.
PILOTS’ GREETING
This was simply a piece of British heartiness. The French had arranged to assemble over London. They had no targets in London to bomb. Their rendezvous was intended as a salute to London and the British fighters could have no difficulty in finding so big a body of aircraft. The fighters attacked in their dozens, sailing in behind and below the bombers, delivering a burst of fire and then circling for the next assault. They could not have been an embarrassment, for they carefully kept the prescribed distance of 300 yards and occasionally waved a greeting which the French pilots returned. The assembly of the French over London more properly resembled a procession which strung itself out a little as the visitors made for the coast. It was then that interception practice became more difficult.
By 4.30 all the French aircraft had returned safely to their bases across the Channel, and we too had ended as full and exciting a day as the fighters could expect to have at the expense of their allies. The task of both parties to the excercise could have been simpler if the air over England had been as clear as the sky above; but the work of the French raiders and of their British opponents could not have been better done, and, apart from its significance as a token of Anglo-French relations, the joint adventure has doubtless increased the mutual respect between the two air forces and helped to deepen their sense of comradeship.
Mural entitled Beauty by San Flores in the Logan Square area of Chicago, Illinois.
Photo by James aka Urbanmuralhunter on that other photo site.
Edit by Teee
Nandi is the name for the bull which serves as the mount (Sanskrit: Vahana) of the god Shiva and as the gatekeeper of Shiva and Parvati. In Hindu Religion, he is the chief guru of eighteen masters (18 Siddhar ) including Patanjali and Thirumular. Temples venerating Shiva display stone images of a seated Nandi, generally facing the main shrine. There are also a number of temples dedicated solely to Nandi.
The application of the name Nandi to the bull (Sanskrit: vṛṣabha) is in fact a development of recent centuries, as Gouriswar Bhattacharya has documented in an illustrated article entitled "Nandin and Vṛṣabha". The name Nandi was earlier widely used instead for an anthropomorphic deity who was one of Shiva’s two door-keepers, the other being Mahākāla. The doorways of pre-tenth-century North Indian temples are frequently flanked by images of Mahākāla and Nandi, and it is in this role of Shiva’s watchman that Nandi figures in Kālidāsa’s poem the Kumārasambhava.
ETYMOLOGY
The word “Nandi” is derived from the ancient Indian Language of Sanskrit. The Sanskrit word 'Nandi' in English translates as Happy, Joyous or Happy Person.
BIRTH OF NANDI
There was a sage named Shilada who underwent severe penance to have a boon — a child with immortality. Lord Indra pleased of the austerities of Shilada appeared in front of him to offer a boon. After hearing the request of Shilada and his desire to have an immortal child, Lord Indra suggested he pray to Lord Shiva: nobody else could provide such a boon. Sage Shilada continued his penance for 1,000 years. He was totally immovable for many years, so the termites settled on his body and slowly started to build up their nest. Finally, his whole body was covered up by them. The insects started to eat his flesh and imbibed his blood. At last, only bones remained.
Lord Shiva appeared in front of him and provided the boon for the child. Moreover, Lord Shiva provided Sage Shilada his old form with a single touch. Sage Shilada performed Yagna and a child appeared from the sacrificial fire. His body was clad in armour made out of diamonds. The celestial dancers and singers performed on this auspicious occasion and the deities showered flowers on the child. The boy was named ’Nandi’ — who brings joy. Shilada brought the child home. Immediately the boy lost his divine appearance to an ordinary child. The child completely forgot all about his birth. Sage Shilada was worried about the sudden change. He devoted his time for Nandi's upbringing his education etc. By the age of seven, the boy was well versed in Veda and all sacred texts.
