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This is a unique shape i found in the Red Dot Design Museum. It made great use of Light so did I make use of it.
Shot with my Nikon D5000 and a Sigma 17-70mm F2.8.
Set to 26mm at F3.5, 1/320s and ISO200.
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.
Union Dredgers & Marine Contracting Co.FZC LLC (UDMC) was formed in UAE as a specialist technical partner in the field of Dredger equipment supply, marine and dredging contracts. With the increase in the real estate business dredging operations have increased considerably, increasing the demand for high quality service and equipment supplier.
UDMC has started with nominal staff strength of 37 team members from various nationalities who exhibit high energy levels, enjoy working in a fast paced team environment and can communicate effectively with customers. Initially dredging activities were performed through related company Union global Technical Services L.L.C.In 2007 Union dredgers & Marine Contracting Company L.L.C was established after it was identified that a specialist service provider focused on marine activities could better support client requirements. Union Dredgers & Marine Cont Co LLC specializes in PE pipeline offshore pipeline installations works and dredging services.Our specialized service includes the supply & installation of High Density Polyethylene/GRP pipelines for onshore & offshore works (up to 3000mm) underwater marine operations including diving services, marine construction work, slipway design and construction, beach protection works, intake/outfall pipeline systems for desalination plants
Many of the tropical butterflies have distinctive seasonal forms. This phenomenon is termed seasonal polyphenism and the seasonal forms of the butterflies are called the dry-season and wet-season forms. How the season affects the genetic expression of patterns is still a subject of research. The dry-season forms are usually more cryptic and it has been suggested that the protection offered may be an adaptation. Some also show greater dark colours in the wet-season form which may have thermoregulatory advantages by increasing ability to absorb solar radiation.
The wet-season form has large, very apparent multiple eyespots whereas the dry-season forms have very reduced, oftentimes nonexistent, eyespots. Larvae that develop in hot, wet conditions develop into wet-season adults whereas those growing in the transition from the wet to the dry season, when the temperature is declining, develop into dry-season adults. This polyphenism probably has an adaptive role. In the dry-season it is disadvantageous to have conspicuous eyespots because they blend in with the brown vegetation better without eyespots. By not developing eyespots in the dry-season they can more easily camouflage themselves in the brown brush. This minimizes the risk of visually mediated predation. In the wet-season, these brown butterflies cannot as easily rely on cryptic coloration for protection because the background vegetation is green. Thus, eyespots, which may function to decrease predation, are beneficial for Satyrine butterflies like the Bushbrown to express.
Pu'er, Yunnan, China
see comments for wet season form......
With oven set to 375 deg. F., slide in the plastic. Now with the oven light on, watch the plastic VERY carefully. In about 30 seconds, it'll start to droop.
Now work quickly! Throw open the oven, carefully yank out the frame with your gloved, unburnt hand, and kick on the vacuum cleaner with your foot!
Una forma de poder llegar a otros usuarios, clientes, interesados y artistas de la misma generación
Un ejemplo
La llegada de la informatización de todos los procesos ha afectado a todos los sectores y actividades profesionales. De hecho, en algunos casos, se ha conseguido ahorrar en tiempo, gestión de las obligaciones con una administración concreta y ha logrado la eficiencia desde cualquier lugar con acceso a la red. De esta manera, la figura del pintor Iñaki García Ergüin ha optado por el camino de la digitalización de toda su colección, desde las obras de estudio hasta la documentación del pasado, con especial hincapié a las referencias de las primeras exposiciones, cuadros y testimonios recogidos en los medios de comunicación. En la innovación, como es el caso, ha logrado centrar la atención de sus seguidores en la Aldea Global, que es aquella en la que participamos todos y donde Internet ha impuesto unas nuevas reglas de juego para comunicar, compartir y vender. Por otro lado, el pintor bilbaíno participará en los próximos meses en una serie de eventos, con el fin de seguir exhibiendo su obra. Es muy reseñable que un profesional del mundo del arte haya decidido subirse a la nube. Éste, que es el camino, es un ejemplo de los muchos que veremos para poder realizar una Campaña de Comunicación en redes sociales, por medio de la web y llegando a todo tipo de público.
En el evento que participamos ayer, que está publicado en Facebook, un artista, que inició su trayectoria profesional en 1951 en la ciudad de Bilbao, se ha decantado por la comunicación, así como por llevar a cabo un proceso que implica la digitalización de toda su obra, con el objeto de catalogarla, saber qué es lo que tiene, conocer la documentación y poder llegar a todos los ámbitos, para que los interesados, amantes del mundo de la pintura y del dibujo sepan de la existencia de las distintas colecciones, exposiciones y técnicas desarrolladas en cada cuadro.
Iñaki García Ergüin se ha subido a una nube, donde la organización es una realidad y las aplicaciones de gestión han logrado sintetizar el importante legado documental, que abarca desde la década de los cuarenta del siglo XX, una significativa carrera profesional hasta nuestros días.
En ese sentido, en el colectivo de los artistas, pintores y otros profesionales de las distintas actividades, el conseguir llevar a cabo un proceso de digitalización es una obligación y ventaja, no sólo por el análisis de una forma cómoda del material, sino por la valoración que supone saber qué es lo que tienen.
En otro orden de cosas, a día de ayer nos llamó la atención la noticia del ahorro de costes que ha supuesto la puesta en marcha de una tramitación telemática y digital por parte del Ayuntamiento de Catarroja en la Comunidad Autónoma de Valencia.
Dos millones de euros, ha sido la estimación de los dirigentes de la entidad local, lo cual, si atendemos a la ley y a las formas de poder llevar a cabo una gestión inteligente en la burocracia de los Ayuntamientos hacia la ciudadanía, es una noticia que hace referencia al cambio de hábitos y costumbres, sin olvidarnos de ponérselo fácil a las personas que desean llevar a cabo sus trámites con las Administraciones.
El Cloud Computing, su escenario, opciones y posibilidades, o bien, la capacidad de almacenar y diseñar una plataforma a gusto, tanto en una nube pública como privada, es el ejemplo a seguir, dado que el día de mañana cada organización será capaz de administrar sus servidores, discos duros, máquinas virtuales y recursos de red (IaaS) en cuestión de segundos, bajo una dirección coherente que sepa cómo realizar los pasos, acciones y desarrollo de las políticas de comunicación de cada entidad, empresa y organización.
Esa alternativa, que rompe con el modelo tradicional, el de toda la vida, es una cuestión de confianza, que no es tan sencilla como parece, pero que requiere de nuevos profesionales que realicen un trabajo de especialización y de futuro para una sociedad interconectada por medio de Internet, así como a través de la Intranet corporativa.
En ese sentido, la figura y capacidad artística de un profesional como Iñaki García Ergüin representa a una persona pionera en un campo donde la gestión documental online puede agilizar la síntesis de la obra, cuadros y resumir la trayectoria en todo tipo de formatos, desde los documentos conocidos (.doc, .docx, .odt) hasta la realización de libros digitales (ePub, .mobi). Una oportunidad que no debe dejar pasar.
