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No Mysterians though
Question Mark and the Mysterians was a band that had a big hit with "96 Tears" back when I was a teen.
Any Questions ; Ask
twitter ; @Ebtisam_LOtaibi
-Copyright for this gallery photo belongs solely to © Ebtisam Photography
Busted out a handful of stickers last night, getting in the groove!
I have to make alot since people been picking up packs like hotcakes from my store: joshandjosh.bigcartel.com/
Question: joker hat
Gotham (based off of th_squirrel): captain America head, Jurassic world torso, power miners waist
Firestorm: syndrome hair, flash head
Captain atom: extremis soldier head, storm trooper torso
Like, credit and follow, thx
When this installation was first on view, many have questioned what it was intended to mean. The words “Same but not equal” was painted in all caps on top of a collage of Thai newspaper “khaosod” on linen canvas. The panel was placed on top of two piles of Thai rice. Although the pile of rice appears the same, one pile of rice is ordinary rice and the other, apparently, is premium export-grade Thai jasmine rice.
To one art blog Blouin Art Info [1], it is a commentary about ABHK, where Art Basel Hong Kong, though featuring many of the same galleries seen Art Basel Switzerland and Art Basel Miami, is in many ways different than their counterparts given the type of art works being shown in comparison.
To me, it is a commentary on a larger issue where news media speak of the same kind of political news though their analysis and content is highly different.
Art is up to all kinds of interpretation. I have no idea if the artist created this piece specifically for ABHK, if so then perhaps that does have some validity. It is interesting nevertheless, though I would most certainly not pay 100-150k USD for it which is apparently the asking price for this work [2].
Rirkrit Tiravanija
Untitled (same but not equal), 2013
Newspaper on Linen, Rice
286 x 220 cm
# Rirkrit Tiravanija
b. 1961 Buenos Aires, Argentina
1980 Carleton University
1980-1984 Ontario College of Art, Toronto, Canada
1984 Banff Center School of Fine Arts
1984–86 School of the Art Institute of Chicago
1985-86 Whitney Independent Studies Program
1982 Moved to New York, NY
Rirkrit Tiravanija (Thai: ฤกษ์ฤทธิ์ ตีระวนิช, pronunciation: [rɯk-rit tira-wanit] or Tea-rah-vah-nit) is a contemporary artist residing in New York, Berlin, and Chiang Mai. He was born in Buenos Aires, Argentina in 1961. His installations often take the form of stages or rooms for sharing meals, cooking, reading or playing music; architecture or structures for living and socializing are a core element in his work.
en.wikipedia.org/wiki/Rirkrit_Tiravanija
# Shanghai Gallery of Art 沪申画廊
3F, No. 3, Zhong Shan Dong Yi Road
200002 Shanghai
China
# Notes
1. enjp.blouinartinfo.com/news/story/905969/same-but-not-equ...
2. artsy.net/artwork/rirkrit-tiravanija-untitled-same-but-no...
# SML Data
+ Date: 2013-05-23T17:45:10+0800
+ Dimensions: 5412 x 3619
+ Exposure: 1/40 sec at f/8.0
+ Focal Length: 29 mm
+ ISO: 640
+ Camera: Canon EOS 6D
+ Lens: Canon EF 17-40 f/4L USM
+ GPS: 22°16'59" N 114°10'22" E
+ Location: 香港會議展覽中心 Hong Kong Convention and Exhibition Centre (HKCEC)
+ Workflow: Lightroom 4
+ Serial: SML.20130523.6D.14129
+ Series: 新聞攝影 Photojournalism, SML Fine Art, Art Basel Hong Kong 2013
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
Mixed media installation by Rirkrit Tiravanija (b. 1961): Untitled (same but not equal), 2013 (Newspaper on Linen, Rice) / 沪申画廊 Shanghai Gallery of Art / Art Basel Hong Kong 2013 / SML.20130523.6D.14129
/ #ABHK #Photojournalism #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLFineArt #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #Art #FineArt #ArtBasel #RirkritTiravanija #沪申画廊 #ShanghaiGalleryOfArt #installation #mixedmedia #rice #same #equal
Our Daily Challenge ... the big question.
