INSCRIPTIONES
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The inscription on the monument "If I will forget Them, You, God in heaven, forget about me."- Adam Bernard Mickiewicz ( 24 December 1798 – 26 November 1855) Polish poet, dramatist, essayist, publicist, translator, professor of Slavic literature, and political activist.
The Volhynian, massacres, were anti-Polish genocidal ethnic cleansings conducted by Ukrainian nationalists.
The massacres took place within Poland’s borders as of the outbreak of WWII, and not only in Volhynia, but also in other areas with a mixed Polish-Ukrainian population, especially the Lvov, Tarnopol, and Stanisławów voivodeships (that is, in Eastern Galicia), as well as in some voivodeships bordering on Volhynia (the western part of the Lublin Voivodeship and the northern part of the Polesie Voivodeship. The time frame of these massacres was 1943-1945. The perpetrators were the Organization
of Ukrainian Nationalists-Bandera faction (OUN-B) and its military wing,
called the Ukrainian Insurgent Army (UPA).
Their documents show that the planned extermination of the Polish population was called an “anti-Polish operation.”
Criminal Investigations
Genocide is a legal category. The Volhynian massacres have all the traits of genocide listed in the 1948
UN Convention on the Prevention and Punishment of the Crime of Genocide, which defines genocide
as an act “committed with intent to destroy, in whole or in part, a national, ethnical, racial or religious group,
as such.” In Polish academia the Volhynian massacres are referred to as genocidal ethnic cleansings,
the Volhynian (or Volhynian-Galician) slaughter, or, in legal terminology, the crime of genocide.
Polish historians are emphasizing that the Volhynian bloodbath is the uncleared crime of genocide still, and praise of Stepan Bandera and members murderous party of OUN-UPA by the current Ukrainian authorities.
Acuario Fluvial de Zaragoza - Inscripción en antiguo lenguaje íbero cuya traducción no he conseguido nunca averiguar / Inscription in an old iberus language whose meaning I've never been able to find out.
Detalles técnicos / Technical details: Raw file processed in LR: Auto lens profile correction + Nikon Picture Control Vivid. The difference in color which appears at the bottom of the picture is due to differences in the actual boards covering the facade (amplify to see the sealed joints). Those boards were made off-site and mounted lalter on the building (See [www.d-y-d.com/sv/svex/indexex.html])
The Lightship Amrumbank has ensured safety for decades by illuminating the waters of the North Sea as a floating lighthouse. The ship served in various strategic positions, essential for the navigation and safety of countless ships in the busy shipping area.
De Lichtschip Amrumbank heeft tientallen jaren de veiligheid gewaarborgd door als drijvende vuurtoren de wateren van de Noordzee te verlichten. Het schip diende op verschillende strategische posities, essentieel voor de navigatie en veiligheid van talloze schepen in het drukke scheepvaartsgebied.
"I found these ancient inscriptions and writings on the rocks during my recent tour of the valley. Although I couldn't read them, a brief search revealed that they are religious prayers and some names. I believe they are very old, mainly because the script is undotted - and in Arabic, dots are essential for distinguishing letters. Since dots were first introduced in the 7th century AD, this suggests the inscriptions predate that period."
The Palace of Khudayar Khan, known as the Pearl of Kokand, was the palace of the last ruler of the Kokand Khanate, Khudayar Khan. The palace complex, built in 1871, occupied a total area of four acres with a foundation three meters thick. It was constructed with a high portal, a highly decorated large entrance arch, and four minarets. Surrounded by a carved stone wall, the palace consisted of seven courtyards and one hundred and nineteen rooms. The inscription above the main gate reads: "Great Seyed Mohammad Khudayar Khan".
The Ksani fortress is located in the Mtskheta-Mtianeti region, Mtskheta Municipality, near the village of Tsikhisdziri, at the estuary of the Ksani and Mtkvari rivers, on Mount Sarkineti. Sources also refer to it as the Mtkvari fortress or the Mtveri fortress.
Two building layers are distinguished on the monument: the first layer dates back to the 16th century, and the second - to the 2nd half of the 18th century.