Fuente de información:
-Archivos de Iñaki García Ergüin.
-Medios de comunicación.
Para más información
Ignacio García Ergüin
Web: www.garciaerguin.es
Facebook: facebook.com/garciaerguin
Twitter: twitter.com/garciaerguin
Flickr: flickr.com/photos/garciaerguin
YouTube: youtube.com/inakigarciaerguin
Scanair was formed in June 1961 to act as the charter arm of Scandinavian Airlines System (SAS), similar to the relationship of Condor and Lufthansa. The holiday travel market was becoming popular, and Scanair was to take advantage. Its initial fleet consisted of two ex-SAS Douglas DC-7s for charter flights to Spain and Morocco; this was later extended to the United States.
Jet aircraft were acquired in 1965, the same year Scanair became wholly owned by SAS, in the form of DC-8s and Boeing 727s. The DC-8s extended Scanair's range to worldwide destinations, mainly ones in Asia, while the 727s took over European routes. The airline became very popular as the holiday market reached its heyday in the 1980s, so much that Scanair had to lease 747s from SAS to deal with demand. Airbus A300s were purchased by the airline as its first owned wide-body aircraft, but these lacked the range to reach Asia, and at the time were prohibited from flying transatlantic routes; the A300s were subsequently replaced by McDonnell Douglas DC-10s. DC-10s became the primary equipment of the airline.
Though Scanair posted record profits in the 1980s, the near collapse of the European charter industry following the First Gulf War left the airline nearly bankrupt. As it was becoming a drain on SAS, it was sold to Danish charter operator Conair. The two airlines merged to form Premiair in 1994.
This tiny toy shows Scanair's last livery before the merger, which was similar in titling to SAS. This DC-10 is among the smallest exhibits in the Poletto Collection--it's not much bigger than a quarter.
EL CARDENAL...
Los cardenales forman la subfamilia de los Cardinalinos de la familia de los Emberícidos. El cardenal norteño es Cardinalis cardinalis. Las especies de cardenales de Sudamérica, de cabeza roja y cuerpo gris y blanco, pertenecen al género Paroaria.
Cardenal es nombre común de varias especies de aves, pinzones crestados que se distribuyen en todo el continente americano. Los machos de esta especie tienen varios tonos de rojo, dependiendo de las subespecies, y una máscara negra desde los ojos al cuello. Las hembras y los polluelos son pardo amarillentos, con toques de rojo en la cresta, alas, cola y pecho. Mide unos 15 centímetros.
Es un ave de plumaje compacto, tiene el lomo de color gris acero; el pecho y el abdomen, blanco ceniciento; la garganta y la cabeza, rojo vivo, lo mismo que el penacho de suaves plumitas en que ésta termina. Una línea blanca separa el rojo de la cabeza del gris del lomo.
El pico es casi recto, fuerte, con la particularidad de tener el maxilar superior que sobresale del inferior.
Las alas son estrechas y puntiagudas y la cola, larga y cuadrada.
Movedizo, ágil y vivaz, es muy cantor. Su canto, en forma de gorjeos o silbidos, es fuerte y muy agradable, y se asemeja a los sonidos que brotan de una flauta.
Se encuentran en los montes y en las zonas de vegetación arbustiva de las orillas de los ríos, arroyos o lagunas. Se lo halla solo, o en pareja o en pequeños grupos.
Construye su nido en arbustos, en forma de copa. La hembra pone allí hasta tres huevos, que son blancuzcos o verdosos, con pintitas y manchitas pardas y liláceas. Los nidos los realizan con ramitas, raicillas y tiras de cortezas y los revisten por dentro con hierba, cerdas y otros materiales más finos.
Los cardenales no migran. Tienen un canto estrepitoso, que también producen las hembras, lo cual es inusual en pájaros cantores norteños. Se les puede escuchar en los primeros días soleados del final del invierno.
Se alimenta especialmente de granos; pero come frutas, hortalizas, insectos y hasta carne.
Los guaraníes lo llaman acá pitá (cabeza roja).
El único grupo de cardenales de cabeza roja (con el cuerpo gris y blanco) viven en Sudamérica. El cardenal macho es fácil de identificar por su alta cresta, garganta negra y el plumaje rojo.
La Cardenilla se diferencia del cardenal, porque no tiene copete.
"... black metal could be described as a negative form of environmental writing; the least Apollonian of genres, it is terrestrial – indeed subterranean and infernal – inhabiting a dead forest that is at once both mythic and real unfolding along an atheological horizon that marks the limit of absolute evil where there are no goods or resources to distribute and therefore no means of power and domination, a mastery of nothing."
- Niall Scott & Scott Wilson
I'm finally getting around to reading Hideous Gnosis which was originally a symposium organized by Nicola Masciandaro and sponsored by Glossator and Show No Mercy. Brandon Stosuy gives us - for those unfamiliar with the Black Metal movement - an informal history of the movement in the US in his article for The Believer magazine A Blaze in the North American Sky. He recounts the gruesome murder of Norwegian born Aarseth at the hands Vikernes (a.k.a. Count Grishnackh) which gained the movement its most notorious publicity.
Beyond this dance of death the original inspiration for Black Metal came from the group Venom and its Thrash Metal sounds in which "the main early defining differences between it and its father-genre being tremelo picking and 'blast-beats'; drum beats played about twice the speed as the traditional trash metal base beats (32nds as opposed to 16ths). Taking major influence from Bathory and Venom, the ganre became largely associated with Norway through the work of Mayhem, Burzum and Dark Throne, many of the later bands categorised into the black metal genre being influenced by these three bands, and many of these bands being from Norway themselves.
Characteristics of black metal include typically high-pitched screaming vocals, tremolo picked guitars lacking bass and emphasising treble, and blastbeats (quadruple time drum beats). Unlike its sibling, the more thrash-based death metal, black metal concentrates more on mood and melodies (primal as they may be) instead of riffs and heaviness.