Why do the days, weeks and years seem to be getting shorter as I get older? I used to be able to get so much more done in a day than I can now. It must be that time is passing more quickly ... I'm sure I'm not getting slower ... not that much anyway!
Thanks to Garth for giving me the info on how to use GIMP for producing this sort of thing.
This photo caught me in a genuinely reflective moment in early June during a rather wonderful day of cross-dressing. I find I am still dealing with my cross-dressing and as the shutter closed I was suddenly in a moment of pure contentment because I was wearing full make-up, a wig, my entire body had been waxed and was smooth and hair free, I had plucked my eyebrows, I had false breasts, I was a wearing a bra and knickers, I was wearing a dress and high heel shoes, my nails were painted and I had attached clip on ear rings and dabbed on perfume. I suddenly found myself wondering about the whole thing, was I doing something wrong? Was I right to give into my desire to dress up as a woman? Why was I doing this? Many thoughts cascaded through my mind at this brief moment in time.
I describe myself as a transvestite and I like calling myself that. I find it gives me a thrill to realise I am a man that loves dressing up as a woman. In fact I think its an amazing thing to experience as a male. I enjoy all the effort and commitment required to try and look female. One of the big appeals is how far dare I push things to attempt to be feminine. As I'm not feminine it is a challenge for me and I'm drawn into it every time I cross-dress.
I'll be honest and admit I wish I was physically feminine and had smooth soft skin and a feminine face and physically smaller and slimmer, I would dearly love to be more feminine than masculine but I'm stuck with what I've got as I'm a man.
I enjoy living as a man the majority of the time but without warning the desire to be female can suddenly crash in and consume me and I could weep with the frustration of not being a woman. It's interesting as I feel I am definitely a transvestite, I like being an occasional cross-dressing male yet, I cannot deny at times the urge to be female is dominant and I desperately wish I was one. This overwhelming emotional desire can have me in its grip me for periods and I now know that eventually it diminishes and I get on with life as a man again. I feel there is an element of transsexualism within me as I do love being a woman when I dress up as one.
I am always aware though I am just dressing up and acting know matter how much effort I put into it, I'm still a man under the wig, make-up and dress. Funnily though, that very knowledge thrills and excites me, I genuinely like the idea I'm posing as a woman and it is all an illusion. Of course for me personally I have no real belief I succeed in my female illusion but I adore the experiences and gain a lot of reward from spending time in my female alter-ego. It works rather nicely on several levels for me, emotionally I love it, I enjoy the delight of having a shaved hair free body, I absolutely love wearing make-up...mascara, lipstick, eye-liner...ooh, such heaven! Having tucked genitals, false breasts and wearing lingerie and dresses and skirts is again such a delight and utterly wonderful and as for high heels, I just feel fabulous when I slip them on.
I know I look like a parody of a woman and not like a real woman but I do find an emotional comfort once I'm transformed to the best of my ability and I don't feel unsettled by my swapping gender in my head and acting more female. I've said it before but I would like to experience some time in the role of a woman. It may sound homosexual but I would like to be a female companion out for dinner or a wee drink with a man and I would play the part one hundred percent as a female. I'm not attracted to men at all but the desire to pass a woman and spend time as a female makes me feel such an experience would make my female illusion feel like it's working. It sounds harsh but the man would merely be a prop for my performance. I do see my Helene persona as more of a character acting performance as I ultimately know I live as a man. I've said many times I'm also frustrated actor at heart and the idea of playing a woman convincingly really holds great appeal and also the transsexual element within me feels at home with the scenario I outlined.
What I am attempting to to do, or more accurately become is an heterosexual woman. I know it's an act but I would love to play the role and see if I could carry it off convincingly. I would love to be referred to as 'she', 'her' and perceived as a lady...I would love it!