One day the deities Mitra and Varuna visited Sage Shilada. At the first sight of the boy, they commented: Though the boy had all auspicious signs, he would have a very short life. He would not live after the age of eight. Sage Shilada was mortified at this remark. Nandi could not bear his father's sorrow; he began to pray to Lord Shiva. Lord Shiva appeared before him and blessed him. Lord Shiva adorned the boy with a necklace and made him immortal. Lord Shiva blessed the child and declared that he would be worshiped along with Him and become his vahana (vehicle). Immediately the boy got all the divine powers and transformed into half bull-half human. He and Shilada went to Lord Shiva's abode to live.
IN HINDUISM
Bulls appear on the Indus Valley seals, including the 'Pasupati Seal', which depicts a seated figure and, according to some scholars, is similar to Shiva. However, most scholars agree that the horned bull on the Indus Valley seals is not identical to Nandi.
DESCRIPTIONS ON NANDI IN HINDU RELIGIOUS TEXTS INCLUDE:
- Some Puranas describe Nandi or Nandikeshvara as bull face with a human body that resembles that of Shiva in proportion and aspect, although with four hands — two hands holding the Parasu (the axe) and Mruga (the antelope) and the other two hands joined together in the Anjali (obeisance). Brahma Vaivarta Purana mentions Krishna himself to have taken the form of a bull as no one else in the Universe can bear Shiva.
- Vehicle of Shiva: The bull Nandi is Shiva's primary vehicle and is the principal gana (follower) of Shiva.
- Gate keeper of Shiva's abode: The close association of Shiva and Nandi explains the presence of a statue of Nandi at the gate of many temples dedicated to Shiva. It also explains why the word "nandi" in the Tamil, Kannada and Telugu languages is used as a metaphor for a person blocking the way.[citation needed] In Sanskrit, a bull is called vrisha, which has another connotation — that of righteousness or Dharma. It is important to seek the blessings of Nandi before proceeding to worship Lord Shiva.
- Chief in Shiva's army: Some Puranas mention that Nandi lead the Shiva Ganas, Shiva's attendants.
- A Guru of Saivism: In addition to being his mount, Nandi is Shiva's foremost disciple. In the Natha/Siddhar tradition, Nandi is one of the primal gurus. He was the guru to Siddhar Thirumulanathar, Patanjalinathar and others.
- From the yogic perspective, Nandi/Nandhi/Nandikeshvara is the mind dedicated to Lord Siva, the Absolute. In other words, to understand and absorb Light, the 'experience and the wisdom' is Nandi which is the Guru within.
- Spiritually, Nandi represents an individual jiva (soul) and the message that the jiva should always be focused on the Atman (Paramatman).
LEGENDS
According to some puranas, Nandi was born to sage Shilada who got him by the grace of Shiva.
It was Nandi who cursed Ravana (the demon King of Lanka) that his kingdom would be burnt by a monkey (Vanara). And later Hanuman burnt Lanka when he went in search of Sita, who was kept prisoner by Ravana in Ashok Vatika.
In one puranic story, it is stated that once Siva and Parvathi were playing a game of dice. For any game there has to be an umpire, who has to declare who is the winner. Siva and Parvathi agreed to have Nandi (the divine bull) as the umpire. Nandi is a favorite of Siva, as he is Siva's vehicle. Although Siva lost the game, Nandi declared him the winner. It is stated that Parvathi was indignant over Nandi's partiality for Siva and cursed him that he should die from an incurable disease. Thereupon Nandi fell at the feet of Parvathi and pleaded for forgiveness. "Mother forgive me. Should I not show at least this amount of gratitude to one who is my master? Is it not humiliating for me to declare that my master has lost the game? To uphold his honor I no doubt uttered a lie. But am I to be punished with such severity for so small an offence?" Nandi prayed for forgiveness in this manner. Parvathi forgave Nandi and taught him the means to atone for his lapse. She told him. "The Chaturdasi day in the month of Bhadrapada is the day when my son's birthday is celebrated. On that day you have to offer to my son what pleases you most (green grass)". This means that one atones for one's sins when one offers to the Lord what is most pleasing and enjoyable to him. For Nandi the most enjoyable and relishing food is green grass. As directed by Parvathi Nandi worshipped Ganapathi by offering green grass. Nandi was then relieved of his dreaded disease. His health improved and by the grace of Parvathi he was redeemed.