So why would a group of cultural theorists and philosophers want to discuss the dark contours of such a nihilistic subgenre of the Heavy Metal scene as Black Metal? Aspasia Stephanou asks us "Who is the lonely being that utters discordant, pre-linguistic cries amidst a chaotic symphony of sounds?"[1] Varg Vikernes, that most notorious scion of the Black Metal world tells us that early on he was involved in the RPG games of Dungeon and Dragons, but that it was Tolkien's world of Hobbits, Dwarves, and Elves that struck the deepest cord:
"I felt a natural attraction to Sauron, who was the person who gave the world adventure, adversity and challenges in the first place. His One Eye, the One Ring and the tower of Barad-Dur are all attributes similar to those of Óðinn. The One Eye was like Óðinn's eye, the One Ring was like Óðinn's ring, Draupnir ("Dripper"), and Barad-Dur was like the tower or throne of Óðinn, called Hliðskjálf ("Secret Ritual-Site"). His Uruk-Hai and Olog-Hai ("Troll-Race") were like Viking berserkers, the Warges were like Óðinnic werewolves, and so forth. I could easily identify with the fury of the "dark forces", and enjoyed their existence very much because they were making a boring and peaceful world dangerous and exciting."[2]
He has been associated with all forms of the modern pagan movement in its extreme modes of post-nazi philosophical and religious foundations. In the late 90s, "to avoid confusion" and "to find a term more suitable and accurate", Vikernes coined the term "odalism". "In it lies Paganism, traditional nationalism, racialism and environmentalism." Vikernes contrasts it with "modern 'civilization'" which he equates with "capitalism, materialism, Judeo-Christianity, pollution, urbanization, race mixing, Americanization, socialism, globalization, et cetera". He places importance on the fact that Odalism "is not a term tainted by history"; in contrast with Nazism:
The 'nazi ghost' has scared millions of Europeans from caring about their blood and homeland for sixty years now, and it is about time we banish this ghost and again start to think and care about the things that (whether we like it or not) are important to us.[3]
Now the question is: Why have so many people been influenced by such a strange amalgam of religious bigotry and nihilistic ramblings? Or, is it that most Black Metal practitioners have formed another philosophy less racist? In the essay by Benjamin Noys, ‘REMAIN TRUE TO THE EARTH!’: REMARKS ON THE POLITICS OF BLACK METAL, tells us:
"If we were to define a degree zero of Black Metal politics then it would be an unstable amalgam of Stirnerite egoism and Nietzschean aristocratism: a radical anti-humanist individualism implacably hostile to all the ideological ‘spooks’ of the present social order, committed to creating an ‘aristocracy of the future’ (Nietzsche 464), and auto-engendering a ‘creative nothing’ (Stirner 6)."[ibid. Hideous Gnosis: p. 105]
Noys sees this music as underpinning a return to the 'grand politics' of a Nietzschean "racial-national metaphysics".[ibid. p. 106] Sale Famine of the French Black Metal group Peste Noire becomes the spokesman, or 'organic intellectual' "refuses any notion of the contingency of the link between Black Metal and the extreme right, instead insisting on the necessity of such a link."[ibid. p. 108] He goes on to say, quoting Famine, that Black Metal is, in essence, of the extreme right:
"To my mind, without being necessarily N[ational] S[ocialist], real Black Metal is always extreme right-wing music — be it from Asia or Latin America as extremeright politics are not the appanage of the white race — and it is always Satanic. (Famine, Zero Tolerance)" (ibid. p. 108)
I have to admit, my own left-wing heritage, makes me wonder just what all these cultural theorists and philosophers are up too by forming such a symposium, one that helps promote this music so devoted to the right-wing fascistic ideals of Nazism and Paganistic returns to, what Varg Vigernes, in his own form of it terms 'Odalism' ( sort of amalgam of ancient Norse Odanism and modern fascist ideals)? Noys tells us it seems to be a return to the Chtonian and telluric world view to establish its aesthetic identity:
"Black Metal is the musical memory of our bloodthirsty ancestors of blood, it is the marriage of Tradition, of old racial patrimony with fanaticism, with the rage and the rashness of a youth now lost. It is a CHTONIAN religion: a cult of the EARTH and a return to it, therefore a nationalism; a cult of what is BELOW the earth: Hell — the adjective “chthonian” applies to the Infernal gods as well. Black Metal is a fundamentalism, a music with integrity (from Latin integer, complete) which helps me to remain complete in a dying world, amidst a people in decay, unworthy of its blood. It is the apology of the dark European past. It is a psychosis which helps us to flee a reality we cannot tolerate anymore. (Famine, Zero Tolerance)" (ibid. p. 110-111)
Is this a return to the pre-weimer Germany, of an age of anarchy when the brown shirts ran amok among the population killing and luting, of a world of death portending some grand Götterdämmerung or apocalyptic Ragnarök. Is this the music of the Voluspa,
Old Norse:
Fylliz fiǫrvi
feigra manna,
rýðr ragna siǫt
rauðom dreyra.
Svǫrt verða sólskin
of sumor eptir,
veðr ǫll válynd
Vitoð ér enn, eða hvat?
English:
It sates itself on the life-blood of fated men,
paints red the powers' homes
with crimson gore.
Black become the sun's beams
in the summers that follow,
weathers all treacherous.
Do you still seek to know? And what?
Is this the music of our age, of a time when "greed will cause brothers to kill brothers, and fathers and sons will suffer from the collapse of kinship bonds. ... when the wolf will first swallow the sun, and then his brother the moon, and mankind will consider the occurrence as a great disaster resulting in much ruin. The stars will disappear. The earth and mountains will shake so violently that the trees will come loose from the soil, the mountains will topple, and all restraints will break, causing Fenrir to break free from his bonds."[4]
Noys comments: "The irony is that the aesthetic elements of Black Metal most likely to appeal to the left, or left-leaning, cultural critic – its use of ‘forms which are less conventional’, its evocation of terror or madness – are simply contingent elements that result from the mimetic parsing of the fallen world of modernity which Famine despises." (ibid. p. 113) He goes on to question the writings of Carl Schmitt and his idea of the 'enemy' - ‘The enemy is who defines me. That means in concreto: only my brother can challenge me and only my brother can be my enemy.’ In comment on this statement by Schmitt, Noys says, "the figure of the enemy also has a pacifying function: the construction politics around the friend-enemy distinction is to define ourselves and also to regard our enemy as an enemy, rather than as someone to be exterminated." (ibid. p. 117)
Noys sees this return to a pagan conception of life destructive and that in "the manner of the sorcerer’s apprentice Black Metal unleashes forces it cannot control and which return to destroy itself in an acephalic auto-consumption." (ibid. p. 119) He tells us instead that this cult of the black is a return to what Marx once called 'world-historical necromancy'. (ibid. p. 120) Noys affirms Walter Benjamin's critique of Nazism as ‘habitués of the chthonic forces of terror’ who peddle ‘sinister runic humbug’ ..., correlates with Black Metal’s similar fetishisation of war, radicalised nihilism, and an extreme rightwing politics that articulates itself in modes similar to that of the extreme left (pace Jünger’s ‘national Bolshevism’). (ibid. p. 124) In his summation Noys says,
"The aestheticisation and abstraction of social existence by capitalism in the time of real subsumption is what gives the aesthetic politics of Black Metal its mixture of pathos and bathos. The struggle to pose ‘form-giving power’ against the power of real abstractions creates particular forms of aesthetic politics that cannot simply
