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Our principal violinists, cellist and harpsichordist were at Queen Elizabeth Sixth Form College, Darlington, on Wednesday 20th September 2017 for a workshop on performance and interpretation. We greatly enjoyed working with the orchestra and soloists on three concertos – Bach’s Violin Concerto in A minor BWV 1041, Vivaldi’s Flute Concerto in D major ‘The Goldfinch’ RV428 and John Garth’s Cello Concerto No 2 in B flat major. It was an intensive workshop focusing on period interpretation, style and performance practices, and at the end of the workshop the orchestra presented a concert to an invited audience of students from other schools in the area. We were delighted to be involved in this workshop to engage and explore this wonderful music with enthusiastic young players.
We’re grateful to Dr Simon Fleming (Curriculum Leader for Music) and the staff at QESFC for inviting us to lead this workshop. QESFC has a thriving culture of music education and participation, and we’re delighted to have been involved in supporting their music learning.
The Avison Ensemble is the outstanding period instrument orchestra based in Newcastle upon Tyne, which plays and popularises the music of Charles Avison (1709-1770) and other English classical composers of the Baroque period, such as Garth, Arne and Herschel. The Ensemble also performs Purcell, Handel, Vivaldi, Corelli, Geminiani, Pergolesi, Teleman, Rameau, Bach, Mozart, Haydn and Beethoven.
NARMADA PARIKRAMA
The Narmada also called the Rewa, is a river in central India and the fifth longest river in the Indian subcontinent. It is the third longest river that flows entirely within India, after the Godavari and the Krishna. It is also known as "Life Line of Madhya Pradesh" for its huge contribution to the state of Madhya Pradesh in many ways. It forms the traditional boundary between North India and South India and flows westwards over a length of 1,312 km (815.2 mi) before draining through theGulf of Khambhat into the Arabian Sea, 30 km (18.6 mi) west of Bharuch city of Gujarat. It is one of only three major rivers in peninsular India that run from east to west (longest west flowing river), along with the Tapti River and the Mahi River. It is the one of the rivers in India that flows in a rift valley, flowing west between the Satpura and Vindhya ranges. The other rivers which flows through rift valley include Damodar River in Chota Nagpur Plateau and Tapti. The Tapti River and Mahi River also flow through rift valleys, but between different ranges. It flows through the states of Madhya Pradesh(1,077 km (669.2 mi)), and Maharashtra, (74 km (46.0 mi))– (35 km (21.7 mi)) then along the border between Madhya Pradesh and Maharashtra (39 km (24.2 mi) and the border between Madhya Pradesh and Gujarat and in Gujarat (161 km (100.0 mi)).
The Periplus Maris Erythraei (c. 80 AD) calls it the Nammadus, and theBritish Raj called it the Nerbudda or Narbada. Narmadā is a Sanskrit word meaning "the Giver of Pleasure".
To Hindus the Narmada is one of the five holy rivers of India; the other four beingGanges, Yamuna, Godavari and Kaveri. It is believed that a dip in any of these five rivers washes one's sins away. According to a legend, the river Ganges, polluted by millions of people bathing in it, assumes the form of a black cow and comes to the Narmada to bathe and cleanse itself in its holy waters. Legends also claim that the Narmada River is older than the river Ganges.
The river was mentioned by Ptolemy in the second century AD as Namade and by the author of the Periplus. The Ramayana, the Mahabharat, and thePuranas refer to it frequently. The Rewa Khand of Vayu Purana and the Rewa Khand of Skanda Purana are entirely devoted to the story of the birth and the importance of the river, and hence Narmada is also called the Rewa.
There are many fables about the origin of the Narmada. According to one of them, once Lord Shiva, the Destroyer of the Universe, meditated so hard that he started perspiring. Shiva's sweat accumulated in a tank and started flowing in the form of a river – the Narmada. Another legend has it that two teardrops that fell from the eyes of Lord Brahma, the creator of the universe, yielded two rivers – the Narmada and the Son.
Legends also say that for Lord Shiva, the Hindu God, the river is especially sacred on account of its origin, and it is often called Shankari, i.e., daughter of Shankar (Lord Shiva). All the pebbles rolling on its bed are said to take the shape of his emblem with the saying, "Narmada Ke Kanker utte Sankar" (a popular saying in the Hindi belt of India), which means that 'pebble stones of Narmada get a personified form of Shiva'. These lingam shaped stones (cryptocrytalline quartz), calledBanalinga also called (Banashivalingas) are much sought after for daily worship by the Hindus. The Brihadeeswara Temple in Thanjavur, Tamil Nadu, constructed by Rajaraja Chola, has one of the biggest Banalingas. Adi Shankara met his guru Govinda Bhagavatpada on the banks of the river Narmada.
Narmada is also said to have been in love with the Sonbhadra, another river flowing on the Chota Nagpur Plateau. According to the Puranas, the Narmada is also called the Rewa, from its leaping motion (from the root 'rev') through its rocky bed.
Important religious places and Ghats along the course of the river, starting from its origin at Narmadakhund at Amarkantakhill, are a) the Amarkantak (in Sanskrit: Neck of Shiva) or Teertharaj (the King of Pilgrimages), b) Omkareshwar, Maheshwar, and Mahadeo temples, Nemawar Siddeshwar Mandir in the middle reach of the river – all named after Shiva, c) Chausath Yogini (sixty four yoginis) temple, d) Chaubis Avatar temple, e) Bhojpur Shiva temple and Bhrigu Rishi temple in Bharuch. The Narmada River is also worshipped as mother goddess by Narmadeeya Brahmins.
