Birds Of Cornwall & Isles Of Scilly
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Siberian Chiffchaff - Phylloscopus (collybita) tristis
Siberian chiffchaff (Phylloscopus (collybita) tristis) is a leaf-warbler which is usually considered a subspecies of the common chiffchaff, but may be a species in its own right.
Siberian chiffchaff breeds in Siberia east of the Pechora River and winters in the lower Himalayas.
It is also regularly recorded in western Europe in winter, and it is likely that the numbers involved have been underestimated due to uncertainties over identification criteria, lack of good data and recording policies (Sweden and Finland only accept trapped birds).
Because of their unfamiliar appearance, British records in the 1950s and 1960s were originally thought to be greenish warblers, and accepted as such by BBRC, the national rarities committee, until the records were reviewed in the 1980s.
Siberian Chiffchaff - Phylloscopus Collybita Tristis
One of about 10 overwintering Chiffies!
Siberian Chiffchaff - Phylloscopus (collybita) tristis
Siberian chiffchaff (Phylloscopus (collybita) tristis) is a leaf-warbler which is usually considered a subspecies of the common chiffchaff, but may be a species in its own right.
Siberian chiffchaff breeds in Siberia east of the Pechora River and winters in the lower Himalayas.
It is also regularly recorded in western Europe in winter, and it is likely that the numbers involved have been underestimated due to uncertainties over identification criteria, lack of good data and recording policies (Sweden and Finland only accept trapped birds).
Because of their unfamiliar appearance, British records in the 1950s and 1960s were originally thought to be greenish warblers, and accepted as such by BBRC, the national rarities committee, until the records were reviewed in the 1980s.
Siberian Chiffchaff - Phylloscopus (collybita) tristis
Siberian chiffchaff (Phylloscopus (collybita) tristis) is a leaf-warbler which is usually considered a subspecies of the common chiffchaff, but may be a species in its own right.
Siberian chiffchaff breeds in Siberia east of the Pechora River and winters in the lower Himalayas.
It is also regularly recorded in western Europe in winter, and it is likely that the numbers involved have been underestimated due to uncertainties over identification criteria, lack of good data and recording policies (Sweden and Finland only accept trapped birds).
Because of their unfamiliar appearance, British records in the 1950s and 1960s were originally thought to be greenish warblers, and accepted as such by BBRC, the national rarities committee, until the records were reviewed in the 1980s.
Siberian Chiffchaff - Phylloscopus Collybita Tiristis
One of Several Overwintering Chiffies, a mixture of Common and Siberian
Siberian Chiffchaff - Phylloscopus (collybita) tristis
Siberian chiffchaff (Phylloscopus (collybita) tristis) is a leaf-warbler which is usually considered a subspecies of the common chiffchaff, but may be a species in its own right.
Siberian chiffchaff breeds in Siberia east of the Pechora River and winters in the lower Himalayas.
It is also regularly recorded in western Europe in winter, and it is likely that the numbers involved have been underestimated due to uncertainties over identification criteria, lack of good data and recording policies (Sweden and Finland only accept trapped birds).
Because of their unfamiliar appearance, British records in the 1950s and 1960s were originally thought to be greenish warblers, and accepted as such by BBRC, the national rarities committee, until the records were reviewed in the 1980s.
Chiifchaff - Phylloscopus Collybita Tiristis
One of approx 20 overwintering birds.
Siberian Chiffchaff - Phylloscopus (collybita) tristis
Siberian chiffchaff (Phylloscopus (collybita) tristis) is a leaf-warbler which is usually considered a subspecies of the common chiffchaff, but may be a species in its own right.
Siberian chiffchaff breeds in Siberia east of the Pechora River and winters in the lower Himalayas.
It is also regularly recorded in western Europe in winter, and it is likely that the numbers involved have been underestimated due to uncertainties over identification criteria, lack of good data and recording policies (Sweden and Finland only accept trapped birds).
Because of their unfamiliar appearance, British records in the 1950s and 1960s were originally thought to be greenish warblers, and accepted as such by BBRC, the national rarities committee, until the records were reviewed in the 1980s.