be identified with ‘classical’ fascism and Nazism, although, as I have noted, they have new malignant resonances in our global political and economic space that still falls back onto tellurian and nativist re-territorialisations. My point is not a falsely inflationary one, with Black Metal as the viral carrier of a ‘new Fascism’, but neither is it one that stresses dismissive complacency or the ease of extracting from Black Metal a new ‘purified’ and acceptable aesthetic radicalism. Instead, it is to stress the functional coherent incoherence of Black Metal, its constitutive impurity, as its mechanism." (ibid. p. 125)
I decide to focus on the political aesthetics of Black Metal in this first essay to steer the wary reader into the basic foundations upon which this music seems to base its strange dissonance and abject terror. There is another aspect of this music, its mythologies which harp back to the dark forest of ancient Europe, with the tribal howls, screeches, and yells of the Berserkers, those warrior-wolves and assassins full of baying songs of bloodlust and murder. In Aspasia Stephanou's essay PLAYING WOLVES AND RED RIDING HOODS IN BLACK METAL he describes this, quoting Angela Carter, as the "congregation of nightmare", "gothic monsters multiplying and infecting with their contagious proliferations the dark of night." (ibid. p. 159) He goes on to say:
"Black metal glorifies the becoming-werewolf and werewolf nomadism characterised by aggression, speed and violence. The lycanthropic entities that are conjured up in black metal’s lyrics along with the becoming-animal of the voice, demand from the listener a certain kind of response. Between a state of orgasmic pleasure and jouissance emanating from the performative space of radical otherness, and the horrors of hollowing up the body and transgressing its boundaries through the speed of sound, black metal is a monstrous desiring machine. ... It enjoins a bestial annihilation of being and loss of humanity in order to expand the self into a creative multiplicity of wolves. Black metal is becoming wolf, embracing carnal desires, animal transformations and violent instincts." (ibid. p. 159 - 160)
Stephanou even quotes from the "Furturist Manifesto" of Marinetti where he once stated "Beauty exists only in struggle. There is no masterpiece that has not an aggressive character. Poetry must be a violent assault on the forces of the unknown, to force them to bow before man.” In this Black metal misogynistic world he questions the role of female Black metal bands, saying,
"If female black metal bands manipulate the qualities that patriarchy has endowed them with through the use of sexuality in their performances, the language of nihilism or the repetition of black metal’s masculine discourses, then the perpetuation of the similar will persist and their presence will forever be silenced. Black metal is a strange place to be. In a genre in which misanthropy is related to misogyny and in which male authority mostly ignores the feminine presence, black metal’s red riding hoods whether they choose, as the fairy tale says, the path of needles or the path of pins, they must still fight both the father and the wolves to survive in the woods." (ibid. p. 167)
Whatever we might say of Black metal with its proclivities toward a dark paganism and a right-wing aesthetic it seems to be filling some void within the sub world of this dark musical community, and as Scott tells us on the sin-eating mission of these troubadours of blackness, "The Black Metal event is a stranger returning from the void to collect and consume the misery of mankind." (ibid. p. 231) Let us hope that stranger god is not the dark sorcerer of a more terrible abyss of the unreal from which even our own blackest nightmares seem nothing more than the paradisaical glimpse onto a forlorn universe bereft of all things human.
1. Hideous Gnosis: Black Metal Theory Symposium 1, Edited by Nicola Masciandaro (p. 168)
2. Barzum.org A Burzum Story: Part I - The Origin And Meaning
3. Wikipedia article: Varg Vikernes
4. Byock, Jesse (Trans.) (2005). The Prose Edda. Penguin Classics. ISBN 0140447555
earth-wizard.livejournal.com/45007.html
Dark Angel (聖獣伝説ダークエンジェル, Seija densho Dark Angel?, litt. « La légende de la bête sacrée Dark Angel ») est un manga de Kia Asamiya (麻宮 騎亜, Asamiya Kia?). Publié au rythme de douze pages par mois dans le magazine Newtype de la Kadokawa Shoten à partir de 1990, il compte cinq volumes publiés en sept ans. Mais à cause du manque de succès de la série, et des délais de parution trop longs, l'éditeur a finalement arrêté de publier ce manga.
En France, ce manga fut publié par Panini Comics dans la collection Génération Comics dès mai 2000 à un rythme bimestriel.
Synopsis
Après avoir battu en duel son maître, Dark, accompagné de la jeune Kyo, part pour l’Empire du Centre où, comme le veut la tradition, il doit être consacré Gensei de son clan. Un long et dangereux périple devenant une sorte de voyage initiatique qui l’aidera à mieux se connaître lui-même...
Univers
On ne sait pas où se déroule précisément l'histoire de Dark Angel, même si l'on sait que celle-ci se déroule bien dans notre monde, comme le montrent les allusions à la Grèce, à Babylone et aux Mayas. Toutefois, la Grèce se situe en Occident par rapport à cette terre, et l'on peut donc supposer que l'histoire se situe en Asie.
Le pays est divisé en cinq Empires : le nord, l'ouest, le sud, l'est, et le centre. Chacun de ces empires est dirigé par un Gensei. Le Gensei dirige et garantit la protection de son peuple, sur lequel il a le droit de vie et de mort. Ils doivent régulièrement rendre leurs comptes à Lai Haan, souverain de l'Empire du centre.
Dotés de pouvoirs surnaturels, ils peuvent se métamorphoser en fonction de l'animal représentant l'Empire auxquels ils appartiennent. Toutefois, ils ne se servent d'un tel pouvoir qu'en de rares occasions, uniquement en cas de grand danger.
Il existe deux façons de transmettre le titre de Gensei à son successeur : la première consiste à désigner directement le successeur ; la deuxième est lorsqu'un Gensei meurt et qu'il a déjà choisi son successeur, alors l'esprit du défunt et son art accompagnent l'élu dans sa nouvelle mission.
Ils sont assistés dans leur tâche par une Hoosei, un petit esprit féerique d'apparence humaine, mais dont la taille est d'environ vingt centimètres. Entièrement dévoué à son maître, il a pour mission de le protéger et aussi de le soigner à l'aide des quelques pouvoirs magiques dont il dispose. Il est choisi par le chef de l'Empire du Centre, et il remplit sa fonction jusqu'à ce que le Gensei meure ou perde sa position.
Afin de préserver la paix entre les différents Empires, Lai Haan a ordonné un pacte de non-agression qui interdit toute intrusion dans un Empire étranger. De plus, les combats entre Genseis sont eux aussi interdits, et très sévèrement punis.
Personnages
Clan des Suzaku / Clan du Phénix Vermeil (Empire du Sud)
À l'origine, le Gensei de ce clan était Soo, homme bon et charitable qui avait l'estime et la confiance de tous, et il était considéré comme le Gensei le plus puissant des quatre Empires. Cependant, sans que personne le sût, il était atteint d'une grave maladie mortelle, et il s'empressa de choisir celui qui lui succédera au titre de Gensei. Pressentant les aptitudes de Dark, il le recueille alors que ce dernier n'a encore que neuf ans, et l'entraîne intensément pendant cinq ans, jusqu'au jour où celui-ci finit par le surpasser.
Encore jeune et immature, et ayant un sens de l'orientation défaillant, Dark n'est pas encore tout à fait apte à succéder à Soo. Allant même jusqu'à transgresser involontairement les lois et engageant le combat avec la Gensei de l'Empire de l'Est, il se retrouve puni par le chef des Armées de l'Empire du Centre, et se fait confisquer le Sabre Vermeil, symbole même de son titre de Gensei. Son voyage en direction de l'Empire du Centre pour le récupérer et pour confirmer son titre de Gensei est en quelque sorte un périple initiatique qui lui permettra de se former à sa nouvelle tâche.