The importance of the Narmada River as sacred is testified by the fact that the pilgrims perform a holy pilgrimage of aparikrama or circumambulation of the river.[17] The Narmada Parikrama, as it is called, is considered to be a meritorious act that a pilgrim can undertake. Many sadhus and pilgrims walk on foot from the Arabian Sea at Bharuch in Gujarat, along the river, to the source in Maikal Mountains (Amarkantak hills) in Madhya Pradesh and back along the opposite bank of the river. It is a 2,600-kilometre (1,600 mi) walk.[18] Important towns of interest in the valley are Jabalpur, Barwani, Hoshangabad, Harda, Narmada Nagar, Omkareshwar, Dewas (Nemavar, Kity, Pipri), Mandla and Maheshwar in Madhya Pradesh, andRajpipla and Bharuch in Gujarat. Some places of historical interest are Joga Ka Quilla, Chhatri of Baji Rao Peshwa andBhimbetka, and among the falls are the Dugdhdhara, Dhardi falls, Bheraghat, Dhuandhara, Kapiladhara and Sahastradhara. By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
NARMADA PARIKRAMA
The Narmada also called the Rewa, is a river in central India and the fifth longest river in the Indian subcontinent. It is the third longest river that flows entirely within India, after the Godavari and the Krishna. It is also known as "Life Line of Madhya Pradesh" for its huge contribution to the state of Madhya Pradesh in many ways. It forms the traditional boundary between North India and South India and flows westwards over a length of 1,312 km (815.2 mi) before draining through theGulf of Khambhat into the Arabian Sea, 30 km (18.6 mi) west of Bharuch city of Gujarat. It is one of only three major rivers in peninsular India that run from east to west (longest west flowing river), along with the Tapti River and the Mahi River. It is the one of the rivers in India that flows in a rift valley, flowing west between the Satpura and Vindhya ranges. The other rivers which flows through rift valley include Damodar River in Chota Nagpur Plateau and Tapti. The Tapti River and Mahi River also flow through rift valleys, but between different ranges. It flows through the states of Madhya Pradesh(1,077 km (669.2 mi)), and Maharashtra, (74 km (46.0 mi))– (35 km (21.7 mi)) then along the border between Madhya Pradesh and Maharashtra (39 km (24.2 mi) and the border between Madhya Pradesh and Gujarat and in Gujarat (161 km (100.0 mi)).
The Periplus Maris Erythraei (c. 80 AD) calls it the Nammadus, and theBritish Raj called it the Nerbudda or Narbada. Narmadā is a Sanskrit word meaning "the Giver of Pleasure".
To Hindus the Narmada is one of the five holy rivers of India; the other four beingGanges, Yamuna, Godavari and Kaveri. It is believed that a dip in any of these five rivers washes one's sins away. According to a legend, the river Ganges, polluted by millions of people bathing in it, assumes the form of a black cow and comes to the Narmada to bathe and cleanse itself in its holy waters. Legends also claim that the Narmada River is older than the river Ganges.
The river was mentioned by Ptolemy in the second century AD as Namade and by the author of the Periplus. The Ramayana, the Mahabharat, and thePuranas refer to it frequently. The Rewa Khand of Vayu Purana and the Rewa Khand of Skanda Purana are entirely devoted to the story of the birth and the importance of the river, and hence Narmada is also called the Rewa.
There are many fables about the origin of the Narmada. According to one of them, once Lord Shiva, the Destroyer of the Universe, meditated so hard that he started perspiring. Shiva's sweat accumulated in a tank and started flowing in the form of a river – the Narmada. Another legend has it that two teardrops that fell from the eyes of Lord Brahma, the creator of the universe, yielded two rivers – the Narmada and the Son.
Legends also say that for Lord Shiva, the Hindu God, the river is especially sacred on account of its origin, and it is often called Shankari, i.e., daughter of Shankar (Lord Shiva). All the pebbles rolling on its bed are said to take the shape of his emblem with the saying, "Narmada Ke Kanker utte Sankar" (a popular saying in the Hindi belt of India), which means that 'pebble stones of Narmada get a personified form of Shiva'. These lingam shaped stones (cryptocrytalline quartz), calledBanalinga also called (Banashivalingas) are much sought after for daily worship by the Hindus. The Brihadeeswara Temple in Thanjavur, Tamil Nadu, constructed by Rajaraja Chola, has one of the biggest Banalingas. Adi Shankara met his guru Govinda Bhagavatpada on the banks of the river Narmada.
Narmada is also said to have been in love with the Sonbhadra, another river flowing on the Chota Nagpur Plateau. According to the Puranas, the Narmada is also called the Rewa, from its leaping motion (from the root 'rev') through its rocky bed.
Important religious places and Ghats along the course of the river, starting from its origin at Narmadakhund at Amarkantakhill, are a) the Amarkantak (in Sanskrit: Neck of Shiva) or Teertharaj (the King of Pilgrimages), b) Omkareshwar, Maheshwar, and Mahadeo temples, Nemawar Siddeshwar Mandir in the middle reach of the river – all named after Shiva, c) Chausath Yogini (sixty four yoginis) temple, d) Chaubis Avatar temple, e) Bhojpur Shiva temple and Bhrigu Rishi temple in Bharuch. The Narmada River is also worshipped as mother goddess by Narmadeeya Brahmins.
The importance of the Narmada River as sacred is testified by the fact that the pilgrims perform a holy pilgrimage of aparikrama or circumambulation of the river.[17] The Narmada Parikrama, as it is called, is considered to be a meritorious act that a pilgrim can undertake. Many sadhus and pilgrims walk on foot from the Arabian Sea at Bharuch in Gujarat, along the river, to the source in Maikal Mountains (Amarkantak hills) in Madhya Pradesh and back along the opposite bank of the river. It is a 2,600-kilometre (1,600 mi) walk.[18] Important towns of interest in the valley are Jabalpur, Barwani, Hoshangabad, Harda, Narmada Nagar, Omkareshwar, Dewas (Nemavar, Kity, Pipri), Mandla and Maheshwar in Madhya Pradesh, andRajpipla and Bharuch in Gujarat. Some places of historical interest are Joga Ka Quilla, Chhatri of Baji Rao Peshwa andBhimbetka, and among the falls are the Dugdhdhara, Dhardi falls, Bheraghat, Dhuandhara, Kapiladhara and Sahastradhara. By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
NARMADA PARIKRAMA
The Narmada also called the Rewa, is a river in central India and the fifth longest river in the Indian subcontinent. It is the third longest river that flows entirely within India, after the Godavari and the Krishna. It is also known as "Life Line of Madhya Pradesh" for its huge contribution to the state of Madhya Pradesh in many ways. It forms the traditional boundary between North India and South India and flows westwards over a length of 1,312 km (815.2 mi) before draining through theGulf of Khambhat into the Arabian Sea, 30 km (18.6 mi) west of Bharuch city of Gujarat. It is one of only three major rivers in peninsular India that run from east to west (longest west flowing river), along with the Tapti River and the Mahi River. It is the one of the rivers in India that flows in a rift valley, flowing west between the Satpura and Vindhya ranges. The other rivers which flows through rift valley include Damodar River in Chota Nagpur Plateau and Tapti. The Tapti River and Mahi River also flow through rift valleys, but between different ranges. It flows through the states of Madhya Pradesh(1,077 km (669.2 mi)), and Maharashtra, (74 km (46.0 mi))– (35 km (21.7 mi)) then along the border between Madhya Pradesh and Maharashtra (39 km (24.2 mi) and the border between Madhya Pradesh and Gujarat and in Gujarat (161 km (100.0 mi)).