The Ksani fortress is located in a strategically advantageous place, it controlled an important crossroad. The fortress was built by Bagrat Mukhranbatoni during the ongoing battles between the king of Kartli David X (Bagrat's brother) and the king of Kakheti George II (Av-Giorgi - George the Evil). In exchange for this help, Bagrat received the appanage lands of Mukhrani from King David. Immediately after the completion of the construction, Av-Giorgi gathered an army and surrounded the fortress. After an unsuccessful three-month siege, Av-Giorgi sent wine to Bagrat sarcastically, saying that he hadn't drunk wine for so long. In response, Bagrat sent him salmon and passed on this message to him: "You have been standing on the Ksani River for three months and have not tasted fish, so here, taste this live fish." Av-Giorgi, realizing that the fortress was sufficiently supplied with food and drinking water, retreated.
In 1513, Av-Giorgi invaded Kartli again, but was captured by Bagrat Mukhranbatoni, who imprisoned him in the Ksani fortress, where he was soon killed: "After a short time, Av-Giorgi was imprisoned in the fortress and he died." The building inscription located above the entrance to the fortress says that in 1746 the heavily damaged Ksani fortress was practically rebuilt by Constantine III (Konstantine Mukhranbatoni). From the same inscription, we learn that Constantine also gave the fortress a new name - Konstantinlabati.
Apparently, during the late Middle Ages, the Ksani fortress was one of the well-fortified and strategically important fortresses.
P1130522b - Frankfurt, Europ. Zentralbank
Inschrift an der Großmarkthalle zur Geschichte der Judendeportation 1941.
Inscription at the Grossmarkthalle to the history of the deportation of the Jews 1941.
marble inscriptions in ancient Greek language. Inscription is located in the archaeological site of Dion, at the foot of Olympus mythical mountain
Detail of kiln fired painted amber glass with inscription of the client. K.M. Reusche paints. www.rdwglass.com
Looking at the wall around it, one wonders just how many layers of paint adorned it before finally being abandoned in the 1950s. There is evidence of quite a number, but just how many...?
Cappella Palatina nel Palazzo Reale di Palermo - Palatine Chapel in the Royal Palace of Palermo (Sicily, Italy)
La cappella è posta al primo piano del Palazzo dei Normanni e, per volere di Ruggero II, fu dedicata a San Pietro apostolo, così come riportato da uno scritto del 1132; dalle analisi stilistiche è comprovato che i mosaici delle navate siano contemporanei al regno di Guglielmo I.
Essa è l'esempio più alto della convivenza tra culture sotto l'aspetto storico artistico, culture e religioni inconciliabili tra loro, tutto questo per la sapiente gestione del potere da parte di Ruggero II. Convissero tra loro maestranze bizantine, musulmane e latine e la cappella venne edificata per le necessità liturgiche del rito latino e di quello greco; ne è prova la pianta basilicale latina a tre navate e il presbiterio bizantino sormontato da una cupola.
L'immagine che ne risalta è quella del Cristo Pantocratore benedicente che è presente nella cupola realizzato esattamente secondo i canoni classici bizantini; è interessante la ripetizione di tale elemento nel catino dell'abside centrale dove trova un effetto comunicativo e misericordioso nei confronti di chi accede all'interno della chiesa. Tra i mosaici più antichi, nel Diaconicon, spicca il battesimo di Cristo, opera realizzata con bellissima stilizzazione delle onde. Sono presenti immagini di Santi e Padri della Chiesa nei pilastri e intradossi degli archi.
Le maestranze arabe eseguirono il soffitto a muqarnas che sovrasta la navata centrale, unico e pregevole esempio al mondo intero di decorazioni pittoriche islamiche con rappresentazione di figure umane all'interno di un luogo di culto cristiano.
Una iscrizione in latino, arabo e greco del 1142, a ricordo dell'orologio idraulico fatto costruire da Ruggero II, testimonia l'intrecciarsi di culture molteplici nella Palermo normanna.
The chapel is located on the first floor of the Norman Palace and, by order of Roger II, was dedicated to Saint Peter the Apostle, as reported in a document from 1132; stylistic analyses have shown that the mosaics in the naves are contemporary with the reign of William I.
It is the highest example of the coexistence of cultures from an artistic and historical perspective, irreconcilable cultures and religions, all of this due to the wise management of power by Roger II. Byzantine, Muslim and Latin workers coexisted and the chapel was built for the liturgical needs of the Latin and Greek rites; proof of this is the Latin basilica plan with three naves and the Byzantine presbytery surmounted by a dome.
The image that stands out is that of the blessing Christ Pantocrator who is present in the dome created exactly according to the classical Byzantine canons; the repetition of this element in the basin of the central apse is interesting, where it has a communicative and merciful effect on those who enter the church. Among the oldest mosaics, in the Diaconicon, the baptism of Christ stands out, a work created with a beautiful stylization of the waves. There are images of Saints and Fathers of the Church in the pillars and intrados of the arches.