Kyo, anciennement Hoosei de Soo, qu'elle admirait énormément, a maintenant décidé de se mettre au service de son nouveau maître, Dark. Émotive et effrontée, celle-ci n'arrête pas de le gronder et de le réprimander sans arrêt, mais au fond elle s'inquiète vraiment du sort de Dark, n'hésitant pas une seconde à sacrifier sa vie pour défendre celle de son maître.
Koo et Ryoo font partie de la garde personnelle de Dark. Koo accepte mal que ce dernier ait été élu Gensei des Suzaku et se méfie toujours de lui. C'est un maître dans l'art de manipuler les stylets. Ryoo, chargé lui aussi d'assurer la sécurité de Dark, approuve pleinement le choix de Lord Soo, l'ancien Gensei des Suzaku. Contrairement à Koo, il considère le nouveau Gensei comme quelqu'un de valeur et digne de confiance.
Au cours de son voyage dans l'Empire du Sud, Dark fera la connaissance de Kin, un vieux maître d'armes, qui lui offrira son hospitalité. Après avoir soumis le jeune homme à une épreuve pour juger de sa valeur et de ses intentions pacifiques, il lui donne en récompense Shinrooen, un sabre sans lame, destiné à préserver la paix.
Clan des Seiryuu / Clan du Dragon Bleu (Empire de l'Est)
Son dirigeant Lord Mei désigne Lin comme son successeur direct. Malgré sa gentillesse et son apparente fragilité, les pouvoirs de Lin ont considérablement augmenté quand, après avoir été nommée Gensei, elle est entrée en possession des perles d'eau, de terre, de feu, et de vent, symboles ancestraux de son clan. Toutefois, il lui manque la cinquième perle, la perle d'or, qui a disparu depuis trois générations, et dont les pouvoirs sont tels qu'elle peut ramener un défunt à la vie.
Lin dispose d'une garde personnelle constituée de Shiki, sa Hoosei, ainsi que de Ran et de Chao, deux puissants guerriers qui n'ont de cesse de vouloir la protéger. Chao éprouve une certaine rancune envers Dark, puisqu'il a tué Soo, dont elle était secrètement amoureuse, et qui l'a initiée à l'art du combat. De plus, les Douze Généraux du Dragon se chargent de faire respecter l'ordre dans l'Empire.
Cependant, Lin a une féroce rivale : Nie. Faisant partie des généraux au service du Gensei du Dragon Bleu, elle espérait être élue Gensei mais Lord Mei lui a préféré Lin. Depuis, incapable de comprendre les raisons de son choix, elle voue à cette dernière une haine sans borne et elle a déjà tenté de l'éliminer.
Clan des Byakko / Clan du Tigre Blanc (Empire de l'Ouest)
Lord Tan était le Gensei du clan du Tigre Blanc jusqu'à ce que sa compagne, Susa, se fasse enlever par les Gairana, une tribu nomade de bandits, et il décide alors d'abandonner son titre pour partir à sa recherche. Il désigne donc Shoo pour reprendre en main la direction de son clan.
Shoo est cependant loin d'être un chef honorable : barbare et tyrannique, il aime faire couler le sang, et entretient un règne de terreur parmi ses sujets, pour lesquels il n'a aucune estime. Bafouant sans scrupule les lois imposées par Lai Haan, celui-ci n'en fait toujours qu'à sa tête, il adore combattre et considérant Dark comme un adversaire digne de lui, il ira même jusqu'à le défier.
Bee, sa maligne Hoosei, était l'amie de Kyo jusqu'à ce qu'elle tienne cette dernière pour responsable de la mort de son frère. Depuis, elle ne peut s'empêcher d'éprouver une profonde amertume pour elle. Elle est entièrement dévouée à Shoo et l'accompagne partout.
Deux de ses plus proches subordonnés sont Soo et Sei. Soo, comme la plupart des membres de son clan, a pour points forts une rapidité hors pair et l'instinct de chasseur propre aux félins. Ayant échoué dans la mission que lui avait confié Lord Shoo visant à éliminer Goo, un Genra qui se serait rebellé contre son autorité, il s'en voit sévèrement puni. Sei, quant à elle, est une jeune femme mystérieuse, qui semble avoir un étrange pouvoir de domination sur Shoo.
Clan des Genbu / Clan de la Tortue de Jade (Empire du Nord)
Le clan des Genbu est dirigé par En, homme sage mais rusé, qui aime se mêler des affaires des autres Empires. Sa Hoosei, Setsuka, malgré son apparence frêle, dispose d'un redoutable potentiel, lui permettant de rivaliser sans difficulté avec un ennemi bien plus grand qu'elle. En plus de sa force, sa détermination et sa volonté font d'elle une alliée de choix. En dispose également d'une armée à son service, les sept Hokuteki, ou étoiles de la Grande Ourse. À la différence des Genra, lorsque ceux-ci se transforment, plutôt que de se métamorphoser en animaux, il revêtent une armure qui les protège entièrement.
Empire du Centre
On ignore beaucoup sur cet Empire, entouré par les quatre autres Empires, d'où son nom. Son chef, Lai Haan, dispose d'une autorité sur les quatre autres Genseis, puisque même Shoo le redoute. Pan Garuda, le commandant en chef de l'Armée de l'Empire du Centre, semble lui aussi avoir autorité sur eux, puisqu'il se permet de punir Lin et Dark.
Sayan
Sayan est une jeune fille que Dark rencontre en rêve. Partagée tout d'abord entre l'attitude douce et paisible de Dark et son profil de guerrier, elle finit par se lier d'amitié à lui. Elle vient d'une époque future, puisque les avions et les chars d'assaut existent dans son "monde".
Spectres grecs
On ne sait pas grand chose de la Grèce et de ses spectres grecs, si ce n'est qu'ils sont avides de combats. Au cours de l'un de ses voyages, Lin rencontrera Delpyune, un de ces spectres qui est en réalité un être hybride moitié femme moitié serpent, qui tentera de la tuer, au nom de son maître, Lord Tyupon.
Gairanas
Les Gairanas sont un clan nomade de bandits androïdes. Ils sont créés au sein de l'empire mécanique de Jipang, une petite île déserte dénuée de toute ressource naturelle, mais qui possède un énorme agglomérat mécanique fondé par la seule personne qui y vit, Kyubi. Ceux-ci excellent par leurs aptitudes au combat, et aiment défier d'autres guerriers dans leur arène de combat, qui est en fait un Colisée monté sur une tortue géante. Cependant, beaucoup de leurs origines restent un mystère.