When the positive forces, the devas, and the negative forces, the asuras, joined together on a rare occasion to churn the ocean with a mountain to obtain the nectar of immortality they utilized Vasuki, the serpent, as the rope. The devas pulled from one end and the asuras from the other. Lots of precious herbs and gems were produced during the Churning and one of them was a poison (halāhala) which became human karma. This "poison" was so dangerous that none of the devas or asuras wanted to go near it. It was extremely sticky and coming into contact with this poison, i.e., human karma, would drag the divinity down to the realms of human suffering and ego. As everyone else ran away, Lord Siva, followed by Nandi, came forward to help as he was the only one who could counteract this deadly poison. Siva took the poison into his hand and drank it, the descent of the poison was in turn stopped at His throat, by His divine consort. Siva is therefore also known as Nīlakaṇṭha (the blue-throated one) and Viṣakaṇṭha (the poison-throated one). Nandi saw some of the poison spill out of Siva's mouth and immediately drank if off the ground. The devas and asuras watching were shocked and wondered aloud what would happen to Nandi. Lord Siva calmed their fears saying, "Nandi has surrendered into me so completely that he has all my powers and my protection".
LARGEST NANDIS IN INDIA
1. Lepakshi, Andhra Pradesh
2. Brahadishwara Temple, Tamil Nadu
4. Bull Temple, Bangalore, Karnataka
5. Rameswaram, Tamil Nadu
6. Hoysaleswara Temple, Halebidu, Karnataka
7. Shanthaleswara Temple, Halebidu, Karnataka
8. Vadakkunnathan Temple, Thrissur, Kerala
9. Virupaksha Temple, Hampi, Karnataka
10. Nandi Temple, Western Group of Temples, Khajuraho,
Madhya Pradesh
11. Kedareshvara Temple at Balligavi (Karnataka)
12. Doddabasaveshvara temple, Kurugodu Bellary dist
MISCELLANEOUS
The white color of the bull symbolizes purity and justice.
Women visit images of Nandi, bringing floral offerings, and touch the stone. Their prayers are for fertility. Additionally, it is also considered a custom among some to whisper the fact of their visit, to that shrine, while requesting the faithful attendant to inform his master of the same.
WIKIPEDIA
UNEP Executive Director Achim Steiner speaks at a forum entitled 'Towards COP21: Civil Society Mobilized for the Climate", Manila, Philippines, Feb 26 2015
Detail of Ragamala miniature entitled 'Assavari Ragini. Text below shows an English transliteration of this spelled 'Ausavery Raugny'. Depicts two girls sitting on a roof terrace, accompanied by two cobras. It is possible that this musical mode might originate from the Sabara people, who traditionally lived in the jungle and whose occupation it was to catch and charm snakes.
Ragamala paintings are images which depict, in physical form, the 'modes' or scales used in Indian Classical Music, known as ragas. Usually accompanied by an inscription or poem, they elucidate the season and time of day in which a raga was meant to be performed, as well as its mood, and often portray the Hindu deities with which they are individually associated. The concept may have originally come about through the use of personification as an aide memoire for musicians, which then developed into physical imagery.
This collection, which is purportedly called the Raga Kalpadruma, originates from Jaipur in Northern India and has the description of the Raga written in Sanskrit on the back of each image. Including some Bengali and English text as well, the collection also contains a few pages from another Indian music manuscript, also written in Sanskrit. It was gifted to the university by Dwarkanath Tagore (1794-1846), grandfather of the poet laureate Rabindranath Tagore (1861-1941) and is one of two sets of Ragamala paintings in the Oriental Manuscripts Collection, the other being Or.Ms 114.