The Periplus Maris Erythraei (c. 80 AD) calls it the Nammadus, and theBritish Raj called it the Nerbudda or Narbada. Narmadā is a Sanskrit word meaning "the Giver of Pleasure".
To Hindus the Narmada is one of the five holy rivers of India; the other four beingGanges, Yamuna, Godavari and Kaveri. It is believed that a dip in any of these five rivers washes one's sins away. According to a legend, the river Ganges, polluted by millions of people bathing in it, assumes the form of a black cow and comes to the Narmada to bathe and cleanse itself in its holy waters. Legends also claim that the Narmada River is older than the river Ganges.
The river was mentioned by Ptolemy in the second century AD as Namade and by the author of the Periplus. The Ramayana, the Mahabharat, and thePuranas refer to it frequently. The Rewa Khand of Vayu Purana and the Rewa Khand of Skanda Purana are entirely devoted to the story of the birth and the importance of the river, and hence Narmada is also called the Rewa.
There are many fables about the origin of the Narmada. According to one of them, once Lord Shiva, the Destroyer of the Universe, meditated so hard that he started perspiring. Shiva's sweat accumulated in a tank and started flowing in the form of a river – the Narmada. Another legend has it that two teardrops that fell from the eyes of Lord Brahma, the creator of the universe, yielded two rivers – the Narmada and the Son.
Legends also say that for Lord Shiva, the Hindu God, the river is especially sacred on account of its origin, and it is often called Shankari, i.e., daughter of Shankar (Lord Shiva). All the pebbles rolling on its bed are said to take the shape of his emblem with the saying, "Narmada Ke Kanker utte Sankar" (a popular saying in the Hindi belt of India), which means that 'pebble stones of Narmada get a personified form of Shiva'. These lingam shaped stones (cryptocrytalline quartz), calledBanalinga also called (Banashivalingas) are much sought after for daily worship by the Hindus. The Brihadeeswara Temple in Thanjavur, Tamil Nadu, constructed by Rajaraja Chola, has one of the biggest Banalingas. Adi Shankara met his guru Govinda Bhagavatpada on the banks of the river Narmada.
Narmada is also said to have been in love with the Sonbhadra, another river flowing on the Chota Nagpur Plateau. According to the Puranas, the Narmada is also called the Rewa, from its leaping motion (from the root 'rev') through its rocky bed.
Important religious places and Ghats along the course of the river, starting from its origin at Narmadakhund at Amarkantakhill, are a) the Amarkantak (in Sanskrit: Neck of Shiva) or Teertharaj (the King of Pilgrimages), b) Omkareshwar, Maheshwar, and Mahadeo temples, Nemawar Siddeshwar Mandir in the middle reach of the river – all named after Shiva, c) Chausath Yogini (sixty four yoginis) temple, d) Chaubis Avatar temple, e) Bhojpur Shiva temple and Bhrigu Rishi temple in Bharuch. The Narmada River is also worshipped as mother goddess by Narmadeeya Brahmins.
The importance of the Narmada River as sacred is testified by the fact that the pilgrims perform a holy pilgrimage of aparikrama or circumambulation of the river.[17] The Narmada Parikrama, as it is called, is considered to be a meritorious act that a pilgrim can undertake. Many sadhus and pilgrims walk on foot from the Arabian Sea at Bharuch in Gujarat, along the river, to the source in Maikal Mountains (Amarkantak hills) in Madhya Pradesh and back along the opposite bank of the river. It is a 2,600-kilometre (1,600 mi) walk.[18] Important towns of interest in the valley are Jabalpur, Barwani, Hoshangabad, Harda, Narmada Nagar, Omkareshwar, Dewas (Nemavar, Kity, Pipri), Mandla and Maheshwar in Madhya Pradesh, andRajpipla and Bharuch in Gujarat. Some places of historical interest are Joga Ka Quilla, Chhatri of Baji Rao Peshwa andBhimbetka, and among the falls are the Dugdhdhara, Dhardi falls, Bheraghat, Dhuandhara, Kapiladhara and Sahastradhara. By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
NARMADA PARIKRAMA
The Narmada also called the Rewa, is a river in central India and the fifth longest river in the Indian subcontinent. It is the third longest river that flows entirely within India, after the Godavari and the Krishna. It is also known as "Life Line of Madhya Pradesh" for its huge contribution to the state of Madhya Pradesh in many ways. It forms the traditional boundary between North India and South India and flows westwards over a length of 1,312 km (815.2 mi) before draining through theGulf of Khambhat into the Arabian Sea, 30 km (18.6 mi) west of Bharuch city of Gujarat. It is one of only three major rivers in peninsular India that run from east to west (longest west flowing river), along with the Tapti River and the Mahi River. It is the one of the rivers in India that flows in a rift valley, flowing west between the Satpura and Vindhya ranges. The other rivers which flows through rift valley include Damodar River in Chota Nagpur Plateau and Tapti. The Tapti River and Mahi River also flow through rift valleys, but between different ranges. It flows through the states of Madhya Pradesh(1,077 km (669.2 mi)), and Maharashtra, (74 km (46.0 mi))– (35 km (21.7 mi)) then along the border between Madhya Pradesh and Maharashtra (39 km (24.2 mi) and the border between Madhya Pradesh and Gujarat and in Gujarat (161 km (100.0 mi)).
The Periplus Maris Erythraei (c. 80 AD) calls it the Nammadus, and theBritish Raj called it the Nerbudda or Narbada. Narmadā is a Sanskrit word meaning "the Giver of Pleasure".
To Hindus the Narmada is one of the five holy rivers of India; the other four beingGanges, Yamuna, Godavari and Kaveri. It is believed that a dip in any of these five rivers washes one's sins away. According to a legend, the river Ganges, polluted by millions of people bathing in it, assumes the form of a black cow and comes to the Narmada to bathe and cleanse itself in its holy waters. Legends also claim that the Narmada River is older than the river Ganges.
The river was mentioned by Ptolemy in the second century AD as Namade and by the author of the Periplus. The Ramayana, the Mahabharat, and thePuranas refer to it frequently. The Rewa Khand of Vayu Purana and the Rewa Khand of Skanda Purana are entirely devoted to the story of the birth and the importance of the river, and hence Narmada is also called the Rewa.
There are many fables about the origin of the Narmada. According to one of them, once Lord Shiva, the Destroyer of the Universe, meditated so hard that he started perspiring. Shiva's sweat accumulated in a tank and started flowing in the form of a river – the Narmada. Another legend has it that two teardrops that fell from the eyes of Lord Brahma, the creator of the universe, yielded two rivers – the Narmada and the Son.