Staff
Scénario et dessin : Kia Asamiya
Rédaction : Shinobu Kuwahara - Shin'ichiro Inoue - Osamu Ōta
Design : Tetsuya Asakura
Couleurs : Kumiko Nakayama
Conception graphiques titres : Tetsuya Asakura
Production : Michitaka Kikuchi
Consultant spécial : Michitaka Kikuchi
Assistant-dessinateur en chef : Shinobu Abebe
Assistants-dessinateurs réguliers : Hirotaka Ōkuma - Takashi Sakai - Tsutomu Isomata - Yuji Komatsu - Yoshiaki Nakahama - Takako Ishida
Assistants-dessinateurs exceptionnels : Mitsuhiro Moriyama - Kenji Nitta - Hiroki Saito - Yuitaka Karyu - Naoki Mochitzuki - Yūki Sasaki - Yuji Ushida - Takeshi Okazaki
Édition française
Notes sur l'édition française
Dark Angel est le tout premier manga publié sous le label Génération Comics de l'éditeur Panini Comics.
Plusieurs illustrations en couleur sont présentes au début de chaque volume.
Un court récit de l'auteur réalisé trois ans et demi avant la publication de Dark Angel intitulé Les origines, et qui est en quelque sorte un pilote du manga, a été ajouté à la fin du premier volume.
Le cinquième et dernier volume fut vendu avec un coffret de rangement pour ranger les quatre premiers volumes.
La série est actuellement en rupture de stock chez l'éditeur, et aucune date de réédition n'a été annoncée.
Équipe de traduction
Traduction : DéFi
Lettrage : Luca Poli
Supervision : Nicole Duclos
ISBN et dates de sortie
Volume 1 : (ISBN 2-84538-016-X) - Mai 2000
Volume 2 : (ISBN 2-84538-018-6) - Juillet 2000
Volume 3 : (ISBN 2-84538-019-4) - Septembre 2000
Volume 4 : (ISBN 2-84538-024-0) - Novembre 2000
Volume 5 : (ISBN 2-84538-026-7) - Janvier 2001
Adaptation
Après Dark Angel, Kia Asamiya décide de mettre en scène le héros dans une nouvelle adaptation de son œuvre : Dark Angel : Phoenix Résurrection (Dark Angel : La résurrection du Phénix).
N'ayant pu trouver d'éditeur japonais acceptant de continuer à publier la suite de Dark Angel, Kia Asamiya se tourne vers les États-Unis, où il trouvera finalement ce qu'il cherchait. Il change donc totalement de support, et Dark Angel devient un comic entièrement en couleurs. Il choisit de reprendre sa série depuis le début : la trame de base est la même, mais des changements au niveau du design des personnages, de la vitesse de l'histoire, du ton de la narration, apparaissent. Cependant, l'auteur abandonne bien vite le projet, puisque après le premier volume paru en 1999, il n'y a plus eu aucune nouvelle rapportée à ce sujet. L'auteur aurait en effet entrepris de travailler sur d'autres choses.
Génération Comics a quand même décidé de publier ce volume, et l'ouvrage paraît en 2001 en France.
Artbook
Un artbook de la série intitulé Dark Angel Illustration Book est sorti au Japon, édité en France par Génération Comics en 2002.
Les illustrations de Dark Angel présentées dans ce recueil ont toutes été publiées dans le magazine Newtype. Chaque double-page présente une illustration et un commentaire d'Asamiya ainsi que les différents éléments ayant servi à la conception de l'image. Une grande place est laissée aux personnages secondaires (on trouve quelques personnages qui ne sont pas apparus dans le manga). À la fin de l'ouvrage, l'auteur dresse même un tableau détaillé des étapes de la conception d'une illustration.
Chocolate sponge sandwiched with chocolate buttercream ganache and covered in a mix of fondant and chocolate flavoured fondant. All decorated to look like Alakay from the film Madagascar.
PGB Photographer & Creative - © Philip Romeyn - Phillostar Gone Ballistic 2021 - Photo may not be edited from its original form. Commercial use is prohibited without contacting me.
The German Leopard, in all its many forms, is undoubtedly one of the most successful post war tank designs. It is the result of a Franco-German tank development programme which began in 1957 but ended in 1962, when each country went its own way; France building the rival AMX-30 design.
Meanwhile Germany pursued its wartime practice of ordering prototypes from different companies (or in this case groups of companies) and selecting the best model. The result was a contract, issued in 1963 to Krauss-Maffei of Munich, for initial production of what became known as the Leopard 1.
Although it is named after a member of the wild cat family the Leopard design contrasts strongly with wartime German policy, notably when compared with the Tiger and Tiger II tanks, in that greater emphasis is placed upon mobility than protection. However in terms of firepower the Germans selected the best weapon available at that time, the British 105mm L7 gun as used in Centurion.
As designed Leopard was a relatively simple tank, but developments in technology, linked with the increasingly complex demands of the modern battlefield, have dictated the introduction of many improvements. However it is a mark of its quality that Leopard has absorbed all these changes without detracting from its performance. The range of changes is too great to list but includes a gun stabilisation system, additional layers of armour around the turret and improved gun sights and observation equipment. In this form the tank is designated Leopard 1A1A2. The extra armour, which is best seen on the sides of the turret, is screwed to the original turret shell but flexibly mounted on layers of rubber. The horseshoe-like fittings on the front of the hull are grousers which can be clipped onto the tracks to improve grip in bad conditions.
(Text from the Tank Museum website)
Folding Paper Bellows with Cylindrical Helix Square Form
1 - Basic Helix Column.
2 - Accordion and Helix Short Column.
3 - Accordion and Helix Long Column.
4 - Accordion and Helix Long Column with Horizontal Flip Section.
5 - Accordion and Helix Two-Tier Column.
6 - Accordion and Helix Two-Tier Column with Horizontal Flip Section.
7 - Accordion and Helix with Union and Interleaves Patterns V1.
8 - Accordion and Helix with Union and Interleaves Patterns V2.
9 - Accordion and Helix with Union of Patterns.
#neospica #origami #tessellation #corrugation #paperfolding #paperfolds #spiral #origamiart #mathart #design #papersculpture #PaperStructures #Knife-Pleat #plissage #Papierfalten #helix #collapsible #Double #vase #cylinder
Youtube: www.youtube.com/c/NeoSpicaPaperStructures
Instagram: www.instagram.com/neospica_op/
Concrete forms used to pour closure walls on multi-story building in Florida. For more information on aluminum concrete forms visit www.wallties.com
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.
Villa Martelli, 14 de abril de 2014 -
Se lleva a cabo el Encuentro Federal de la Palabra en Tecnópolis, en el Pabellón Cultural de Tecnópolis, Del 09 al 20 de Abril.
bajo el lema "La fuerza de la palabra. Hip hop, rima y nuevas formas", el Pabellón Cultural será sede de diversas expresiones artísticas que invitarán al público a sumarse y participar. Habrá clases abiertas de rima a cargo del sello Sudamétrica; de graffiti, de la mano del Taller de Arte Urbano; de distintos estilos de baile, como hip hop y break dance.
En este espacio, también tendrá lugar la competencia "Final Matemáticas ZOO". Por primera vez, representantes de hip hop de ocho ciudades de distintos puntos del país se enfrentarán en una batalla grupal de rimas sin precedentes. Además, habrá música en vivo de la mano de grupos como Actitud María Marta, Cafundó+10+kódigo y Dj Pharuk, y de bandas ganadoras del concurso federal Maravillosa Música, como Broda Crew y Koxmoz.
