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O gopa'r Diffwys gyda'r Berwyn a'r Ddwy Aran yn y pellter.
From the summit of Diffwys with Y Berwyn and the two Aran in the distance.
Last of the Autumn colours at Coed Y Gopa woodland Abergele. The colourful foliage of the foreground tree appears to forge a path through the woodland
G-OPAS - Vickers Viscont 806/F - PARCELFORCE (operated by British World Airlines)
ar Belfast Aldergrove Airport (BFS) in 1995
c/n 263 - built in 1958 for BEA - British European Airways -
operated by BAF British Air Ferries since 1981 - conv. to freighter -
retired in 1996 - stored SEN -
fuselage stored Imperial War Museum / Duxford
scanned from Kodachrome-slide
Edrych tuag at Lynnau Mymbyr o ymyl gopa Crimpiau, Eryri. Moel Siabod ydi'r mynydd y tu ol I belydrau'r haul.
Looking towards "Llynnau Mymbyr" from near the summit of Crimpiau in Snowdonia, north Wales. Moel Siabod is the mountain behind the rays of the sun.
CODE: KAAP_MG_9122
Email : kartsandphotography@gmail. com
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Gopa is a Sanskrit word meaning Cowherd or Cattleman .
Shot near Panayapuram , Kallanai road , Trichy , Tamil Nadu , India
Un arall o Fynydd Parys ddoe. Nid oes llawer o waith prosesu wedi digwydd yma - mae'r lliw yn yr awyr oherwydd hidlydd Cokin - P124 GTT1 tybaco. Dwi'm yn siwr... ffwrdd a chi! Diolch yn fawr!
copper dawn on the summit
Another view from yesterday at the top of Parys Mountain. There is very little post-processing here - the colour is from a Cokin graduated tobacco filter P124 GTT1.
Not sure about this - so feel free to voice your opinion. (Parys Mountain will look so much better in July, when the heather is blooming)
Just outside Jaisalmer fort, within its outer gates, lies the little known memorial to freedom fighters. Earlier, it was a gaol and the centre of torture for many a martyrs. Many freedom fighters were burnt alive at the same spot.
Seen in the photo are Satyadev Vyas and Sagar Mal Gopa. The third person is unidentified, and no one was able to tell me which one of these handsome young men is Satyadev and which one is Sagar Mal. No one remembers what they looked like when they were young.
The famous Gopa Chowk, which today is famous for its cannibis shop, is named after Sagar Mal Gopa.
Born into upper caste Hindu families, they decided not to join the anti-national forces of the RSS, which were made up of the ranks of upper caste Banias and Brahmins. Instead, chose to fight the British.
Not much is remembered about the sacrifice of these men, who were deemed terrorists by the British. Important is the lesson that people fighting for their rights have always been deemed terrorists by their oppressors.
Their memory becomes even more relevant today, as the independence they won us remains, but the freedom they envisaged eludes us and becomes an even more distant dream.
Meanwhile, our nation, slowly but steadily, degenerates to adopt the mannerisms of its past enslavers, and treats other people in the same manner.
This one to freedom!!
Well, firstly, happy March to everyone; Spring is certainly on it's way!
Secondly, I promised myself that a month of HDR is enough to suit anyone, but... There's always a but... I couldn't resist a shot of Abergele Hospital, famous for it's White Plague epedemics way back. To be honest, with no one in the corridor, it was kinda spooky, and this was broad daylight (I'm a big wuss really!) :)
Anyway, back to March... I've bought myself a new lens (quit smoking nearly 6 weeks ago so It's nice to have something to show from it) ; 135-400mm Sigma. What a lovely bit of kit she is too!
I promise there will be lots of wildlife on show on my photostream in the next few weeks/months as Spring/Summer gets underway in Wales!
Any-hoo... Thanks for stopping by!
3 Shot JPEG
Converted in Photomatix
HDR Adjusted in Adobe CS5
A bit of history on Abergele if you care to read...