Legends also say that for Lord Shiva, the Hindu God, the river is especially sacred on account of its origin, and it is often called Shankari, i.e., daughter of Shankar (Lord Shiva). All the pebbles rolling on its bed are said to take the shape of his emblem with the saying, "Narmada Ke Kanker utte Sankar" (a popular saying in the Hindi belt of India), which means that 'pebble stones of Narmada get a personified form of Shiva'. These lingam shaped stones (cryptocrytalline quartz), calledBanalinga also called (Banashivalingas) are much sought after for daily worship by the Hindus. The Brihadeeswara Temple in Thanjavur, Tamil Nadu, constructed by Rajaraja Chola, has one of the biggest Banalingas. Adi Shankara met his guru Govinda Bhagavatpada on the banks of the river Narmada.
Narmada is also said to have been in love with the Sonbhadra, another river flowing on the Chota Nagpur Plateau. According to the Puranas, the Narmada is also called the Rewa, from its leaping motion (from the root 'rev') through its rocky bed.
Important religious places and Ghats along the course of the river, starting from its origin at Narmadakhund at Amarkantakhill, are a) the Amarkantak (in Sanskrit: Neck of Shiva) or Teertharaj (the King of Pilgrimages), b) Omkareshwar, Maheshwar, and Mahadeo temples, Nemawar Siddeshwar Mandir in the middle reach of the river – all named after Shiva, c) Chausath Yogini (sixty four yoginis) temple, d) Chaubis Avatar temple, e) Bhojpur Shiva temple and Bhrigu Rishi temple in Bharuch. The Narmada River is also worshipped as mother goddess by Narmadeeya Brahmins.
The importance of the Narmada River as sacred is testified by the fact that the pilgrims perform a holy pilgrimage of aparikrama or circumambulation of the river.[17] The Narmada Parikrama, as it is called, is considered to be a meritorious act that a pilgrim can undertake. Many sadhus and pilgrims walk on foot from the Arabian Sea at Bharuch in Gujarat, along the river, to the source in Maikal Mountains (Amarkantak hills) in Madhya Pradesh and back along the opposite bank of the river. It is a 2,600-kilometre (1,600 mi) walk.[18] Important towns of interest in the valley are Jabalpur, Barwani, Hoshangabad, Harda, Narmada Nagar, Omkareshwar, Dewas (Nemavar, Kity, Pipri), Mandla and Maheshwar in Madhya Pradesh, andRajpipla and Bharuch in Gujarat. Some places of historical interest are Joga Ka Quilla, Chhatri of Baji Rao Peshwa andBhimbetka, and among the falls are the Dugdhdhara, Dhardi falls, Bheraghat, Dhuandhara, Kapiladhara and Sahastradhara. By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
Bronze door-knocker formed of two dolphins with snakes twined around them; on the dolphins sit two satyrs, whose scroll arms support a blank shield; above shield a mask of Medusa; below shield a grotesque mask; inscribed, GC
1550-1600 made in Venice, Italy.
One thing that drives me bonkers is the ordering of form fields. Place form fields in a logical order that makes sense to the user. This example shows an incorrect ordering of fields. The order of fields should have been Address, State, Postcode (matches how people expect to see and write addresses).
Former SEMITRAT / Fil Bleu (Tours, France) n°120 (Berliet PR100 MI) in a scrapyard. He entered in service in 1978 and he was retired in 1994.
Berliet PR100 MI ex-SEMITRAT / Fil Bleu (Tours, France) n°120 dans une casse.
Il est entré en service en 1978 et il a été réformé en 1994.
A functional chain with print supports still attached to the build platform after being 3D printed with a Formlabs Form 2 SLA 3D Printer using Tough Resin.
Free for use under Creative Commons license. If you use this image, please link to "formlabs.com/3d-printers/" in your attribution.
Pebbly sandstone from the Mississippian of Ohio, USA.
The Black Hand Sandstone is a prominent, cliff-forming sedimentary unit in the Mississippian of parts of eastern Ohio, USA. The type locality is Black Hand Gorge in Licking County, Ohio, where an American Indian pictograph formerly existed. The "Black Hand" was destroyed long ago by canal builders. The pictograph represented an early "highway sign" that roughly indicated directions to Flint Ridge, where arrowhead-quality flint was quarried.
The Black Hand Sandstone consists of horizontally bedded and cross-bedded quartzose sandstones, granulose sandstones, pebbly sandstones, plus minor quartz-pebble conglomerate. Stratigraphically, the unit was traditionally considered as a coarse-grained upper member of the Cuyahoga Formation (Lower Mississippian) and represented a delta deposit.
A revised understanding of the Black Hand Sandstone was published in the 2000s by West Virginia geologists. The unit is now understood to be temporally and genetically unrelated to the Cuyahoga Formation, and therefore is no longer considered to be one of its members. The Black Hand Sandstone is currently interpreted as an incised valley fill deposit.
The Black Hand Sandstone in parts of Ohio produces some oil and natural gas. Oil drillers refer to the Black Hand as the “Big Injun Sandstone”.
Stratigraphy: Black Hand Sandstone, lower Osagean Stage, Lower Mississippian
Locality: trailside float from base of cliff (= old railroad cut), Black Hand Gorge, southern side of the Licking River, just west of the town of Toboso, eastern Hanover Township, far-eastern Licking County, east-central Ohio, USA
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Some references on the Black Hand Sandstone:
Ver Steeg, K. 1947. Black Hand sandstone and conglomerate in Ohio. Bulletin of the Geological Society of America 58: 703-727.
Szmuc, E.J. 1970. The Mississippian System. pp. 23-67 in Guide to the Geology of Northeastern Ohio. Cleveland. Northern Ohio Geological Society.
Walker, D.A. 1978. Paleontology and Paleoecology of the Cuyahoga and Logan Formations of Central Ohio. Senior Thesis. Denison University, Granville, Ohio, USA. 9+102+11+(1)+2 pp. 11 pls.
Bork, K.B. & R.J. Malcuit. 1981. Cuyahoga and Logan Formations of central and eastern Licking County, Ohio. Ohio Sedimentary Geology III. 21 pp.
Kammer, T.W. & D.L. Matchen. 2002. Biostratigraphic constraints on the timing of valley incisement and deposition of the Lower Mississippian Black Hand Sandstone of Ohio. Geological Society American Abstracts with Programs 34(6): 428.
Matchen, D.L. & T.W. Kammer. 2002. Reinterpretation of the Black Hand Sandstone (Lower Mississippian) of Ohio as incised valley fill. Geological Society of America Abstracts with Programs 34(6): 277.