My biggest ambition is to one day master the ability of completely swapping gender and acting naturally as a woman. I can already do the man thing but I am intrigued to see if I can also be a woman when I become Helene. I lack the self belief just now and I am not that confident in my skills and abilities so much work is needed. I have been accused of being homosexual for expressing similar ambitions for my female persona in the past but I compare myself more to a straight male actor playing a gay man. In my case I'm a straight male playing a female character and I want to play the role realistically. I need to become the woman I am portraying to make the experience feel real to me.
There is of course a flip side to all of this as part of me says 'Really? Maybe you do have homosexual tendencies'. But really I don't quite feel that is correct for me. I just feel what I seek is when I'm a man then I'm a man but as I have an emotional need to feel I can be female now and again then it is natural that when I become a woman then I am a woman. Is it possible to be heterosexual in both genders when one of them, the female, is just an illusion because I'm really a man? I am excited by this as I believe one can be and the sheer daring and adventure of that is both thrilling and a personal challenge I'm attracted to exploring.
I do get frustrated by many in the transgender world being too simplistic and forcing things into black and white explanations, I think as transgender people things are very complex for us in many areas and this is not just about ones sexuality. For example the age old complaint of women can wear male clothing and nobody questions their choices but men cant wear women's clothes without being seen as odd does not quite hold water. When women wear male clothing they usually still look unmistakably like women, its rare they are perceived as being male. Also, they are not trying to look like men. However, when men dress in women's clothing we do take it a lot further as we wear make-up, wigs with female hair styles, add breasts and some of us shave our legs, chest and arms and tuck away our male genitals and wear female underwear...in short we are not just wearing female clothes in our case we are actually trying to look like women, it's quite a different approach to women wearing male clothing. There is a lot more going on in for cross-dressers than just clothes and make-up, we definitely take it emotionally and physically into different area, when we cross-dress many of us desire to look feminine and to look like women.
A friend recently asked me outright why I dressed up as a woman, it was curiosity not a hostile question. I found it was impossible to give him a simple answer as my own desire to seems to have several different motivations driving it. If I were simplistic about it I could say it's because I really enjoy it and I admit I really do! Yet within me are the things I described earlier in this musing and at its core I do have part of me that wishes I was indeed female yet the majority of my being likes my life as a man. I think it comes down to each of us who engage in transvestism has personal urges and desires and some are common but many are individual. I like dressing up and acting the part yet I know I would also like to be that women for real. Part of me believes I can be an heterosexual woman and when I am dressed as Helene I can talk reasonably comfortably about men and enjoy their attention. As I admitted I would be thrilled to actually play the role one hundred percent and be seen with a man and this leads onto what else would I do? Would I allow myself to be kissed? Would I have sex with a man? The reality I feel confident about it is I would not get intimate with a man as I'm married and loyal to my wife so it is unlikely anything I've outlined would ever happen. However, I like to question myself as I can delude myself and I ask if I were not in a relationship how far would I go? I do have a deep curiosity to see how much of a woman I can be and act as so maybe I would allow those kisses and enjoy flirting with a man. I will admit when I am dressed as a woman I am thrilled if a man desires me or finds me attractive as a woman. I cannot quite see that I really look female enough but it has happened and I was definitely thrilled by it.
I remember once, back in 2002, I hired a make-up artist to help me learn about applying make-up as I was keen to look good in make-up...ha! Some hope, I told you I was delusional. He told me once I was transformed into Helene that I was behaving like a man and very self conscious. I said something unconvincing in reply and he said look you've gone to all this effort so best become the female you are presenting as. He was right, I realised my own inhibitions and concerns were holding my female persona back, I needed to shake them off and move forward and embrace my female self. That meant I had to swap genders in my head and become a woman. That thought terrified me for my nearly a decade. It is only in the last few years I managed to attempt this and really this is thanks to a few years ago the tireless encouragement of Michele Bennet and in recent years the most wonderful support and encouragement ever from the lovely Pamela Lennon in Ireland that has revolutionised my mental attitude to cross-dressing and trying to fulfil my dreams. I owe those wonderful ladies a lot and I am still amazed they persisted with me. I confess I adore Pamela as she has enlightened me and been incredibly influential and has empowered me to true liberation as Helene. When others attacked me last year it was Pamela that supported me and never lost heart in encouraging my dream and rekindled my belief in Helene as I nearly gave up on my female self at one point.