Sources:
Watson, L. (2012), What is Ragamala?, dulwichonview.org.uk/2012/01/20/what-is-ragamala/ (accessed 05/06/14).
www.ed.ac.uk/about/museums-galleries/talbot-rice/archive/... (accessed 05/06/14)
The full LUNA record for this item is here: images.is.ed.ac.uk/luna/servlet/detail/UoEsha~4~4~64120~1...
© The University of Edinburgh Library
Lake Cordova
From my set entitled “Aster”
www.flickr.com/photos/organize/?start_tab=one_set72157607...
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Aster_(genus)
Aster (syn. Diplopappus Cass.) is a genus of flowering plants in the family Asteraceae. The genus once contained nearly 600 species in Eurasia and North America, but after morphologic and molecular research on the genus during the 1990s, it was decided that the North American species are better treated in a series of other genera. After this split there are roughly 180 species within the genus, all but one being confined to Eurasia.[1] The name Aster comes from the Ancient Greek word astron, meaning "star", arriving through the Latin word astrum with the same meaning, referring to the shape of the flower head. Many species and a variety of hybrids and varieties are popular as garden plants because of their attractive and colourful flowers. Aster species are used as food plants by the larvae of a number of Lepidoptera species - see list of Lepidoptera that feed on Aster. Asters can grow in all hardiness zones.
The genus Aster is now generally restricted to the Old World species, with Aster amellus being the type species of the genus, as well as of the family Asteraceae. The New World species have now been reclassified in the genera Almutaster, Canadanthus, Doellingeria, Eucephalus, Eurybia, Ionactis, Oligoneuron, Oreostemma, Sericocarpus and Symphyotrichum, though all are treated within the tribe Astereae. Regardless of the taxonomic change, all are still widely referred to as "asters" in the horticultural trades. See the List of Aster synonyms for more information.
In the UK there are only two native members of the genus of which one, Goldilocks is very rare, the other being Aster tripolium, the Sea aster. Aster alpinus spp. vierhapperi is the only species native to North America.[1]
The CSIS Energy and National Security Program released its report entitled Realizing the Potential of U.S. Unconventional Natural Gas. The report reflects a year-long effort to capture the latest understanding of the unconventional gas development picture and lays out themes and findings to facilitate a path forward. The event provided an overview of the findings from the project while allowing for a discussion of U.S. energy policy priorities for the coming year, key aspects of the unconventional gas revolution, and where the story goes from here.
Opening Panel:
U.S. Energy Policy: Priorities for the 113th Congress
Senator Ron Wyden (D-Oregon)
Chairman, Senate Energy and Natural Resources Committee
with
Senator Lisa Murkowski (R-Alaska)
Ranking member, Senate Energy and Natural Resources Committee
moderated by
Dr. John J. Hamre
President & CEO, and The Pritzker Chair, CSIS
Presentation: Findings from the Project
Sarah O. Ladislaw
Co-Director and Senior Fellow, CSIS Energy and National Security Program
Panel 2: Where the Gas Story Takes the U.S.: Key Aspects of the Unconventional Revolution
Clay Bretches
Vice President, Exploration and Production (E&P) Business Services and Minerals, Anadarko
Mike Hosford
General Manager – Unconventional Resources, GE Oil & Gas
Fred Krupp
President, Environmental Defense Fund
moderated by
David L. Pumphrey
Co-Director and Senior Fellow, CSIS Energy and National Security Program
Closing Remarks
Joseph W. Craver III,
President, Health and Engineering Sector, SAIC
Originally entitled "Yellow Spiral" by its sculptor and artist Chris Byars, a Colorado-based artist who crafted this 11 semi-circle, towering modern structure outside the interior court at anchor JCPenney for Fairlane Town Center for its opening in 1976. Its original tone was yellow until it faced a black repaint. still stands today despite Byars' reported malcontent with various works of his either deteriorating or becoming mismanaged at other sites.