Matchen, D.L. & T.W. Kammer. 2006. Incised valley fill interpretation for Mississippian Black Hand Sandstone, Appalachian Basin, USA: implications for glacial eustasy at Kinderhookian-Osagean (Tn2-Tn3) boundary. Sedimentary Geology 191: 89-113.
Krujë (definite Albanian form: Kruja) is a town and a municipality in north central Albania. Located between Mount Krujë and the Ishëm River, the city is only 20 km north from the capital of Albania, Tirana. Inhabited by the Illyrian tribe of the Albani, in 1190 Krujë became the capital of the first autonomous Albanian state in the middle ages, the Principality of Arbër. Later it was the capital of the Kingdom of Albania, while in the early 15th century Krujë was conquered by the Ottoman Empire, but then recaptured in 1443 by Skanderbeg, leader of the League of Lezhë, who successfully defended it against three Ottoman sieges until his death in 1468.
Hathor sous plusieurs formes (Hathor in several forms).
From Wikipedia:
"Hathor was an Ancient Egyptian goddess who personified the principles of love, beauty, music, motherhood and joy. She was one of the most important and popular deities throughout the history of Ancient Egypt. Hathor was worshiped by Royalty and common people alike in whose tombs she is depicted as "Mistress of the West" welcoming the dead into the next life.
In other roles she was a goddess of music, dance, foreign lands and fertility who helped women in childbirth, as well as the patron goddess of miners.
The cult of Hathor pre-dates the historical period and the roots of devotion to her are, therefore, difficult to trace, though it may be a development of predynastic cults who venerated the fertility, and nature in general, represented by cows.
Hathor is commonly depicted as a cow goddess with head horns in which is set a sun disk with Uraeus. Twin feathers are also sometimes shown in later periods as well as a menat necklace. Hathor may be the cow goddess who is depicted from an early date on the Narmer Palette and on a stone urn dating from the 1st dynasty that suggests a role as sky-goddess and a relationship to Horus who, as a sun god, is "housed" in her.
The Ancient Egyptians viewed reality as multi-layered in which deities who merge together for various reasons, whilst retaining divergent attributes and myths, were not seen as contradictory but complementary.
In a complicated relationship Hathor is at times the mother, daughter and wife of Ra and, like Isis, is at times described as the mother of Horus, and associated with Bast.
The cult of Osiris promised eternal life to those deemed morally worthy. Originally the justified dead, male or female, became an Osiris but by early Roman times females became identified with Hathor and men with Osiris.
The Ancient Greeks identified Hathor with the goddess Aphrodite and the Romans as Venus."
Kai in human form
Name: Kai
Age: 21 (is really 320 yrs old)
Weapon: werewolf powers, n in human form, a sword tht can cut through vamps.
Race: werewolf
Bio: He decided Renai was rite about moving to Raszor city. He still looks around for Shion and Damion, mosta the time being in his wolf form, though he hasn't bin that much of a father or husband to his kids or Renai because of it. He's waiting for the chance to catch Damion in his wolf, catching a glimpse at what hes seeing, and smelling an wat not to find him and Shion, bringing her back to the family.
Grade II* listed
"The Rhodes Building forms the north range of St Mary's (or 'the Third') Quadrangle at Oriel College and was built to house undergraduates and Fellows of the college. It was built between 1909 and 1911 to the designs of Basil Champneys (1842-1935) in a bold Jacobethan style and remains largely unaltered except for modifications to the south-east wing in 1981. MATERIALS: The fabric is of load-bearing brickwork, faced throughout in Clipsham and Weldon ashlar. PLAN: The main range, of three floors over a semi-sunk basement, runs east-west, fronting the south side of the High Street, with short wings returning southwards at each end. A broad passageway (disused) runs between the quadrangle and the street at ground level. EXTERIOR: The main elevations are those facing the High Street and quadrangle. The High Street front has a central entrance tower, with two windowed bays to each side, flanked by (slightly) projecting two-bay wings. The lower stage is rusticated, with small mullioned windows to the central section in deep-sunk in broad arches, with larger ones to the wings. The arms of Monro, Sir John Holt (Oriel, 1650s), the College, Bishop Robinson (John Robinson, Fellow, 1670s) and Provost Shadwell are displayed at key points. Above a prominent cornice, the first floor has windows to the wings (mullioned, four equal lights), forming subtly-projecting curved bays, with cornices surmounted by Jacobean cartouches with scrolls. Between the windows stand life-size Portland-stone statues by Henry Alfred Pegram (1862-1937) representing (east to west) William Allen, Cardinal (1532-94, Fellow 1550, Principal of St Mary's Hall) Walter Lyhert (Provost 1435-46), Edward VII, George V, John Hals (Provost 1446-49), and Henry Sampson (Provost 1449-76). Above a second cornice, the top floor is lit by mullioned four-light windows in scrolled gables. The tower entrance arch is flanked by paired roman Doric columns. Above, statues of Edward VII and George V stand in rusticated niches flanking shallow-projecting bay window, with cartouche and scrolls above. The level above, flanked by paired, un-fluted Corinthian columns, displays a statue of Rhodes himself, under a shell canopy propped by barley-sugar columns. At his feet a relief inscription reads E[X]: LARGA: MVNIFICENTIA CAECILII:RHODES, ie 'Out of the splendid generosity of Cecil Rhodes', the raised letters (here in bold) forming the laborious chronogram LMVIICICILIID (ie, reshuffled, MDCCCLLVIIIIII, ie 1911). The pediment above is interrupted by Rhodes's posthumously-granted arms (Argent within two bendlets a lion passant gules between two thistles stalked and leaved proper), flanked by cornucopia and swags.
The central and two flanking bays of the south elevation, facing St Mary's Quad, are largely similar to those on the north, although with flat-topped the first-floor windows. The statues here, in niches or under canopies are (west to east) Adam de Brome (Rector of St Mary's, founder of Oriel, d.1332); A.G.Butler (1831-1909, Fellow & Rhodes's tutor), Cardinal Newman (1801-90, Fellow), and Archbishop Arundel (1353-1414, Fellow and benefactor); the Arms of Gilbert White, Edward Hawkins (Provost 1828-82), John Keble and Sir Walter Raleigh appear below. The top stage of the gate tower has paired Corinthian columns flanking a window, beneath which is inscribed INCEPTUM MCMIX ABSOLUTUM MCMX (ie begun 1909, finished 1910) with 'GR' and 'ER' underneath. The pediment frames a statue of the Virgin. At the west end of the main elevation is a stair turret, its windows staggered, rising with the stairs. The stair to the east, by contrast, is concealed deep within the building.