Abergele is a community and old Roman trading town, situated on the north coast of Wales between the holiday resorts of Colwyn Bay and Rhyl, in Conwy County Borough. Its northern suburb of Pensarn lies on the Irish Sea coast and is known for its beach, where it is claimed by some that a ghost ship has been sighted. Abergele and Pensarn railway station serves both resorts. Abergele is often overlooked due to the popularity of nearby Rhyl, Prestatyn, Colwyn Bay, Llandudno and Conwy.
The meaning of the name Abergele can be deduced by aber being the Welsh word for estuary and gele the name of the river which flows through the town. Gele is a dialectal form of gelau, which means spear, describing the action of the river cutting through the land. It has also been suggested this river is named because its waters flash brightly.
The town itself lies on the A55 road and is known for Gwrych Castle. The town is surrounded by woodland covered hillsides, which contain caves with rare lesser horseshoe bat. The highest hill is Moelfre Isaf (1038 ft) to the south of the town. There are also outstanding views from Cefn-yr-Ogof (669 ft), Tower Hill (587 ft) and Tan-y-Gopa.
[English text below]
Mae'r gwaith celf gan Andrew Wyeth a ysbrydolodd y ddelwedd hon yn un o'r celfweithiau sy'n dal i'm cyffroi bob tro y byddai'n ei weld. O'r tro cyntaf, mewn llyfr ar ddarlunio gyda tempera wy gan yr artist ei hun, hyd heddiw, mae rhywbeth mor ogleisiol yn y gosodiad, heb sôn am ei dechneg meistrolgar.
Yn ei ddarlun, mae benyw ifanc yn gorwedd a'i chefn atom (dim ond blynyddoedd yn hwyrach y dysgais ei bod wedi'i pharlysu) gan edrych at gopa'r bryn, lle (prin) y gwelwn ffermdy.
Mae'r artist yn ein herio mewn sawl ffordd - cuddio wyneb a theimladau'r ferch, gosod y tŷ o'r golwg bron... rhywsut mae teimladau o hiraeth, neu ryddid, o ofid ac o fwynhad pur mewn haul ar ehangder o wair yn codi a chordeddu'r un ffunud a'r un pryd ynom... Y cyfan hyn ddaeth i'r meddwl un funud wrth gerdded ar lan Afon Hafren hyfryd, heibio i'r cae o wair, yn disgleirio yn yr haul.
Walking along the path from Whitmore Bay to Jackson's Bay in Barry Island, despite the stuning view of the Severn Sea on my right, I was enraptured by the recollection of Andrew Wyeth's iconic egg tempera painting, 'Christina's World': a young woman lies with her back to us, gazing to some farm building on her horizon.
The artist hides more than he reveals in his painstaking 'magical realist' detail - what is her expression, what is Christina seeing and feeling? It was only many years after I first glimpsed the image in a book that I discovered she was paralysed by polio and this was the entire compass of her 'world'.
Yet I found and still find it a profoundly liberating and celebratory work - the field basking in the sun encompasses the whole world. This is how I often felt as a child, with nothing better to do than wander fields of grass wilderness, higher than my head and resounding to the chorus of crickets, field mice and warblers.
Kudumiyamalai is located about 20 km from Puddukkotai town. The village is centered around a small hillock, where a cave temple has been carved on its foot. This cave temple, locally known as Melaikkovil.