Being a transvestite is an emotive experience and full of uncertainty and one can be a bit sensitive about things relating to it. It is a complex thing to live with and though it comes with incredible experiences, delights and joy it is for me always tinged with concerns, doubts and a high degree of guilt, fear and uncertainty, it's all part of the heady mix that goes with the knowledge and activity of being a transvestite.
Challenge for Digitalmania-create an interesting collaged background with a vintage image as the centre-piece. After Brandie Butcher-Isley style.
Ephemera from itKuPilli. Other elements from MZimm Land Far Away.
Flickr Lounge ~ Game
Thank you to everyone who pauses long enough to look at my photo. Any comments or Faves are very much appreciated.
A drawing I did for Underground Art School Magazine.
undergroundartschool.blogspot.com/
Explore: Sep 29, 2008 #395
Pink it's my new obsession
Pink it's not even a question,
Pink on the lips of your lover, 'cause
Pink is the love you discover
Pink as the bing on your cherry
Pink 'cause you are so very
Pink it's the color of passion
'Cause today it just goes with the fashion
Pink it was love at first sight
Pink when I turn out the light, and
Pink gets me high as a kite
And I think everything is going to be all right
No matter what we do tonight
You could be my flamingo
'Coz pink is the new kinda lingo
Pink like a deco umbrella
It's kink - but you don't ever tell her
Pink it was love at first sight, and
Pink when I turn out the light
Pink gets me high as a kite
And I think everything is going to be all right
No matter what we do tonight
I want to be your lover
I wanna wrap you in rubber
As pink as the sheets that we lay on
Pink it's my favorite crayon, yeah
Pink it was love at first sight
Pink when I turn out the light
Pink it's like red but not quite
And I think everything is going to be all right
No matter what we do tonight
Aerosmith
---> BEST VIEWED LARGE <---
Deilephila porcellus (Sphingidae)
Picture taken at Montesinho Natural Park, Portugal. May 2009
Question Block from Super Mario Bros. Lots of jumper plates and a bit of SNOT (studs not on top).
Update 1: At the Jet City Comic Show 2012 SEALUG Display
hey guys,
I have few questions about flickr, cameras and stuff
1. I can't decide if I need to renew my flickr account when it's expired — just to upload dozen of photos once in 6 months, what do you think? have you heard about any future flickr changes?
2. I'm a little bit tired of 6x6 and want to try 6x45 but never tried it, what cameras can you advice?
3. what is the best color film you've ever worked with?
thanks!
View in Original size: www.flickr.com/photos/nsxbirder/51513786749/sizes/o/
QUESTION MARK BUTTERFLY-09212890-
Gandhara is the name given to an ancient region or province invaded in 326 B.C. by Alexander the Great, who took Charsadda (ancient Puskalavati) near present-day Peshawar (ancient Purusapura) and then marched eastward across the Indus into the Punjab as far as the Beas river (ancient Vipasa). Gandhara constituted the undulating plains, irrigated by the Kabul River from the Khyber Pass area, the contemporary boundary between Pakistan and Afganistan, down to the Indus River and southward towards the Murree hills and Taxila (ancient Taksasila), near Pakistan"s present capital, Islamabad. Its art, however, during the first centuries of the Christian era, had adopted a substantially larger area, together with the upper stretches of the Kabul River, the valley of Kabul itself, and ancient Kapisa, as well as Swat and Buner towards the north.