The Arab workers created the muqarnas ceiling that overlooks the central nave, a unique and valuable example in the entire world of Islamic pictorial decorations with representations of human figures inside a Christian place of worship.
An inscription in Latin, Arabic and Greek from 1142, in memory of the hydraulic clock built by Roger II, testifies to the intertwining of multiple cultures in Norman Palermo.
© Riccardo Senis, All Rights Reserved
This image may not be copied, reproduced, republished, edited, downloaded, displayed, modified, transmitted, licensed, transferred, sold, distributed or uploaded in any way without my prior written permission.
Pierre de Vallombreuse est un formidable photographe ! Nous avons la chance de l'accueillir à Jassans Riottier, Si vous êtes proche de chez nous, ce serait une merveilleuse opportunité photographique de participer à ce stage !
In a secluded place in the Ojeda Valley of Palencia, the Cistercian order erected this female monastery of Santa María and San Andrés.
Many details attest to it.
This book belonged to my husband's grandfather, he gave it to us many years ago. Photographing it today for the Macro Mondays theme I wondered if he thought that my house keeping skills could do with some work - the book is called Domestic Economy, a class book for girls.!
The preface has a lovely line which says "It may be profitable to put the book into the hands of those who are already engaged in domestic work, whether daughters or mothers, mistresses or maids."
I'd love to know who it was given to in 1879.....HMM
Detail of a carved and painted inscription on a freshly painted torii gate within the Shinto, shrine and temple complex of Fushimi Inari Taisha just outside Kyoto, Japan.
The Fushimi Inari shrine covers an entire mountain and is dedicated to Inari - the Shinto god of rice. The wooded mountainside is covered in paths and walkways bordered with thousands of brightly painted, vermilion torii - donated by farmers and merchants. Each torii is inscribed with prayers and details/date of the donor.
If someone is able to translate these characters I'd love to know :-)
Fuji X-H1, XF55-200/3.5-4.8, 1/950th sec at f/3.5, ISO 200 FL ~55mm
This is in Bellefontaine Cemetery in St. Louis. A grand structure for a grand man. An inscription reads Veni, vidi, vici.
D008_17ab
05/2003 : Ghirza, nécropole nord, tombe C : inscription
"M(archius) Chullam [et] Varnychsi-
n pater et ma[te]r Marchi
Nimmire et [?M]accurasa-
n qui eis hec memori-
am feceru[nt d]iscussi-
mus rati[oci]nio ad
ea eroga[tu]m est sum-
tos merc[e]dibus in n-
ummo*foll[is] singula
res numero quadragi-
nta quinque [milia] sesce-
ntos preter c[i]b[aria] op-
era[nt]ibus felic[iter]
uisitent fili et n[ep]ot[es]"
[Olwen Brogan, D.J. Smith, Ghirza, a libyan settlement in the roman period, Tripoli, 1984]
The owner (who I envisgae as a young woman and a student of the classics) wrote the inscription in pencil before tracing over it in ink...
[ Inscription in Hebrew ]
"In sacred memory of the six million Jewish heroes and martyrs who perished at the hands of the Nazis."
The 20th Century is the century of abject horror. Evil committed on an industrial scale. Political ideology, rather than religious wars precipitated it, whether it be the millions slaughtered under Stalin or Mao, or the singularly shocking genocide of European Jews by the Nazis. You can understand why I hate politics so much. Humanity deserves better and whenever political views divide us this is a cancer eating away at our souls.
The memorial we see here in the Melbourne General Cemetery is dedicated to the six million Jewish people who perished between 1941 and 1945 in what is now called The Holocaust or Shoah. Literally, a "holocaust" is a sacrificial offering completely burned upon an altar. There is no need here to retell exactly how these victims of Shoah died, but it is also true their bodies were consumed in ovens specifically made for the task.
It is all too easy today to dismiss this as madness and evil. Hitler and his cronies were monsters. But the fact is that they were also human beings. The root of that evil lies within the heart of every person. Until we recognise that fact, history will repeat itself. The shadow side of the human soul is an abyss that cannot be plumbed. Only a willingness to live humbly before God and seek forgiveness for our own misdeeds towards our fellow human beings can redeem us from falling into actions that break the sacred cord that ties us all together.
This moving memorial, stands as a witness and a signal warning to every one of us.