INTERIOR: At basement level, the building housed a large purpose-built bicycle store, five single bathrooms, and two strong rooms. The floors above contained undergraduate 'sets' (bedroom and sitting room combinations) and larger apartments for Fellows, now offices. The vaulted ground-floor gate passage contains a memorial to the seventy-eight Orielenses killed 1939-45. Internal detailing is overwhelmingly Queen Anne not Jacobethan, with hints of Art Nouveau. Glazed 'lavatory brick', bare oak and bare stone are prominent in the common areas, notably the stair wells where brown predominates. Modern kitchens, bathrooms and service areas are not of special interest.
HISTORY: The Rhodes Building owes to the initiative and generosity of Cecil Rhodes, intermittently an Oriel undergraduate between 1873 and 1881, whose £100,000 legacy included £40,000 'for the extension to the High Street of the college buildings': £22,500 was to be for building, the rest to replace income from tenements to be destroyed. At Rhodes' death in March 1902 annexation was still blocked by the life-interest of the Principal of St Mary's Hall, which owned the site, but swiftly followed his death a few months later.
Although later sources hint at an initial preference for the architect Thomas Graham Jackson, the Fellows chose Basil Champneys (1842-1935), whose Jacksonesque work of the 1880s, particularly at New College, had evidently impressed them. The appointment was made well before April 1905, when revised plans were received by the Provost, DB Munro. The contractors, signed up in June 1909, were John Wooldridge and George William Simpson of Frenchay Road, Oxford.
The site of the new building was occupied on the street side by an assortment of re-fronted houses (medieval to C18), with shops beneath, and at the rear largely by the Gothic Principal's house of c.1833, projecting well into the current area of St Mary's Quad. The first scheme, presented as sketches only (lost), would have rebuilt only the street frontage, preserved the Principal's house, included a loggia extending the full width of the central section of the new building, and omitted the gate and tower of the later ones. Following further correspondence, the College was presented with a fully worked-up scheme for which all the drawings survive (scheme 2): in this, the loggia survived in the vestigial form of two arched bays occupying a third of the building's width. The main floors of the east wing and much of the central section, including a five-windowed first-floor 'Gallery' on the street front, were to house the Provost.
In the event, in November 1905, the incoming Provost, CA Shadwell, wished to retain the old Lodgings, which, being at the heart of the college, he felt were better situated. The brief now being rather different, Champneys had been asked by November 1906 to provide a full set of new plans, this time with the proviso that the buildings should be 'architecturally of the character of the original C17 buildings forming the present front quadrangle'. The architect replied with a series of 'Questions for discussion preparatory to new plans for the High Street front', defending his stylistic approach and explaining his aim to realise 'the line which the designer of the original work would have taken had he been called in to meet the new problem'. Shadwell's point-by-point response accepted most of what he said but urged a spending limit of £15,000.
The preliminary design for the third scheme (scheme 3, known only from correspondence), provoked some fundamental criticism. At a special meeting on 2 March 1907 the design was severely criticised, the Dean insisting that 'detailing more in accordance with the style that has become traditional in Oxford, for buildings and for College rooms' was essential to give it a 'good academical character'. The 'style' referred to was Jackson's - the one invented and launched with the building of the Schools (1876-83); it evoked not the Middle Ages but the Renaissance, was championed by the university's reforming tendency, and by 1900 had made its author 'the arbiter of Oxford building'. Subsequent correspondence reveals Champney's dogged reluctance to change his designs, but revisions made by 24 April 1907 resulted in the version (scheme 4) eventually signed off by the General Purposes Committee on 23 June 1909. As can be seen, Champney's stylistic concessions were impressively limited. Work must have begun in the summer of 1909, although demolition probably started in the previous year.
Whatever the actual merits of the design, Champneys' intransigence ensured the building a frosty reception from his clients: already reviled on the drawing board, anticipated with foreboding whilst in progress, it was ridiculed on completion. The Oriel Record for March 1910, includes a frontispiece of the street façade and calls it a 'compromise', as did the college Treasurer, also in print; the Record of September 1911 comments that 'The New Buildings are now a fait accompli, and all that remains is to get accustomed to them'. Other criticisms followed, but Evelyn Waugh trumped them all in 1930, suggesting that 'a very small expenditure on dynamite should be enough to rid us forever of... the High Street front of Oriel..' Later commentators, though, including Pevsner and Sherwood (the Buildings of England volume for Oxford (1974)), have been more generous. As a memorial to Rhodes, however, the building was deemed more successful. Shadwell's inauguration speech described it as 'one of the monuments of his splendid generosity to Oriel... [which] ...will stand as the visible monument of the generosity and loyalty of Cecil Rhodes'. By the 1920s the building was being termed the 'Rhodes Building', not, as had at the opening, the 'New Buildings'.
SOURCES: Amory, M ed., The Letters of Evelyn Waugh (1980), 49 Anon, 'College Notes', Oriel Record, March 1910, Vol. 1, no.3 Arkell, WJ, Oxford Stone (1947) Champneys, B, 'The Planning of Collegiate Buildings', RIBA Journal, 16 February 1903, 205-10 Clark, GN, 'Rhodes and his College', Oriel Record (1980), 15-25 James, S, 'Basil Champneys. An underrated Victorian', The Victorian, March 2003, 12-15 Pantin, WA, Victoria County History, Oxfordshire, vol 3 (1954), 129-31 Pevsner, N, and Sherwood, J, The Buildings of England: Oxfordshire (1974) Richards, GC, An Oxonian Looks Back (1885-1945), typescript (1960) Stead, WT (ed.), The Last Will and Testament of Cecil J. Rhodes, with elucidatory notes to which are added some chapters describing the political and religious ideas of the Testator (1902) Watkin, D, The Architecture of Basil Champneys (1989) Whyte, W, 'Anglo-Jackson attitudes. Reform and the rebuilding of Oxford', The Victorian, March 2003, 4-9 Whyte, W, Oxford Jackson: Architecture, Education, Status, and Style 1835-1924 (2006) Draft extracts from the forthcoming college history by TBF (unpublished), kindly supplied by Dr Jeremy Catto Oriel College Archives (Rhodes Building files, photographs, meeting minutes, correspondence, drawings)
REASONS FOR DESIGNATION: The Rhodes Building at Oriel College Oxford was built 1908-11 to the designs of Basil Champneys, and is listed at Grade II* for the following principal reasons: * Work of major architect: as a design of a significant C19 and C20 architect whose work is now increasingly appreciated *Architectural: the building makes an important, bold, impressive and successful contribution to the interest and variety of the High Street frontages. It represents a new departure in the architect's style, has features of originality and distinction, and was both his last major work and Oxford's last building in this style * Sculptural: the building has an integral and impressive collection of Portland stone sculptural elements and statues, including kings, major figures associated with Oriel and Rhodes himself, all of artistic quality and historical significance to the building *Plan: the internal layout of the building and the inclusion of plumbed sanitary facilities in the basement represent innovations in collegiate architecture and amenity *Intactness: internally and externally the building remains substantially as built * Historic interest: the Rhodes Building, adorned with his statue in pride of place, serves as a major monument to Rhodes, a controversial figure, but of immense historical importance and whose legacies had a major impact on the University." Historic England listing.