From my set entitled “Heuchera”
www.flickr.com/photos/21861018@N00/sets/72157607185356154/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/HeucheraThe genus Heuchera includes at least 50 species of herbaceous perennial plants in the family Saxifragaceae, all native to North America. Common names include alumroot and coral bells. They have palmately lobed leaves on long petioles, and a thick, woody rootstock. The genus was named after Johann Heinrich von Heucher (1677–1746), an 18th century German physician.
Alumroot species grow in varied habitats, so some species look quite different from one another, and have varying preferences regarding temperature, soil, and other natural factors. H. maxima is found on the Channel Islands of California, where it grows on rocky, windy, saline-washed ocean shores. H. sanguinea, called coral bells because of its terra cotta-colored flowers, can be found in the warm, dry canyons of Arizona. Gardeners and horticulturists have developed a multitude of hybrids between various Heuchera species. There is an extensive array of blossom sizes, shapes, and colors, foliage types, and geographic tolerances.
Though tangy and slightly astringent, the leaves may be used to liven up bland greens.
Natives of the Northwest U.S. have used tonic derived of Alumroot roots to aid digestive difficulties, but extractions from the root can also be used to stop minor bleeding, reduce inflammation, and otherwise shrink moist tissues after swelling.
In 1976, the decision was made to ditch ‘Fleet Operators’ and replace it with a truly pocket-sized spotter’s ‘companion’ entitled ‘World Airline Fleets Handbook.’ This softback book measured 4.5” x 6.75” and remained this size for the next three issues to 1979. You will see from the image above that there was a variety of bindings available: square-bound, comb-bound and wire-bound.
1976-1979 WAFH included a selection of black and white airliner photos. From 1980, all photographic illustrations were done away with never to return, and the annual releases have from that day forward become very much a compilation of data. In my opinion, this led to them falling short of the quality of the competing JP Airline Fleets see here: worldoftransportbooks.com/jp-airline-fleets which always provided a decent section of contemporary postcard sized airliner photos (in colour from the 1981 edition) until it was cancelled in 2013.
As for Air Britain, with the new decade came a new title – it was shortened to just ‘Airline Fleets’ which it remains to this day. The 1980 and ‘81 editions retained the 4.5” x 6.75” size but the ’82 edition had 0.75” inches added to the height becoming 4.5” x 7.5.” You can see the difference in height from the image above. This size remained constant until 1986, as did the wire-binding, although it is possible that alternative binding styles were available.
The 1987 edition saw yet another increase in height by 0.75” becoming 4.5” x 8.25” and this size was retained up to the 1989 edition, although binding alternatives are proven by the fact that my ’87 and ’89 editions are wire bound and my ’88 edition is square bound.
Whereas the 1976 to 1979 editions featured photo-pictorial covers, these were replaced by airliner drawings between 1980 and 1986, but reverted to photo-pictorial covers again (this time in colour) for the 1987, ’88 and ’89 volumes.
The airliners depicted on the front covers of each of the editions shown in the image are listed below for your reference:
1976: JA8008 DC-8 of Air Asia and PH-DTK DC-10 of Philippine Airlines.
1977: CC-CCG 707 of LAN Chile and P2-ANT DC-3 of Air Niugini.
1978: HK-1810 Caravelle of TAC Colombia and HK-812 C-46 of Aeropesca Colombia
1979: JA8517 Tristar of All Nippon and VR-HGU 707 of Cathay Pacific
1980: A300 Airbus (drawing)
1981: 727 (drawing)
1982: 737 (drawing)
1983: 707 (drawing)
1984: 757 (drawing)
1985: SD3-30 (or 60?) (drawing)
1986: HS-748 (drawing)
1987: N406XV BAe146 of Presidential/Continental Express
1988: C-GJPC Jetstream 31 of Ontario Express/Canadian Partner
1989: 9J-AFC ATR-42 of Zambia Airways.