Fotos: Silvina Frydlewsky / Secretaría de Cultura de la Presidencia de la Nación
Igneous rocks form by the cooling & crystallization of hot, molten rock (magma & lava). If this happens at or near the land surface, or on the seafloor, they are extrusive igneous rocks. If this happens deep underground, they are intrusive igneous rocks. Most igneous rocks have a crystalline texture, but some are clastic, vesicular, frothy, or glassy.
Granite is a common intrusive igneous rock. Garden-variety granites are composed of quartz, potassium feldspar (K-feldspar), sodic plagioclase feldspar, hornblende amphibole, and mica. Granites have a felsic chemistry. Felsic igneous rocks are generally light-colored, have >65% silica (“silica” = SiO2 chemistry) (felsic has also been defined as >70% silica), are rich in potassium (K) & sodium (Na), and are dominated by the minerals quartz and K-feldspar.
Most granites have a phaneritic texture (coarsely crystalline; all crystals between 1 mm and 1 cm in size), the result of relatively slow cooling of magma deep underground. Other granites may be porphyritic (a mix of large & small crystals) or pegmatitic (almost exclusively composed of very large crystals - almost all >1 cm in size).
Gray, glassy crystals = quartz
Pinkish crystals = potassium feldspar
Whitish gray crystals = plagioclase feldspar
Black crystals = hornblende amphibole
También llamada "Fuente de las Lágrimas" porque se decía que su manantial derramaba agua lentamente en forma de lágrimas.
Ha permanecido hasta nuestros días en el mismo paraje donde Abd-Allah encomendó a su visir Abu Mu Ammal que edificase una acequia para que abasteciera a toda la población de Alfacar al pie del Cerro de la Cruz, a 1.126 metros de altura y a la ciudad de Granada, con un total de treinta y ocho mil habitantes.
Durante el periodo de la Andalucía Islámica, desarrollaron diversas técnicas para transportar las aguas de los diferentes manantiales cercanos a la capital hasta los huertos, fuentes y jardines que había en la alcazaba y parte baja de la ciudad.
Las acequias (del árabe as-saqiya) fue una de las técnicas que crearon los andalusíes para transportar el agua de los manantiales hasta otros puntos a lo largo del terreno.
Las acequias son canales de riego que aprovechan el desnivel del terreno para conducir el agua de un punto elevado hasta otro de menor altitud.
Desde esos cármenes, la acequia entraba subterráneamente en la ciudad, llegando al repartidor principal de Manflor, donde nacía un ramal principal y dos secundarios que cubrían todo el actual Albaicín.
Tras la conquista castellana de Granada, la acequia siguió en uso, los Reyes Católicos tras la expulsión de los moriscos promulgaron, el 2 de octubre de 1501 una Real Cédula por la que se creaba, el Juzgado de Aguas, y el 15 de octubre del mismo año, las Ordenanzas de Granada, para regular el suministro y distribución de aguas por parroquias, días y horas, apareciendo en el archivo municipal, referencia a la acequia de Aynadamar y a su Fuente Grande.
Actualmente, la Acequia de Aynadamar sigue conduciendo el agua de Fuente Grande pero,Acequia de Aynadamar en la actualidad sólo hasta El Fargue, ya que de ahí en adelante se ha perdido. Hoy en día se puede ver en el tramo que va desde Alfacar a Viznar (en el margen derecho de la carretera dirección Alfacar-Viznar), la forma original de la acequia gracias a que en 1994 se llevó a cabo una reforma de limpieza y reconstrucción.
Recorrido de la acequia
En la localiad de Alfacar pasa al pie del monte Torices, circula por el Barranco del Collado y el Molino de las Pasaderas. En la localidad de Viznar pasa por el Cerro Castaños, por el Molino Florencia, Carmen de los Arroyos y Molino de San Cayetano. Después continua a través de El camino del Fargue, la carretera de Murcia - Granada, el Almanjayar y sigue por la actual Facultad de Teología.
En la puerta de Elvia pasaba por unos hermosos carmenes donde los musulmanes veraneaban y hacían batallas navales ficticias en unas enormes albercas; después, a 886 metros por el subsuelo se desviaba atravesando el Carmen de Tllacarne para dividirse en el el Manflor. Una de las ramificaciones llegaba hasta el arrabal del Albaycín, el Castillo de Garnata y la Alcazaba antigua.
Después pasaba por la fabrica de cerámica de Fajalauza, el Carmen de San Pascual, el cajellón de la Alberzana, Aljibe de paso, la Casa de los Mascarones, y un ramal secundario pasaba por los Aljibes de San Bartolomé y San Cristóbal. El principal continuaba bajando por la calle del Agua, y desde otro ramal secundario pasaba por la calle Los Panaderos para morir, un nuevo ramal, en el Aljibe de la Ahacaba.
En la calle panaderos existía un desvio por los Aljibes de Bibalnout y Las Tomasas, de la cuesta de las Tomasas y de Trillo al segundo desvio en la Cuesta del Chapiz.
En Plaza Larga la acequia tenia sifones saltadores que llevaban el agua hacia el Aljibe de San Nicolás y la Alcazaba. Mientras la acequia pasaba por el Arco de las Pesas, por otro ramal pasaba por el Aljibe de La Gitana, el Aljibe del Gato, la Cuesta de Granadillos, la Calle Aljibe de Trillo y moría en la Placeta del Lames.
Del Aljibe del Rey surgían dos ramales: el primero pasaba por el Aljibe de San Miguel Bajo y Oidores. El segundo pasaba por el Aljibe del Zenete, el Aljibe de San José y terminaba en la Placeta de Pomar. Y el otro pasaba por las calles Tiña, Muladar de Doña Sancha y Placeta de Sánchez para morir en la calle Bravo.
De los Ramales de Manflor secundarios uno llegaba a Fajalauza, Placeta de la Cruz de Piedra, Calle de San Luis y Santa Isabel de los Abades para terminar en la Plaza de Aliatar y en la Vereda de los Pinchos. El otro ramal secundario iba por el camino de San Antonio y Mayor (hoy bajo la Capilla Real de la Catedral) que se supone era alimentado desde la iglesia del Salvador y en el barrio judío el Aljibe de Rodrigo del Campo en la Cuesta del mismo nombre, además habia muchos más que no han llegado a nuestros días.
Actually this is very tiny flower, no more than 5 mm. At this magnification is looks really unusual like something alien. Taken using extension tubes and reversed 35mm lens.
The Western Counties Amateur Swimming Association (ASA) was formed in 1901 and is the governing body for swimming in six western counties of England. The ASA do not provide swimming facilities but oversees rules, regulations, leagues, competitions and standards in the sport. Swimming clubs of the six counties could join and be affiliated with the Western Counties ASA which today, are part of the South West Counties ASA.