I LOVE this little guy. Remember the giant baby in Spirited Away (Sen to Chihiro no Kamikakushi)? This is Boh when he's been transformed into a rat. I don't think he ever knits in the film, but I love to knit and when I found this at an anime shop in Ohio many years ago, I had to buy it. He's traveled with me ever since, inhabiting every dormroom I've lived in and my current apartment.
Adventures in Seeing - Humility (1)
These are a few of my favourite kitchen tools... simple, functional, unadorned... producing such humble fare as biscuits, scones, and apple crisp. Baking with these simple hand tools brings me in touch with the process and the feel of what I'm making, a sensation I don't get when using more high-tech gadgets.
De forma accidental, en 1903, se hallaron los restos de unos baños árabes en el Campo de los Santos Mártires, que meses más tarde fueron soterrados. Entre 1961 y 1964, un grupo de historiadores cordobeses sacó a la luz dicha construcción, dejando constancia de la gran envergadura de la misma.
Estos baños o hammam, contiguos al desaparecido Alcázar omeya, al cual con toda seguridad pertenecían, posiblemente fueran los más importantes de la ciudad. Las abluciones y limpieza corporal constituían una parte esencial en la vida del musulmán. Eran preceptivos de la oración, además de constituir un rito social.
Realizados bajo el califato de Alhakem II, forman un conjunto de estancias con muros de sillería. Se cierran con bóvedas (donde aparecen los característicos lucernarios de estrella), soportadas por arcos ultra semicirculares sobre capiteles y columnas de mármol.
Durante los siglos XI al XIII, fueron reutilizados por almorávides y almohades, prueba de ello son las yeserías talladas con motivos de ataurique y franjas epigráficas de la época que se guardan en el museo arqueológico.
I'm designing some "japanese forms" badges... This is the second one. I'm working on a couple of other designs as I'm not quite satisfied with the results so far. I'll be posting a photo of the 3.0 one soon as I already have it. The 4.0 & 5.0 are still at the template stage.
"Enduring Forms" by Duncan Rawlinson features abstract forms and vibrant colors converging in a captivating composition. Created using a blend of contemporary photography and AI techniques, this piece explores the latent space between traditional art and modern technology. The interplay of light, color, and reflective surfaces invites viewers to engage with the timeless beauty of abstract visual art.
Christian Marche’s sculpture of found metal objects, welded in abstract form and painted a matte silver, sits directly above the Bronx’s busy Grand Concourse. The size of Marche’s sculpture – measuring 10 feet tall and 16 square feet at its base – complements the sheer size of this intersection. The found objects, collected locally throughout New York City, provide an opportunity to discuss recycling and the perception of refused versus reused. Among the found objects are a taxi cab door, a flattened shopping cart, a refrigerator, and various bicycle parts.
Christian Marche is a Bronx-based artist, welder, machinist, and educator. With this installation, Marche seeks to provide a physical image for the hopes and dreams that people associate with material goods, which inevitably find their way into our landfills.
NYCDOT Urban Art Program, pARTners
Silver by Christian Marche
Presented with Fordham Road Business Improvement District and Al Johnson Art
Fordham Road and Grand Concourse, Bronx
This lichen prouces soredia, small roughly spherical units made up of fungal hyphae and algal cells that are capable of reproducing the lichen assexually. In this case, the soredia are produced in localized regions of the thallus, rather confusingly called soralia (sing. soralium). The soralia are the more or less circular raised patches with a mealy texture seen in this image
Reed is growing up intruding the fence which separates two different world. Two secondary colors not contrast with each other give an impression of obscurity of the picture.
Deva is the Hindu term for deity; devatas (Devanagari: देवता, Khmer: tevoda (ទេវតា), Javanese, Balinese, Sundanese, Malay and Indonesian: dewata; Philippine languages: diwata), are a kind of smaller more focused devas. The term "devata" also means devas (deva in plural form or the gods). They are male and female devata. There are many kinds of devatas: vanadevatas (forest spirits, perhaps descendants of early nature-spirit cults), gramadevata (village gods), devata of river crossings, caves, mountains, and so on. In Hinduism, the devatas that guard the nine cardinal points are called Devata Lokapala (Guardians of the Directions) or in ancient Java called Dewata Nawa Sanga (Nine guardian gods). Every human activity has its devata, its spiritual counterpart or aspect.
Hindu devatas in the Konkan region are often divided into five categories: 1. Grama devatas - or village deities, for example, Hanuman, Kalika, Amba, Bhairava. 2. Sthana devatas - or local deities, for example, those in certain places of pilgrimage like Rama in Nasik, Vithoba in Pandharpur or Krishna at Dwarka. 3. Kula devatas - or family deities, like Khanderai. 4. Ishta devatas - or Chosen deities, 5. Wastu devatas or Gruha devatas - or a class of deities that preside over the house.
Some of well-known Hindu-Buddhist heavenly beings belong to the group of devatas, such as apsara or vidhyadari; heavenly maiden that sent by Indra from svarga to seduces the meditating ascetics, and her male counterparts; gandharvas; the heavenly musicians. Devatas often occurred in Hindu epics such as Ramayana and Mahabharata, and also some Buddhist holy scriptures. The island of Bali is nicknamed as Pulau Dewata (Indonesian: "islands of devata or island of gods"), because of its vivid Hindu culture and traditions. In Bali, there are many offerings dedicated to hyang, the guardian spirits associated with devata.
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Ta Prohm (Khmer: ប្រាសាទតាព្រហ្ម, pronunciation: brasaeattaproh) is the modern name of the temple at Angkor, Siem Reap Province, Cambodia, built in the Bayon style largely in the late 12th and early 13th centuries and originally called Rajavihara (in Khmer: រាជវិហារ). Located approximately one kilometre east of Angkor Thom and on the southern edge of the East Baray, it was founded by the Khmer King Jayavarman VII as a Mahayana Buddhist monastery and university. Unlike most Angkorian temples, Ta Prohm has been left in much the same condition in which it was found: the photogenic and atmospheric combination of trees growing out of the ruins and the jungle surroundings have made it one of Angkor's most popular temples with visitors. UNESCO inscribed Ta Prohm on the World Heritage List in 1992. Today, it is one of the most visited complexes in Cambodia’s Angkor region. The conservation and restoration of Ta Prohm is a partnership project of the Archaeological Survey of India and the APSARA (Authority for the Protection and Management of Angkor and the Region of Siem Reap).