Oil/Chemical Tanker
Longueur Hors Tout x Largeur Hors Tout: 128.62m × 21m
Année de Construction: 2011
Navigue actuellement sous le pavillon de Malte.
Pris sur la Gironde à Saint-Estèphe.
Pustozersk (Russian: Пустозерск) or Pustozyorsk (Пустозёрск) was the first town built by Russians north of the Arctic Circle. It was the administrative center of Yugra and Pechora regions of tsarist Russia. It was situated in what is today Nenets Autonomous Okrug, about 20 km south-west of Naryan-Mar.
Pustozersk was founded in 1499 in the lower reaches of the Pechora River by Princes Semyon Kurbsky and Pyotr Ushaty. The town was built in a deserted area on barren soil, hence the name Pustozersk, which literally means "place of empty lakes", from пустых (of empty) + озер (lakes) + -ск (word ending for a place-name). It was the most distant northern outpost of Muscovy and the first Russian settlement on the Pechora. Pustozersk was supposed to play the role of a military fort on the northern borders of the Russian state. Beginning in 1644, the city was frequently attacked by Samoyedic peoples.
Pustozersk had been the administrative center of Pustozersk volost for more than two and a half centuries (until 1780). The town was most active in the 17th century, when such notable people as Artamon Matveyev, Vasily Galitzine, and Avvakum were exiled there. The spot where the latter was burnt at the stake is now commemorated by an ornate wooden cross.
In the 18th century, Pustozersk gradually lost its economic importance and began to deteriorate because a more convenient southern route to Siberia through the Urals had been discovered. In 1924, Pustozersk lost city status and was described as "not a city, but an ordinary, small northern village, numbering 25-30 houses and about forty non-residential buildings."
During World War II, 41 residents fought in the war, of which 19 were killed. During the war, the population increased to 106, mostly from refugees, however after the war, the population dropped to 28 in 1951, and just 6 in 1959. The last residents left in 1962
2012. Russia. Republic of Komi, Pechora District, the settlement of Lugovoy. A savage frost, minus 43 degrees Celsius. The camera survived. :)
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2012 год. Республика Коми, Печорский район, посёлок Луговой. Дикий мороз — минус 43 градуса по Цельсию. Фотоаппарат выжил :)
Hillswick, Shetland. Walking back to the car from the Pechora a couple were looking in to a garden and this shrike was there. Its presumed sub-species homeyeri from SE Europe, the large wing flashes are indicative. After a bit of time with it, it was down to Quarff for a Lancey, although I only got views of it, no shots. Another good Shetland day.
en.wikipedia.org/wiki/Siberian_chiffchaff
Siberian chiffchaff (Phylloscopus (collybita) tristis) is a leaf-warbler which is usually considered a subspecies of the common chiffchaff, but may be a species in its own right.
Range
Siberian chiffchaff breeds in Siberia east of the Pechora River and winters in the lower Himalayas.[1]
Status in Europe and North America
It is also regularly recorded in western Europe in winter, and it is likely that the numbers involved have been underestimated due to uncertainties over identification criteria, lack of good data and recording policies (Sweden and Finland only accept trapped birds).[2]
Because of their unfamiliar appearance, British records in the 1950s and 1960s were originally thought to be greenish warblers, and accepted as such by BBRC, the national rarities committee, until the records were reviewed in the 1980s.[3]
A Gambell, AK bird discovered by Alexander Lin-Moore and Ethan Goodman on June 5, 2015 and seen by many birders would be the 4th (or 5th?) reported in North America.[4]
Appearance and vocalisations
It is a dull bird, grey or brownish above and whitish below, with little yellow in the plumage, and the buff-white supercilium is often longer than in the western subspecies. It has a higher pitched suitsistsuisit song and a short high-pitched cheet call.[5] It is sometimes considered to be a full species due to its distinctive plumage and vocalisations, being similar to P. s. sindianus in these respects.[6][7]
Taxonomy[edit]
Common chiffchaffs (of the nominate race) and Siberian chiffchaffs do not recognize each other's songs.[8][9] Pending resolution of the status of the form fulvescens, which is found where the ranges of common chiffchaff (of the race abietinus) and Siberian chiffchaff connect and may[10] or may not[9] be a hybrid between these, tristis is maintained in P. collybita by most checklists.[11]
Russia, Komi Republic, Pechora district, Ust-Kogva village, 2013
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Россия, Печорский район, деревня Усть-Кожва, 2013
Naryan-Mar (Russian: Нарья́н-Мар; Nenets: Няръянa марˮ, Nyar'yana marq, literally "red town") is a sea and river port town and the administrative center of Nenets Autonomous Okrug, Russia. The town is situated on the right bank of the Pechora River, 110 kilometers (68 mi) upstream from the river's mouth, on the Barents Sea. Naryan-Mar lies north of the Arctic Circle. Population: 21,658 (2010 Census); 18,611 (2002 Census); 20,182 (1989 Census); 17,000 (1973). About half of the population of Nenetsia lives in the city.