A Communist Party USA pamphlet entitled “Highway of Hunger: Story of America’s Homeless Youth,” was published in 1933 during the party’s Third Period—a period that began in 1928 where the organization sought to build revolutionary leadership.
The pamphlet is addressed to destitute youth during the midst of the Great Depression and seeks to convince them to join the Young Communist League.
The Third Period came to an end after the election of Adolph Hitler as chancellor in Germany in 1933 and the subsequent destruction of the German Communist Party-the largest in Europe.
During the Third Period, liberal and social democratic forces were attacked with the same and perhaps more venom than the radical right as Communists sought to wrest leadership of progressive movements from them.
It was replaced with the “Popular Front” where alliances were sought with liberals and socialists against fascist forces. The Popular Front policies began in late 1933 and were formalized in 1935 and were perhaps the communists period of greatest influence. The Popular Front strategy remained in place until after World War II.
The U.S. Communist Party never really broke from the Popular Front strategy despite the change in conditions and continues the basic policy today.
For more information and related images, see flic.kr/s/aHskAr2KCx
The pamphlet was written by Dave Doran and published by Youth Publishers in New York, 1933. For the entire pamphlet, see washingtonspark.files.wordpress.com/2017/10/highway-of-hu...
From my set entitled “Heuchera”
www.flickr.com/photos/21861018@N00/sets/72157607185356154/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/HeucheraThe genus Heuchera includes at least 50 species of herbaceous perennial plants in the family Saxifragaceae, all native to North America. Common names include alumroot and coral bells. They have palmately lobed leaves on long petioles, and a thick, woody rootstock. The genus was named after Johann Heinrich von Heucher (1677–1746), an 18th century German physician.
Alumroot species grow in varied habitats, so some species look quite different from one another, and have varying preferences regarding temperature, soil, and other natural factors. H. maxima is found on the Channel Islands of California, where it grows on rocky, windy, saline-washed ocean shores. H. sanguinea, called coral bells because of its terra cotta-colored flowers, can be found in the warm, dry canyons of Arizona. Gardeners and horticulturists have developed a multitude of hybrids between various Heuchera species. There is an extensive array of blossom sizes, shapes, and colors, foliage types, and geographic tolerances.
Though tangy and slightly astringent, the leaves may be used to liven up bland greens.
Natives of the Northwest U.S. have used tonic derived of Alumroot roots to aid digestive difficulties, but extractions from the root can also be used to stop minor bleeding, reduce inflammation, and otherwise shrink moist tissues after swelling.
My entry is entitled "Too Cute 2B Cruel". It features Red, White and Blue-berry muffins (made from scratch cranberry/blueberry muffins) with various CM Punk related decorations.
Red, White and Blue-Berry Muffins
Adapted from Williams-Sonoma Big Blueberry Muffins Recipe
8 tbsp. (1 stick) unsalted butter, cut into 3 equal pieces
2 cups all-purpose flour
1/2 cup sugar, plus a few pinches more for sprinkling on top
1 tbsp. baking powder
pinch of salt
1 cup vanilla soy milk
1 egg
3/4 tsp vanilla extract
3/4 cup blueberries (fresh or dried)
1/4 cup cranberries (fresh or dried)
Put the butter pieces in a small saucepan and set over medium heat. Stir with a wooden spoon until melted, 1 to 2 minutes. Using a pot holder, remove the pan from the heat and set the butter aside to cool. Preheat an oven to 375°F. Line a standard 12-cup muffin pan with paper liners. In a medium mixing bowl, combine the flour, 1/2 cup sugar, baking powder and salt. Mix with a table fork. In a small mixing bowl, combine the milk, egg and vanilla. Using the same fork, beat until well blended. Add the milk mixture, melted butter and blueberries to the flour mixture. Using a rubber spatula, stir gently until the ingredients are just blended. Spoon equal amounts of the batter into the muffin cups. Sprinkle the 2 teaspoons sugar evenly over the tops. Bake the muffins until they are golden and have risen nicely, 18 to 20 minutes. To test, insert a toothpick into the center of a muffin. If it comes out clean, the muffins are done. Using oven mitts, remove the muffin pan from the oven and place it on a wire cooling rack. Let the muffins cool for at least 15 minutes before removing them from the pan. Gently turn the pan over, letting the muffins fall out onto the rack. Makes 12 muffins.