There's another Hebrew inscription here too:
"Here are buried bones, ashes & soap
Made from the human remains of our martyred brethren slain in Europe by the Nazis
May their memory live forever
1939 - 1945"
Virtual Tour of the Exhibition "Shoah" at the Auschwitz-Birkenau State Museum
Paschale Ciconia Venetiarum
Duce Anno Christi MDXCI (1591)
Vrbis conditae MCLXX (1170)
curantibus
Aloysio Georgio Proc. - M. Antonio Barbaro Eq. et Proc. - Jacobo Foscareno Eq. et Proc.
Leica M3, Carl Zeiss Planar 2/50 ZM, orange filter, Vetrokam 400 developed in Super Prodol, Epson GT-X830. 1/125, f/5.6.
A solemn and historic artistic atmosphere.
The profound contrast of light and shadow creates a mysterious and tranquil atmosphere. The predominantly dark color palette underscores the solemnity of Burmese temples.
Two stone tablets or plaques inscribed with Burmese script form the visual focal point. Their ancient texture and densely packed inscriptions hint at a long history and profound cultural heritage.
Photographed by Liu Wanching in Myanmar in 2012
🌸
莊嚴肅穆且帶有歷史感的藝術氛圍。
深邃的光影對比，營造出神秘而沉靜的氛圍。 色彩以暗色調為主，突顯了緬甸寺廟的莊重感。
兩塊刻有緬甸文字的石碑或牌匾是視覺的中心，其古樸的質地和密集的文字內容暗示著悠久的歷史和深厚的文化底蘊。
劉浣青2012年攝於緬甸
Inscriptions on a woodpile, in Zizzi's restaurant on the Strand, if I remember correctly.
Connected (in the Connect group): logs.
I can't read the inscription, it has a identifying mark. I think the first name is Ian.
UPDATE: Ian Lamb is the Artist. He made this piece 27 years ago, he is a friend of my ex husband's family, and he was at my wedding, but I only ever saw him that one time.
UPDATE 2: If you read the stamp viewing it from standing on the left vertical of the photo, it is a captial letter "I" and L" for Ian Lamb.
This plate on Ilovica alpine meadow says:
CLOSE THE GATE!
(why?)
BULL ON THE PASTURE!
(not likely)
HAVE DOGS LEASHED!
(yes, why not)
Domburg is a seaside resort on the North Sea, on the northwest coast of Walcheren in the Dutch province of Zeeland.
The area of Domburg has been inhabited since ancient times. In 1647 after heavy storms on the beach of Domburg a sanctuary was discovered with around 40 stones with Latin inscriptions and carvings of several gods, among them of Neptune (sea) and Mercury (trade), but the majority of a local female deity: Nehalennia who appears to have protected both trade and shipping.
Domburg is perhaps best known for its hosting of a group of artists of which Piet Mondraan or Mondrian is the best known. His Pier and Ocean painting was inspired by the same location where James Abbott McNeill Whistler painted the Domburg sea with its characteristic piers which do not cater for the happy crowd but are meant to break waves that may damage the dunes and thus the existence of the place.
on a wall in the Old Town of Rethymno, but who knows what it says...?
This region as a whole is rich with ancient history, most notably through the Minoan civilisation centred at Kydonia east of Rethymno.[2] Rethymno itself began a period of growth when the Venetian conquerors of the island decided to put an intermediate commercial station between Heraklion and Chania, acquiring its own bishop and nobility in the process. Today's old town (palia poli) is almost entirely built by the Republic of Venice. It is one of the best-preserved old towns in Crete.
The town still maintains its old aristocratic appearance, with its buildings dating from the 16th century, arched doorways, stone staircases, Byzantine and Hellenic-Roman remains, the small Venetian harbour and narrow streets. The Venetian Loggia houses the information office of the Ministry of Culture and Sports. A Wine Festival is held there annually at the beginning of July. Another festival, in memory of the destruction of the Arkadi Monastery, is held on 7–8 November.
The city's Venetian-era citadel, the Fortezza of Rethymno, is one of the best-preserved castles in Crete. Other monuments include the Neratze mosque (the Municipal Odeon arts centre), the Great Gate (Μεγάλη Πόρτα or "Porta Guora"), the Piazza Rimondi and the Loggia.
The town was captured by the Ottoman Empire in 1646 during the Cretan War (1645–69) and they ruled it for almost three centuries. The town, called Resmo in Turkish, was the centre of a sanjak during Ottoman rule.