Industrial development in the area around Naryan-Mar began in 1930, in the course of the first five-year plan of the Soviet Union. The growth of the region was the direct result of the development of the Pechora coalfield and the construction of related industrial infrastructure.
Naryan-Mar was for many years a center of the lumber industry, and possesses several large, and currently defunct, lumber mills. At present, the biggest employer in the town is the petroleum company LUKoil.
The town's importance derives from being the only developed commercial port in an area of several thousand square miles. As a result, Naryan-Mar has a reasonably well developed tourist and hospitality services, with several saunas and hotels. The town also hosts a local museum, a large World War II memorial, an Orthodox church, and a historic district which predates the foundation of the modern city. Sports fishing is also possible in the area.
Pskov-Pokrovskaya Icon of the Mother of God
The basis for the creation of the icon "Theotokos of Pskov-Pokrovskaya" was the "Legend of the Vision of Dorotheus", which tells about the miraculous appearance of the Mother of God and the saints to Elder Dorotheos, a monk of the Intercession Monastery, during the siege of Pskov by the troops of the Polish king Stephen Batory in 1581. "The Legend" is the earliest literary monument dedicated to the heroic defense of Pskov.
The icon depicts the Pokrovsky Monastery and the Pokrovskaya Tower, the Trinity Cathedral and some other temples, the Velikaya River, the fortress walls, the Mirozhsky and Pechora monasteries.
en.wikipedia.org/wiki/Siberian_chiffchaff
Siberian chiffchaff (Phylloscopus (collybita) tristis) is a leaf-warbler which is usually considered a subspecies of the common chiffchaff, but may be a species in its own right.
Range
Siberian chiffchaff breeds in Siberia east of the Pechora River and winters in the lower Himalayas.[1]
Status in Europe and North America
It is also regularly recorded in western Europe in winter, and it is likely that the numbers involved have been underestimated due to uncertainties over identification criteria, lack of good data and recording policies (Sweden and Finland only accept trapped birds).[2]
Because of their unfamiliar appearance, British records in the 1950s and 1960s were originally thought to be greenish warblers, and accepted as such by BBRC, the national rarities committee, until the records were reviewed in the 1980s.[3]
A Gambell, AK bird discovered by Alexander Lin-Moore and Ethan Goodman on June 5, 2015 and seen by many birders would be the 4th (or 5th?) reported in North America.[4]
Appearance and vocalisations
It is a dull bird, grey or brownish above and whitish below, with little yellow in the plumage, and the buff-white supercilium is often longer than in the western subspecies. It has a higher pitched suitsistsuisit song and a short high-pitched cheet call.[5] It is sometimes considered to be a full species due to its distinctive plumage and vocalisations, being similar to P. s. sindianus in these respects.[6][7]
Taxonomy[edit]
Common chiffchaffs (of the nominate race) and Siberian chiffchaffs do not recognize each other's songs.[8][9] Pending resolution of the status of the form fulvescens, which is found where the ranges of common chiffchaff (of the race abietinus) and Siberian chiffchaff connect and may[10] or may not[9] be a hybrid between these, tristis is maintained in P. collybita by most checklists.[11]
Russia, Komi Republic, Pechora district, Naberegni village, 2013
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Россия, Печорский район, поселок Набережный, 2013
Website / Telegram / Youtube / VK / Instagram
from photo project Beyond the Pechora River
Russia, Komi Republic, Pechora district, Ust-Kogva village, 2013
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Россия, Печорский район, деревня Усть-Кожва, 2013
Эта фотография является часть моего фотопроекта Там, за рекой Печорой
Russia, Komi Republic, Pechora district, Red Yag village, 2013
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Россия, Печорский район, поселок Красный Яг, 2013
Russia, Komi Republic, Pechora district, Ust-Kogva village, 2013
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Россия, Печорский район, деревня Усть-Кожва, 2013
In the wild lands of the Komi Republic, one can find one of seven wonders of Russia, the Manpupuner rock formations (in translation from the Mansi language, the mountain of stone idols). This sacred place of the Mansi tribe — seven high rocks of bizarre form — is surrounding by nothingness. There is no settlement within 100 kilometers. It is not easy to see to get there: one has to overcome a tough land route or reach the plateau by air. As befits a sacred place, the seven Mansi idols are unapproachable and keep their secrets with care. However, the number of those who want to come to Manpupuner is growing every year.