Through this photographic portfolio entitled “LIQUID SUBURBS” we want to focus on the theme of suburbs understood as both physical spaces and metaphorical dimensions. In the peripheries, in modern times, we have associated in negative terms what Bauman defines as “forced individualism”, as the liberation from any possible social bond and consequent solitary management of “risk”, uncertainty and the fears that derive from it. In a “liquid” society, life, particularly in the suburbs, seems to settle down and flatten itself in an eternal arid present of future prospects, similar to quicksand, amidst increasingly heavy and immobilizing doubts and perplexities, anchored to certainties linked to a past that is not it exists more and instead persists with nostalgia in the memories of flexible men, weakening them transformative capacity of reality. To adapt to continuous change and the structural risks of the second modernity, man has preferred to abandon the thought of introspection by adopting a mentality of “survival” that feeds on a “fast” thought typical of machines. A thought that does not allow for any deep reflection of one's own experiences, which does not provide the possibility of authentically taking care of one's self and which is shown through the construction, reflected by the architecture of the suburbs (as highlighted in the portfolio), of a “patchwork” Composed of many small and fragile fragments, often devoid of ties and connections, which are unable to give meaning and significance to the existential path of the individual as well as of the family nucleus and consequently of the non-community itself.
I got this popup book entitled "Disney Frozen: A Pop-Up Adventure" by Matthew Reinhart. I got it a couple of weeks ago from 20th Century Music Company on Main Street in Disneyland. It had just been released last month (October 2016). It came wrapped in clear plastic, with a paper insert in the back. It tells the story of Frozen in pop-up drawings depicting actual scenes from the movie. There are six double page pop-ups, with some of them transforming into two separate scenes by means of pull tabs. There are also many smaller pop-ups tucked inside of side panels next to the main pop-ups. It costs $40.
From my set entitled “Heuchera”
www.flickr.com/photos/21861018@N00/sets/72157607185356154/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/HeucheraThe genus Heuchera includes at least 50 species of herbaceous perennial plants in the family Saxifragaceae, all native to North America. Common names include alumroot and coral bells. They have palmately lobed leaves on long petioles, and a thick, woody rootstock. The genus was named after Johann Heinrich von Heucher (1677–1746), an 18th century German physician.
Alumroot species grow in varied habitats, so some species look quite different from one another, and have varying preferences regarding temperature, soil, and other natural factors. H. maxima is found on the Channel Islands of California, where it grows on rocky, windy, saline-washed ocean shores. H. sanguinea, called coral bells because of its terra cotta-colored flowers, can be found in the warm, dry canyons of Arizona. Gardeners and horticulturists have developed a multitude of hybrids between various Heuchera species. There is an extensive array of blossom sizes, shapes, and colors, foliage types, and geographic tolerances.
Though tangy and slightly astringent, the leaves may be used to liven up bland greens.
Natives of the Northwest U.S. have used tonic derived of Alumroot roots to aid digestive difficulties, but extractions from the root can also be used to stop minor bleeding, reduce inflammation, and otherwise shrink moist tissues after swelling.
The CSIS Energy and National Security Program released its report entitled Realizing the Potential of U.S. Unconventional Natural Gas. The report reflects a year-long effort to capture the latest understanding of the unconventional gas development picture and lays out themes and findings to facilitate a path forward. The event provided an overview of the findings from the project while allowing for a discussion of U.S. energy policy priorities for the coming year, key aspects of the unconventional gas revolution, and where the story goes from here.