History – River Vellar, flowing north of Puddukkotai town, was the boundary line between the Cholas and Pandya empire. During the time of Mahendravarman I (CE 600-630) this region might be under Pallavas through their vassals, northern part of Puddukkotai, however they were not able to retain it for long and Pandyas won back this from them. Mahendravarman I would have got this region from his father, Simhavishnu, in heritance. Simhavishnu in turn would have won this from the hands of the Cholas. The Cholas were in hibernate mode till their resurgence in ninth century. Till that time, this region oscillated between the Pallavas and the Pandyas. Hence Puddukkotai became the important town witnessing various clashes between these two dynasties. Muthariyars and Irukkuvelirs were the vassal chief of the Pallavas and the Pandyas, which acted as the proxies in the wars between these two kingdoms. There are very few reference of the Pallavas found in inscriptions of this region, one such reference is the defeat of Nandivarman Pallavamalla (CE 730-796) in the hands of Maravarman Rajasimha (CE 730-760) at Kodambalur in Velvikudi and Sinnamanur plates of Pandyas. The presence of musical inscription, written in seventh century Grantha script, suggests that this cave temple would have been in existence at or before that time. There are other early Pandya inscriptions as well which are dated to seventh and eighth century. From the time of Cholas, we have many inscriptions telling us the continuous extensions of the temple. As the early inscriptions are found in the cave temple and in its boundary wall, hence the main structural temple seems to be remodeled in later times. This remodeling would have done in the time of Maravarman Sundara Pandya I. The Cholas won over vast region of Tamilnadu in ninth century and kept it with them till thirteenth century. Pandyas re-surged in thirteenth century and got back the region from the hands of the Cholas. After them, this region came under the Vijayanagara rulers. The temple got patronage under Vijayanagara rulers as we see mention of prince Vira-Kampana-Udaiyar and viceroy Gopa-timma in inscriptions. After the fall of Vijayanagara, Madurai Nayakas ruled over this tract of land. Later this went into the hands of Marungapuri chiefs and after them to Pallava Rayars. Sivendezhunta Pallava-rayar did many extensions to the temple in form of gopuram, mandapa, flower gardens and temple car. Rock-cut cave temple was extended in the reign of Raghunatha Raya Tondaiman (1686-1730) who built a mandapa in front of the cave with his minister Kurundha Pillai. In 1730 Pacchai Tondaiman opposed the succession of Vijaya Raghunatha Raya and took shelter in this temple. However he was defeated and forced to surrender to Vijaya Raghunatha Raya. Vijaya Raghunatha Raya (1730-1769) was crowned in this temple in 1730. Later he built the steps to the mandapa, built earlier by Raghunataha Raya. In 1865, Raja Ramachandra Tondaiman celebrated a kumbhabhishekam in this temple.This town would have been known as Tirunalakkundram in 8th century as suggested by one inscription of Kochadayan Ranadheeran or Sadayan Maran (CE 700-730) of early Pandyan dynasty. Later in 14th century, this has been referred as Siganallur (Shikhanallur), with the main deity as Siganaatha (Shikhanatha) in the temple. Later in 17th century we see a reference to Kudumiayanmalai, with the main deity as Kudumiyaar. There is an interesting story behind this name, Kudumiyaar. As per the story, from sthala-puranam, a king, Sundara Pandiyan, used to visit the temple daily in the evening to perform his prayers. The priest used to give the prasadam to the king after his evening prayers. One day the priest was waiting for the king and the king did not turn up. Since it was getting late so the priest gave prasadam to a temple dancer. Just when the dancer was leaving the king entered into the temple. The priest got scared as prasadam was finished, so he borrowed the flowers from the dancer which were already worn by her. The priest offered those flowers to the king as prasadam. The king noticed as strand of hair in those flowers hence asked for explanations for the presence of the hair from the priest. The priest was very scared so he lied that the hair is of the lord, Shiva’s head. The king was astonished and locked the priest inside the temple telling him that he will come tomorrow to see if the deity really has hair or not. The priest prayed the whole night to lord Shiva to save him. The next day the king arrived and he found a tuft (kudumi) on Shiva lingam. When he tried to pull it, the blood came out of lingam. This is how the deity in this shrine is known as Kudumiyaar and the place as Kudumiyamalai. Another version of the story replaced the temple dancer with the lover of the priest. There is another interesting fact that kudumi not only meant tuff of hair but also the top of hill. In that case Kudumiyaar seems to the god on top of the hill. It seems, this story may have been invented in 17th-18th century.