The huge stone pillars of irregular shape resemble a gigantic rock garden or a natural Stonehenge. Each of the rocks is as high as a 10-15-story building and has unique shape. From certain angles, the pillars collectively form the shape of a giant, or a horse's head. No wonder that Manpupuner has a reputation of an energy source for mystics. The locals still consider it sacred. In ancient times, ascending to Manpupuner was considered to be a great sin.
There are many legends about the rock pillars. According to one, the seven idols were terrible giant brothers, forever stopped by the forces of good spirits in the Yalpingnyor mountains. One of the pillars is located at some distance from others. According to the legend, he was the first giant to be turned into stone. Horror-stricken, he threw his drum away and his brothers suffered the same fate later when they tried to run away. This is how the locals were saved from powerful invaders.
However, scientists have their own, far less poetic version. Some 200 million years ago, gigantic mountains towered over the landscape here. Under the influence of wind and time softer rock formations were destroyed and the harder ones remained, perhaps as a reminder of former greatness. These separate rocks are called residual outcrops. This is how the stone pillars appeared in the Komi Republic.
Today, for the convenience of tourists, hiking trails with clear paths and rest areas have been laid to the Manpupuner rock formations. Guest houses are also available. The Manpupuner rock formations are usually uncrowded, as they are located in the Pechora-Ilych Nature Reserve, which limits the number of visitors.
History
Rila Monastery .
The Rila Monastery was founded in the 30-th years of X century on the place of the Old Anchoress in Rila Mountain. While the monastery has been existing, it was many times rebuilt, destroyed and reconstructed. Today the Rila Monastery has had this appearance since the middle of the previous century. It is the biggest and the most respected Bulgarian monastery.
It is considered that the creator of the Rila Monastery is the first Bulgarian hermit Ivan Rilsky (876-946), he chose to live in this way as a method of spiritual perfection and a way to express his protest against the suppression of the high moral rules of the real Christianity. The Bulgarian saint was born in the 70-th years of IX century. He was a witness of the decline of the First Bulgarian Kingdom at the time of king Peter I and Saint Ivan Rilsky became the most respected saint in the Orthodox Christianity in that time. At the time of the Byzantine slavery the established brotherhood was turned into a monastery. At the beginning of the Second Bulgarian Kingdom the relics of Saint Ivan Rilsky was displaced to the capital of the country Veliko Tarnovo as the most important relic for the Bulgarians.
That the monastery has been existed for a millennium and that the Rila monks has been aware of the mission of books are the factors that produced the monastery library which can rival Europeans counterparts. The abundant collection comprise works that have been written in the monastery, works that have been commissioned to eminent men of letters and books and manuscripts that have been donated or bought.
Fot centuries the Rila Monastery has been the centre of intensive literacy activities. Outstanding educators, anonymous copyists, manuscript illuminators and book-binders spent years working there. As a result of their work today the library collection is one of the richest in the Balkans.
Among the men of letters who worked at the Rila Monastery were the grammarian Spiridon, hieromonk Anastasy, Vladislav Grammaticus, Nikifor, Yossif Bradati and the great National Revival educator and champion for secular education Neophit Rilski who brought to light all manuscripts, catalogued the library and invested a lot of effort to make it a public library which was open to the numerous pilgrims visiting the monastery.