Opening Panel:
U.S. Energy Policy: Priorities for the 113th Congress
Senator Ron Wyden (D-Oregon)
Chairman, Senate Energy and Natural Resources Committee
with
Senator Lisa Murkowski (R-Alaska)
Ranking member, Senate Energy and Natural Resources Committee
moderated by
Dr. John J. Hamre
President & CEO, and The Pritzker Chair, CSIS
Presentation: Findings from the Project
Sarah O. Ladislaw
Co-Director and Senior Fellow, CSIS Energy and National Security Program
Panel 2: Where the Gas Story Takes the U.S.: Key Aspects of the Unconventional Revolution
Clay Bretches
Vice President, Exploration and Production (E&P) Business Services and Minerals, Anadarko
Mike Hosford
General Manager – Unconventional Resources, GE Oil & Gas
Fred Krupp
President, Environmental Defense Fund
moderated by
David L. Pumphrey
Co-Director and Senior Fellow, CSIS Energy and National Security Program
Closing Remarks
Joseph W. Craver III,
President, Health and Engineering Sector, SAIC
Through this photographic portfolio entitled “LIQUID SUBURBS” we want to focus on the theme of suburbs understood as both physical spaces and metaphorical dimensions. In the peripheries, in modern times, we have associated in negative terms what Bauman defines as “forced individualism”, as the liberation from any possible social bond and consequent solitary management of “risk”, uncertainty and the fears that derive from it. In a “liquid” society, life, particularly in the suburbs, seems to settle down and flatten itself in an eternal arid present of future prospects, similar to quicksand, amidst increasingly heavy and immobilizing doubts and perplexities, anchored to certainties linked to a past that is not it exists more and instead persists with nostalgia in the memories of flexible men, weakening them transformative capacity of reality. To adapt to continuous change and the structural risks of the second modernity, man has preferred to abandon the thought of introspection by adopting a mentality of “survival” that feeds on a “fast” thought typical of machines. A thought that does not allow for any deep reflection of one's own experiences, which does not provide the possibility of authentically taking care of one's self and which is shown through the construction, reflected by the architecture of the suburbs (as highlighted in the portfolio), of a “patchwork” Composed of many small and fragile fragments, often devoid of ties and connections, which are unable to give meaning and significance to the existential path of the individual as well as of the family nucleus and consequently of the non-community itself.
This is the finished 3D Painting entitled Centurion.
See the full slide show in the Epic Journey in the Transformation of this 3D Painting here.
www.flickr.com/photos/57605784@N06/sets/72157625891634410...
When I first saw this picture I know I had to paint it, full credit to the original artist, it is a masterpiece. Bursting out of the Colosseum, on the left you have the elements of history and tradition, and on the right you have the future, which looks like a space craft, and in the middle you have the Centurion, signalling, forward...the past and future being lead by the present, how it should be.
Working full time as well, this picture may take me 3 to 4 days to complete, every night I will post more & more stages to completion. If you click on the Slideshow link below you can watch a Slideshow showing the many stages in the painting of the picture, iv uploaded 11 so far, it may take as many as 30 until im happy with it. Every night if you click on the same link you will see the new additions automatically added to the slidehow, giving you an insight into how 3D Paintings are created.
Transformation Slideshow :
www.flickr.com/photos/57605784@N06/sets/72157625891634410...
As with all civilisations, nations & empires, its not how strong you are, its what you stand for that counts , it is these values, not military might & brute force, that determines longevity & prosperity.
Many things have been said about the Romans, the recent film released 2010 entitled Centurion is a good example, as was Spartacus, and the birth & life of Jesus Christ. When all is said & done the Romans lasted an aweful long time, they must have been doing something right.
There demise was started with the emergence of a movement that put forth to mankind a much higher set of values, not a stronger military force. That movement is Christianity.
The Roman civilisation tried to Adapt, tried to absorb, but its decline was inevitable. The Catholic Church is what remains of the Roman branch of Christianity.