Description Source: puratattva.in/2010/10/09/kudumiyanmalai-the-lord-with-pon...
For over a decade, CIAT has tested agronomic and soil management practices in Western Kenya. From minimum tillage to integrated soil fertility management, these trials are the most comprehensive picture of tropical soil health that we have in Kenya. They show-case changes in soil fertility and health, which take time to develop, hence the importance of these long-term trails. CIAT’s “Climate-smart soil protection and rehabilitation in Benin, Burkina Faso, Ethiopia, India and Kenya” project is implemented in collaboration with the Kenya Agriculture and Livestock Research Organization (KALRO); GOPA and implementing partners including PAFID, Welthungerhilfe and WOCAT - University of Bern. It is supported by the German Society for International Cooperation (GIZ) and the Federal Ministry for Economic Cooperation and Development (BMZ). For more information, visit: blog.ciat.cgiar.org/sink-it-or-lose-it-the-carbon-trade-off/
Credit: ©2016CIAT/GeorginaSmith
Please credit accordingly and leave a comment when you use a CIAT photo.
For more info: ciat-comunicaciones@cgiar.org
Vintage German postcard by Ross Verlag, Berlin. Photo: Emelka Konzern. Himansu Rai in Prem Sanyas or Die Leuchte Asiens/The Light of Asia (Franz Osten, Himansu Rai, 1925). Bayern Films. Caption: The Light of Asia. Gautama's fight for love and renunciation. Yet, the back of the card has another caption, relating to the scene on this card: "The Parade of Gotama and Gopa's Wedding. For the shooting of this scene, the Indian Rajah's command brought together thousands of people and animals. An endless cavalcade of camel riders opened the cortege as the vanguard, after which hundreds of festively decorated elephants followed. Just to give an example of India's richness, which was displayed at this occasion, it should be mentioned that just the hangings on these state elephants already represent some 300.000 Rupees, equal to 400.000 Gold Marks."
The German-Indian production Prem Sanyas or Die Leuchte Asiens (Franz Osten, Himansu Rai, 1925) depicts the story of Prince Siddhartha Gautama, the man who became the Buddha. Prem Sanyas is a fascinating hybrid between exoticism and authenticity. The film made stars of the two young leads, Seeta Devi and Himansu Rai. Actor/director Rai would become one of the pioneers of the Indian cinema. Prem Sanyas was the first Indian co-production and made with the cooperation of the Maharajah of Jaipur. The film contained a cast of thousands. The shooting took place in Lahore, in what is now Pakistan, where the set decoration was created by Devika Rani, the wife of actor/director Himanshu Rai and a noted actress herself.
Himansu Rai (1895-1940) was one of the stars of the early Indian cinema when India was still a part of the United Kingdom. He often worked with German director-producer Franz Osten. Later Rai became a producer.
Actor/director Himansu Rai was born in 1895 into a wealthy Bengali family. While training as a lawyer in London in the early 1920s, he began to act in plays. In London, he met his later wife Devika Rani who designed film sets and would continue to work with him. In 1933, he joined forces with IBP of England and wholly produced Karma/Fate (J.L. Freer-Hunt, 1933), a bilingual film in English and Hindi. But the Nazi seizure of power in Germany caused Rai to abandon international co-productions and so he decided to concentrate on the domestic film market in India. In 1934, he formed Bombay Talkies Ltd. and built a studio. Under his painstaking supervision, it purchased the most modern equipment from Germany. Franz Osten and a handful of technicians came down from England and Germany to work with him. By 1935, a stream of Hindi productions had begun to emerge from the studio. The advent of World War II meant that the studio's German technicians as well as director Osten were interned by the British, which crippled the studio. Overwork and mental strain eventually took its toll on Rai, who suffered a nervous breakdown which he never recovered from. Himansu Rai died in 1940.
Sources: Filmportal.de, Wikipedia, and IMDb.