The National Revival Period transformed the Rila Monastery into a major educational and cultural centre of the Bulgarian lands. The literary school evolved into an educational institution where some of the most prominent enlighteners of the nation received their education. The library opened its gates to inquisitive pilgrims and this is testified by the numerous marginal notes found in the old books. Thus very naturally it acquired the functions of a public library and paved the way to the community centre libraries which became very common during the National Revival.
The Rila Monastery Library manuscript collection comprises Slavic and Greek records dating from the 11th to mid-19th century. In addition to their literary merit these records have artistic merits. Most of them have illuminations which show the Bulgarian tradition in that art. It is noteworthy that despite the large number of service books in Greek, the monastery churches and chapels never heard service in Greek although it is evident the monks had good knowledge of the language which they could speak and in which they could read and write.
The Rila Monastery collection of printed books the earliest of which date from early 16th century comprises valuable items: a Tetraevangelia from 1512 that was published I Turgovishte, books that were printed in the Venice printing house which was established in 1619, many Russian old printed books, several of very rare editions that were printed in Vilno, of the Kievan-Pechora Laura, Moscow printed prologues.
The long history of the buildings in the Rila Monastery goes back to late 10th century when the monastic community that the Rila hermit had founded put up the first buildings not far from the cave which he occupied.
Since the 15th century and particularly during the Bulgarian National Revival the numbers of pilgrims increased significantly and a large group of service buildings appeared around the monastery. The reception buildings of the metochia and the sketae along the river Rilska where there were places associated with the patron saint’s worship were renovated during the same period. In this way several architectural ensembles appeared whose purpose was to provide shelter and also to prepare worshippers mentally for their encounter with the holiest place in Bulgaria.
The first thing that the visitors of the monastery see as they set foot on the Rila Mountain is the Orlitsa metochion which in the course of almost five centuries has been receiving pilgrims coming from the western parts of Bulgaria. In 1469 the Church of St. Peter and Paul was built to lay the relics of St. Ioan of Rila after they had been returned to the monastery. In 1491 a group of icon painters decorated the church which had been redesigned in 1478.
The next metochion which is closer to the monastery is called Pchelino. It was here that the Church of the Dormition of the Virgin was put up in the late 18th century and decorated with frescoes in 1835 by Dimiter Molerov.
The Hermitage of St. Ioan of Rila is northeast of the monastery and farthest. It stands where the cave in which the hermit lived is and where he was initially buried. For this reason the Church of the Assumption of St. Ioan of Rila was built in 1746. It is a single nave, single apse building with narthex. In 1820 it was rebuilt and became what it is today.
A path leads from the Hermitage to the monastery. Along the path there are several picturesque buildings built down a steep slope. This is the Steke of St. Luke, also known as the New hermitage. The oldest building here is the late 17th century Church of St. Luke the Evangelist. It was painted in 1798-1799 when carvers from Bansko carved wooden iconostasis. The surviving frescoes are a product of the Toma Vishanov's brush , called Molera from Bansko who had studied in the Central Europe and introduced baroque elements in the Bulgarian ecclesiastical art, creating expressive and ethereal paintings which were new for those times.
The second church of the ensemble, the Shroud of the Virgin, was put up in 1805 over the holy fountain by the builders Mihail and Radoitsa from the village of Rila. It has a large semi-open exonartes with an outdoor structure whose walls were painted by Toma Vishanov in 1811.
A small group of buildings that are enclosed by a stone wall is very near to the monastery. It includes the cemetery church and the monastery ossuary, several buildings with living premises and the monastery cemetery. The cemetery church of the Presentation of the Virgin where the brethren served their funeral service dates probably from the early 17th century. Like most medieval ossuaries it is on two levels and is a small lavishly decorated one-aisle church. Its frescoes from 1795 are characteristic of the style of a group of Bulgarian artists who worked on Mount Athos during the 18th and 19th centuries. Its iconostasis is noted for its elegant proportions and beautiful wood encarving.
Between the 10th and 14th centuries the Monastery changed places several times.