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www.swimming.org/asa/about-us/the-asa/ (About the ASA)
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Enamels: 2 (blue & white).
Finish: Chrome.
Material: Brass.
Fixer: Buttonhole (horseshoe shaped clasp).
Size: 1 1/8” across x 1 ¼” down (about 28mm x 32mm).
Process: Die stamped.
Makers: No maker’s name or mark.
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Thank you for reading.
Stuart.
Eryngium giganteum est une espèce de plantes à fleurs la famille des Apiaceae.
C'est une plante bisannuelle qui peut atteindre 1m50. La tige se ramifie vers le haut. Les feuilles sont dures et épineuses, vert-bleu. L'inflorescence est gris-bleu en forme de cylindre de 3 cm de large et environ 10 cm de hauteur.
Aunt Rebekah holding her new nephew, Hendrix, while Haidyn plays with his hair. I have some better ones of aunt and nephew that I probably post later, but I love the bonds being formed here.
The Orchha Fort complex, which houses a large number of ancient monuments consisting of the fort, palaces, temple and other edifices, is located in the Orchha town in the Indian state of Madhya Pradesh. The fort and other structures within it were built by the Bundela Rajputs starting from early 16th century by King Rudra Pratap Singh of the Orchha State and others who followed him.
LOCATION
The fort complex is located in the Tikamgarh district of Madhya Pradesh in the erstwhile state of Orchha. The fort complex is within an island formed by the confluence of the Betwa River and Jamni River in Orchha town. Approach to the complex from the eastern part of the market in the town is through a multiple arched bridge with 14 arches built in granite stones.
Orchha town is approximately 80 kilometres away from Tikamgarh town, which is the district headquarters of the district of the same name. Jhansi town is 15 kilometres away. Orchha is a rail head of the Central Railway on the Jhansi-Manikpur section.
HISTORY
The fort was built following the founding of the Orchha State in 1501 AD by Rudra Pratap Singh (r. 1501–1531), a Bundela rajput. The palaces and temples within the fort complex were built over a period of time by successive Maharajas of the Orchha State. Of these, the Raja Mandir or Raja Mahal was built by Madhukar Shah who ruled from 1554 to 1591. Jahangir Mahal and Sawan Bhadon Mahal were built during the reign of Vir Singh Deo (r. 1605–1627). The features of "pepper pots and domes" seen in the fort complex are believed to have inspired Lutyens in the architecture of the structures which he built in New Delhi.
MONUMENTS
The fort complex accessed from an arched causeway leads to a large gateway followed by a large quadrangular open space which is surrounded by palaces such as Raja Mahal or Raja Mandir, Sheesh Mahal, Jahangir Mahal, temple, gardens and pavilions. The fort walls have battlements, which have ornamentation. Notable architectural features seen in the fort complex consist of projected balconies, open flat areas and decorated latticed windows.
RAJA MAHAL
The Raja Mahal (King’s Palace) where the kings and the queens had resided till it was abandoned in 1783, was built in the early part of 16th century. Its exterior is simple without any embellishments but the interior chambers of the palace are elaborately royal in its architectural design, decorated with murals of social and religious themes of gods, mythical animals and people. In the upper floor of the palace there are traces of mirrors in the ceilings and walls. Its windows, arcaded passages and layout plan are designed in such a way that the "sunlight and shadow create areas of different moods and temperatures throughout the day". The interior walls of the Mahal have murals of Lord Vishnu. The Mahal has several secret passages.
A part of this Mahal was converted into a temple and named Rama Raja Temple in honour of the god Rama. There is legend associated with naming it as a temple. According to a local legend, the temple was built following Rani Ganeshkuwari, the queen getting a "dream visitation" by Lord Rama directing her to build a temple for Him; while Madhukar Shah was a devotee of Krishna, his wife's dedication was to Rama. Following this a new temple known as the Chaturbuj Temple was approved to be built, and the queen went to Ayodhya to obtain an image of Lord Rama that was to be enshrined in her new temple. When she came back from Ayodhya with the image of Rama, initially she kept the idol in her palace as the Chaturbuj Temple was still under construction. She was, however, unaware of an injunction that the image to be deified in a temple could not be kept in a palace. Once the temple construction was completed and the idol of the lord had to be moved for installation at the Chatrubhuj Temple, it refused to be shifted from the palace. Hence, instead of the Chaturbhuj Temple, the Rama's idol remained in the palace where as the Chaturbhuj Temple remained without an idol in its sanctum. As Rama was worshipped in the palace part of the palace was converted into the Rama Raja Temple; it is the only shrine in the country where Rama is worshipped as a king. The temple is guarded by a police force and the deity, Lord Rama, is considered as the king and is given a gun salute of honour every day.
SHEESH MAHAL
Sheesh Mahal is flanked on either side by the Raja Mahal and the Jahangir Mahal. This has royal accommodation, which was built for king Udait Singh. It has now been converted into a hotel. The interior of this edifice consists of a huge impressive hall with high ceiling, which is the dining hall. Its recent colour scheme renovations are an eyesore. But staying in two of its royal suites on the upper floor, which provide scenic view of the town, gives the guest a feeling of royalty.
JAHANGIR MAHAL
Jahangir Mahal is a palace that was exclusively built by Bir Singh Deo in 1605 to humor the Mughal emperor Jahangir who was a guest of the Maharaja for one night only. The palace is built in four levels with elegant architectural features of both Muslim and Rajput architecture. Its layout is a symmetrical square built in the inner courtyard of the fort and has eight large domes. It has a plethora of rooms with arcaded openings, projecting platforms and windows with lattice design work. The top floor roof of this Mahal is accessed through a steep stairway. It provides picture perfect views of the temples and the Betwa River outside the fort complex. The palace also houses a small archaeological museum.
The entrance gate from this palace, which was earlier the main gate and which has carved ornamentation, leads to the royal baths and then to an elegant small dwelling unit built within a garden in typical Mughal architectural style; this had been built exclusively for Rai Parveen, the female escort of the Raja Indramani (1672–76); her large-size portrait in a revealing and seductive attire adorns hall in this Mahal. She was a poet and musician. The building is a double storied structure built with bricks, rising to the height of the trees in the well tended garden called Anand Mahal. The garden is laid out with octagonal flower beds and has good network of water supply. There are niches in the Mahal which permit natural light to the main hall and smaller rooms.
It is said that Emperor Akbar (r. 1556–1605) who was enamored by Parveen's beauty had taken her to his palace in Agra to be his courtesan. But Parveen, who wanted to get out of the situation, composed a gazal or a couplet which stated her status as an already used woman not fit for an emperor, which enabled her to get release from Akbar's court and return to Orchha.
PHOOL BAGH
Phool Bagh is an elegantly laid out garden in the fort complex which has a line of water fountains that terminates in a "palace-pavilion" which has eight pillars. Below this garden is an underground structure which was used by the royalty as a cool summer retreat. This cooling system consists of water ventilation system that is linked to underground palace with "Chandan Katora", which is in the shape of a bowl from where fountains droplets trickle through the roof creating a rainfall.
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