HISTORY
FOUNDATION & EXPANSION
In 1186 A.D., Jayavarman VII embarked on a massive program of construction and public works. Rajavihara ("monastery of the king"), today known as Ta Prohm ("ancestor Brahma"), was one of the first temples founded pursuant to that program. The stele commemorating the foundation gives a date of 1186 A.D.
Jayavarman VII constructed Rajavihara in honor of his family. The temple's main image, representing Prajnaparamita, the personification of wisdom, was modelled on the king's mother. The northern and southern satellite temples in the third enclosure were dedicated to the king's guru and his elder brother respectively. As such, Ta Prohm formed a complementary pair with the temple monastery of Preah Khan, dedicated in 1191 A.D., the main image of which represented the Bodhisattva of compassion Lokesvara and was modelled on the king's father.
The temple's stele records that the site was home to more than 12,500 people (including 18 high priests and 615 dancers), with an additional 800,000 souls in the surrounding villages working to provide services and supplies. The stele also notes that the temple amassed considerable riches, including gold, pearls and silks. Expansions and additions to Ta Prohm continued as late as the rule of Srindravarman at the end of the 15th century.
ABANDONMENT & RESTAURATION
After the fall of the Khmer Empire in the 17th century, the temple of Ta Prohm was abandoned and neglected for centuries. When the effort to conserve and restore the temples of Angkor began in the early 21st century, the École française d'Extrême-Orient decided that Ta Prohm would be left largely as it had been found, as a "concession to the general taste for the picturesque." According to pioneering Angkor scholar Maurice Glaize, Ta Prohm was singled out because it was "one of the most imposing [temples] and the one which had best merged with the jungle, but not yet to the point of becoming a part of it". Nevertheless, much work has been done to stabilize the ruins, to permit access, and to maintain "this condition of apparent neglect."
As of 2013, Archaeological Survey of India has restored most parts of the temple complex some of which have been constructed from scratch. Wooden walkways, platforms and roped railings have been put in place around the site to protect the monument from further damages due to the large tourist inflow.
THE SITE
LAYOUT
The design of Ta Prohm is that of a typical "flat" Khmer temple (as opposed to a temple-pyramid or temple-mountain, the inner levels of which are higher than the outer). Five rectangular enclosing walls surround a central sanctuary. Like most Khmer temples, Ta Prohm is oriented to the east, so the temple proper is set back to the west along an elongated east-west axis. The outer wall of 1000 by 650 metres encloses an area of 650,000 square metres that at one time would have been the site of a substantial town, but that is now largely forested. There are entrance gopuras at each of the cardinal points, although access today is now only possible from the east and west. In the 13th century, face towers similar to those found at the Bayon were added to the gopuras. Some of the face towers have collapsed. At one time, moats could be found inside and outside the fourth enclosure.
The three inner enclosures of the temple proper are galleried, while the corner towers of the first enclosure form a quincunx with the tower of the central sanctuary. This basic plan is complicated for the visitor by the circuitous access necessitated by the temple's partially collapsed state, as well as by the large number of other buildings dotting the site, some of which represent later additions. The most substantial of these other buildings are the libraries in the southeast corners of the first and third enclosures; the satellite temples on the north and south sides of the third enclosure; the Hall of Dancers between the third and fourth eastern gopuras; and a House of Fire east of the fourth eastern gopura.
REPRESENTATIONAL ART
Ta Prohm has not many narrative bas-reliefs(compared to Angkor Wat or Angkor Thom). One explanation that has been proffered for this dearth is that much of the temple's original Buddhist narrative artwork must have been destroyed by Hindu iconoclasts following the death of Jayavarman VII. At any rate, some depictions of scenes from Buddhist mythology do remain. One badly eroded bas-relief illustrates the "Great Departure" of Siddhartha, the future Buddha, from his father's palace. The temple also features stone reliefs of devatas (minor female deities), meditating monks or ascetics, and dvarapalas or temple guardians.
TREES
The trees growing out of the ruins are perhaps the most distinctive feature of Ta Prohm, and "have prompted more writers to descriptive excess than any other feature of Angkor." Two species predominate, but sources disagree on their identification: the larger is either the silk-cotton tree (Ceiba pentandra) or thitpok Tetrameles nudiflora, and the smaller is either the strangler fig (Ficus gibbosa). or Gold Apple (Diospyros decandra). Indulging in what might be regarded as "descriptive excess," Angkor scholar Maurice Glaize observed, "On every side, in fantastic over-scale, the trunks of the silk-cotton trees soar skywards under a shadowy green canopy, their long spreading skirts trailing the ground and their endless roots coiling more like reptiles than plants."
IN POPULAR MEDIA
The temple of Ta Prohm was used as a location in the film Tomb Raider. Although the film took visual liberties with other Angkorian temples, its scenes of Ta Prohm were quite faithful to the temple's actual appearance, and made use of its eerie qualities.
Some believe that one of the carvings resembles a stegosaurus.
© copyrighted image; all rights reserved.
The Seven chair (3107), designed by Arne Jacobsen.
This set of photos is a try to capture the mood and feeling of some things we’ve got at home. I didn’t want to photograph the whole, but rather some details that would give out the mood of the object. For this I used the 5D with the 100mm macro lens. All shot handheld with available light.
Forms of Nature #7: Hummingbird
digital collage
by Kenneth Rougeau
The seventh image in the new "Forms of Nature" series of digital collages I'm currently creating using the fantastic illustrations of Ernst Haeckel, this one created from a single hummingbird. Prints are available in my Etsy store (artfamilia). At present, I'm planning several individual pieces and one large scale triptych for the series. More to come soon!
The Japanese Garden has been created in the early 20th century by the
owner of the estate Clingendael, baroness Marguerite Mary Van Brienen
(1871-1939), better known as Lady Daisy. She visited Japan in 1911, and
became so impressed by the Japanese garden art that she decided to lay
out a garden in Japanese style on her estate in Holland. She shipped to
Holland several stone lanterns, a waterbasin and some bridges, and
probably some plants.
Except for the planting the original garden layout of the undulating pond,
the meandering brooks, the winding paths, the omnipresent stones is still
in its original form. Throughout the years the garden has been well
maintained by the present owner, the city of The Hague. It is the only
Japanese garden of that period in the Netherlands and is considered of
high historical value.