In the 14th century Hrelyo Dragovol, a feudal lord whose domain comprised the lands around the river Strouma, transformed the monastery into a solidly fortified and imposing architectural ensemble. This is proved by the remains of solid walls in the southwestern corner of the monastery courtyard unearthed during archeological excavations and also by the prominent tower which still stands in the courtyard and by the paintings in the monastery church built by the feudal lord and surviving until the mid-19th century.
Large-scale building work began some time during mid-18th century and after 1816 the monastery already had high solid residential buildings which enclosed the courtyard in the shape of an irregular quadrangle.
January 13, 1833 was one of the most tragic days in the long history of the monastery. The fire which broke out during the night destroyed almost completely the residential quarters. That was a national calamity and soon people began sending donations for the monastery’s restoration. Thousands of masons, carpenters and auxiliary workers arrived to work and did not get payment for their work. Only for a couple of years the buildings were restored.
Three Bulgarian master builders (purvomaistori) were in charge of the construction works whose scale was unprecedented in those times. They were Alexi from the village of Rila, called Alexi Rilets, who built the northern parts of the east and the west wings, Milenko from the village of Radomir who built the south wing ‘architecton’ Pavel from the village of Krimin who built the church which at the time was the largest in the Balkans. The decoration of the main church, the chapels and the visitors’ rooms was completed by 1870. at that time the monastery looked as we know it today.
The church of the Nativity of the Virgin is the monastery’s main church and the core of the architectural ensemble. Its construction began in 1835. That was an event of paramount importance for the entire Bulgarian nation. The innovative daring and the flexibility with which tradition has been interpreted in the architectural design of its imposing church reveals the nature of art during the National Revival Period.
This church building is unique in the Balkans. It was built by the then widely known master builder Pavel from the village of Krimin who had worked on Mount Athos and from where he borrowed the original spatial design of the church. The compositional scheme includes medieval elements and baroque spatial principles, an approach which distinguishes Bulgarian church architecture and whose features are observed in the art of the epoch.
The wall paintings in the Church of the Nativity of the Virgin were made by the most prominent Bulgarian painters at the time. Most of them were from Samokov where the artists of the Zograph (Painter) family, Zahari Zograph, Dimiter H. Zograph and Stanislav Dospevski, worked. In the 1840s they were joined by Ivan Obrazopissets and his son Nikola Obrazopissets. There was a group of artist of Bansko led by Dimiter Molerov, and many other unknown assistants. In the course of several years, at the cost of great effort, to quote Neophit Rilski, they completed the church interior walls, the domes, the facades hidden under the arcade and its small domes and produced 40 large icons for the iconostases and many other smaller ones.
The central iconostasis is the work of a group of woodcarvers who worked under the supervision of Atanas Teladour. They spent three years working on it, from 1839 to 1842, investing it with experience of several generations of carvers who founded the Bulgarian school of wood carving. The size and composition of the iconostasis are unrivaled in the Balkans. Same as architecture it follows the traditions of the school combining time-honoured element of space and as a unifying element emphasizing the centre of the basilica.
The carving which covers it from end to end is somewhat different from the carving on other iconostases. Here everything is bigger to harmonize with the large space inside the church. The carving differs from filigree miniature and is more like sculpted rather than carved.
The colours of this huge iconostasis are in harmony with the rich colours of the interior. In the dim church space frames by the painted walls, illuminated by the hundreds of candles burning in the candleholders, the iconostases’ gilded carved surfaces glitter and reflect upon the brightly coloured icons merging with the church space forming a complete artistic whole.
The monastery which was visited by many people had to provide accommodation and amenitites to the pilgrims. Some Bulgarian towns had their own guest rooms offering accommodation only to their notables. The Koprivshtitsa, Chirpan, Gabrovo and Teteven rooms have been presented to this day. They are in the north wing which is like an ethnographic exposition.
The monastery kitchen is on the ground floor of the same wing. The food for pilgrims was cooked there. The kitchen is large and has an overhead opening in the shape of the huge stone chimney which goes through all the levels to take smoke from the fire to the roof and out. It is in the shape of a hollow pyramid whose walls are built by octahedrons which grow smaller. The spaces between them have been filled up by semicircular arcs. The result is an ideally balanced self-supporting 22 meter high construction whose lightness and strength have been provided in the course of more than a century.
The prints, graphic impressions upon copper plates of wood, were of special significance for the popularization of the monastery and the history of its founder. There were two common types: St Ioan of Rila with miniature scenes from his life, and the monastery itself with the main sketae and metochia along the rive Rilska. Those prints were available even to the poorer pilgrims and thus popularized the Rila Monastery across the Balkan lands, serving as books for the illiterate who could learn from them the legends about the monastery and St Ivan of Rila. Initially the monastic community commissioned the prints in Moscow or Vienna. However, as demand for such prints was growing during the 19th century, a monk Kalislearn the craft of print-making and in 1856 the monastery acquired a large iron press and opened its own workshop for the production of prints. The output of the latter was large. Nevertheless the prints that it turned out were not inferior and some even could view with art primitives.
The printing press that the monastery bought the 1860s from Vienna is also on display in the monastery museum. The repositories keep most of handmade copper printing plates and prints produced with them.
The Rila Monastery museum collections trace its history over the countries and reveal its role in Bulgaria’s cultural history. In the course of the centuries the Rila Monastery maintained lively relations with the countries of the Eastern Orthodox world; the metochia that were scattered in all Balkan Peninsula lands with Bulgarian population did educational work; the monastery repository holds records, books, church plate, icons and gifts from pilgrims.
The Rila Monastery History Museum possesses a rich collection of extremely valuable exhibits both in the exposition halls and in the monastery vaults. The exhibits are thematically grouped and trace the evolution of the monastery and its cultural, religious and nation-consolidation role.
The exposition includes the early historical and ecclesiastical collection of the monastery, some books of the monastery library and many copies of wall paintings that have been destroyed, icons, prints, vestments and church plate.
In 1980 the International Federation of Travel Writers and Journalists (FIJEST) distinguished the Monastery with Golden Apple, the highest award for familiarization and cultural tourism. Ion 1983 the Rila Monastery was recorded on the List of World Cultural Heritage as a world cultural value. Again at that time it got the status of a national museum, so the government started subsiding the museum collections, conservation and restoration of the wall paintings and the architectural heritage. A decree of the Council of Ministries of the Republic of Bulgaria reinstated the monastic status of the Rila Monastery in 1991, so today it is again the largest religious centre in the Bulgarian lands.
Through „The Rila Monastery”, Prof. Dr Margarita Koeva
Translation: Kostadin Marinov
Certificated for the translation: Marina Rulioko
from photo project Beyond the Pechora River which is available on my website
Russia, Komi Republic, Pechora district, Ust-Kogva village, 2013
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Россия, Печорский район, деревня Усть-Кожва, 2013
Эта фотография является часть моего фотопроекта Там, за рекой Печорой ,который доступен на моём сайтe
Russia, the Komi Republic,city of Pechora.
First day of spring. Very cold ( -40 °C),
2013
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Россия, Республика Коми, город Печора.
Первый день весны, температура -40 °C.
2013 год
I just watched a wildlife documentary from Svalbard, that made me want to go through more of the photos from my trip 1.5 years ago.
This is a flock of at least 19 walruses we met while in a boat. They are really enjoyable to watch.
Walruses have a disjointed circumpolar distribution. Two subspecies are recognized, one in the Pacific and the other in the Atlantic.
In the Northeast Atlantic walruses are distributed in shallow coastal areas along eastern Greenland, the Svalbard and Franz Josef Land Archipelagos, and in the southern Barents, Pechora and Kara Seas. Svalbard’s walruses are part of a joint population (genetically indistinguishable) with animals on Franz Josef Land.
Walruses generally live to be about 20 to 30 years old in the wild, but they have been known to live as long as 40 years.
(Hvalross in Norwegian)
My album of images from Svalbard here.
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September, 2012. Lake in the village of Lugovoi (Russia, Komi Republic, Pechora region).
On photos Alexey Gubchenko. In the village he was known under the nickname Löha Bach-Mach. On this day, he collected metal on one side of the lake, and then transported it to the other to sell the metal for money.
Drowned in the Pechora River in 2021.
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Сентябрь, 2012 года. Озеро в посёлке Луговой (Россия, Республика Коми, Печорский район).
В кадре Алексей Губченко. В посёлке его знали под прозвищем Лёха Бах-Мах. В этот день он собирал металлом на одном берегу озера, а потом перевозил на другой чтоб сдать металлом за деньги.
Утонул в реке Печора в 2021 году.
Russia, Komi Republic, Pechora district, Naberzngniy village. March, 2013
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Россия, Республика Коми, Печорский район, поселок Набережный. Март, 2013 год
On the mountain within the monastery stands the Cathedral of Michael the Archangel (1815-1827 gg.). It was built in honor of the victory of the Russian troops in the war of 1812 (architect AI Ruska), which was made by General Wittgenstein's corps under Polotsk with Pskov's, Izborsk's and Pechora's men. To build this church soldiers of the corps was collected 30 thousand rubles. The church was built according to the project of St. Petersburg architect A. I. Ruska in the style of Russian classicism.
The temple in classical style has three four-columned portico. The western porch of the cathedral is built into the wall of the monastery fence; Thus, one of the porticoes draws the entrance to the cathedral from the outside of the monastery. The building ends with a light rotunda.
Inside the church, on two columns, two copper memorial plaques with the names of Wittgenstein corps warriors who fell in the Patriotic War of 1812 are affixed. This is the only building of the monastery, which has a gateway out beyond the fortress walls.
From a flock of at least 19 walruses we met while in a boat on Svalbard nearly 2 years ago. They are really enjoyable to watch.
Walruses have a disjointed circumpolar distribution. Two subspecies are recognized, one in the Pacific and the other in the Atlantic.
In the Northeast Atlantic walruses are distributed in shallow coastal areas along eastern Greenland, the Svalbard and Franz Josef Land Archipelagos, and in the southern Barents, Pechora and Kara Seas. Svalbard’s walruses are part of a joint population (genetically indistinguishable) with animals on Franz Josef Land.
Walruses generally live to be about 20 to 30 years old in the wild, but they have been known to live as long as 40 years.
(Hvalross in Norwegian)
My album of images from Svalbard here.
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Registration: RA-46610
Type: Ан-24RV
Engines: 2 × AI-24-II
Serial Number: 086-07
First flight: 1973
Komiinteravia is a former airline established in March 1996, based in Syktyvkar, Komi Republic, Russia. It began operations in July 1997 and provided domestic passenger transportation, as well as cargo charters to domestic and international destinations. An-24 turboprop aircraft were operated mainly for regional flights, connecting Syktyvkar with the northern cities of Ukhta, Usinsk, Ust-Tsilma, Pechora and Vorkuta. The Tu-134 jet was used on longer and busier routes. In 2004, the company came under the control of UTair Airlines, which planned to create a new regional division based on Komiinteravia. In December 2006, Komiinteravia was transformed into a new airline, UTair Express, which received permission to carry out commercial air transportation on An An-24 aircraft.
Poster for Aviators.
Hillswick, Shetland. Sat briefly on the wall leading off from the cemetary for a second, though irises waving around in front obscured the focus of the shot. Siberian vagrant & lifer.
Russia, Komi Republic, Pechora district, Lugovoi village, 2012
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Россия, Печорский район, поселок Луговой, 2012
Russia, Komi Republic, Pechora district, Ust-Kozhva village, 2013
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Россия, Печорский район, деревня Усть-Кожва, 2013
I have no idea what the fuck I'm doing.
It's a 30mm manually-operated cannon. It uses two-piece shells. Ammo selection includes APDS, APHE, AP, HESH, HE and HEAT. It's usually mounted on a tripod or a static mount.
I was originally intending to make this 57mm. Then I decided it was too big and scaled it down to 40mm. Then I decided that was also too big and scaled it down to 30mm. It has a gigantic hydro-pneumatic recoil system because one, it's too big; and two, you can't really open the breech or load the gun by hand, shit's too heavy. Iron sights are on the left side. And that's all you need to know about it.
Deii originally gave me a challenge of making an unconventional gun of whatever sort. So I drew a handheld, 30mm cannon that fired two-piece HESH shells to blow up heavily-armoured spacecraft doors and bunkers and light armoured vehicles. Not very unconventional but fuck you when I like an idea I roll with it. And then one day I got bored and made this. So, credits go to Deii for giving me the idea.