A great deal of Gandhara sculptures has survived dating from the first to probably as late as the sixth or even the seventh century but in a remarkably homogeneous style. Most of the arts were almost always in a blue-gray mica schist, though sometimes in a green phyllite or in stucco, or very rarely in terracotta. Because of the appeal of its Western classical aesthetic for the British rulers of India, schooled to admire all things Greek and Roman, a great deal found its way into private hands or the shelter of museums.
Gandhara sculpture primarily comprised Buddhist monastic establishments. These monasteries provided a never-ending gallery for sculptured reliefs of the Buddha and Bodhisattvas. The Gandhara stupas were comparatively magnified and more intricate, but the most remarkable feature, which distinguished the Gandhara stupas from the pervious styles were hugely tiered umbrellas at its peak, almost soaring over the total structure. The abundance of Gandharan sculpture was an art, which originated with foreign artisans.
In the excavation among the varied miscellany of small bronze figures, though not often like Alexandrian imports, four or five Buddhist bronzes are very late in date. These further illustrate the aura of the Gandhara art. Relics of mural paintings though have been discovered, yet the only substantial body of painting, in Bamiyan, is moderately late, and much of it belongs to an Iranian or central Asian rather than an Indian context. Non-narrative themes and architectural ornament were omnipresent at that time. Mythical figures and animals such as atlantes, tritons, dragons, and sea serpents derive from the same source, although there is the occasional high-backed, stylized creature associated with the Central Asian animal style. Moldings and cornices are decorated mostly with acanthus, laurel, and vine, though sometimes with motifs of Indian, and occasionally ultimately western Asian, origin: stepped merlons, lion heads, vedikas, and lotus petals. It is worth noting that architectural elements such as pillars, gable ends, and domes as represented in the reliefs tend to follow the Indian forms
.
Gandhara became roughly a Holy Land of Buddhism and excluding a handful of Hindu images, sculpture took the form either of Buddhist sect objects, Buddha and Bodhisattvas, or of architectural embellishment for Buddhist monasteries. The more metaphorical kinds are demonstrated by small votive stupas, and bases teeming with stucco images and figurines that have lasted at Jaulian and Mora Moradu, outpost monasteries in the hills around Taxila. Hadda, near the present town of Jalalabad, has created some groups in stucco of an almost rococo while more latest works of art in baked clay, with strong Hellenistic influence, have been revealed there, in what sums up as tiny chapels. It is not known exactly why stucco, an imported Alexandrian modus operandi, was used. It is true that grey schist is not found near Taxila, however other stones are available, and in opposition to the ease of operating with stucco, predominantly the artistic effects which can be achieved, must be set with its impermanence- fresh deposits frequently had to be applied. Excluding possibly at Taxila, its use emerges to have been a late expansion.
Architectural fundamentals of the Gandhara art, like pillars, gable ends and domes as showcased in the reliefs, were inclined to follow Indian outlines, but the pilaster with capital of Corinthian type, abounds and in one-palace scene Persepolitan columns go along with Roman coffered ceilings. The so-called Shrine of the Double-Headed Eagle at Sirkap, in actuality a stupa pedestal, well demonstrates this enlightening eclecticism- the double-headed bird on top of the chaitya arch is an insignia of Scythian origin, which appears as a Byzantine motif and materialises much later in South India as the ga1J.qa-bheru1J.qa in addition to atop European armorial bearings.
In Gandhara art the descriptive friezes were all but invariably Buddhist, and hence Indian in substance- one depicted a horse on wheels nearing a doorway, which might have represented the Trojan horse affair, but this is under scan. The Dioscuri, Castor and Pollux, familiar from the previous Greek-based coinage of the region, appeared once or twice as standing figurines, presumably because as a pair, they tallied an Indian mithuna couple. There were also female statuettes, corresponding to city goddesses. Though figures from Butkara, near Saidan Sharif in Swat, were noticeably more Indian in physical type, and Indian motifs were in abundance there. Sculpture was, in the main, Hellenistic or Roman, and the art of Gandhara was indeed "the easternmost appearance of the art of the Roman Empire, especially in its late and provincial manifestations". Furthermore, naturalistic portrait heads, one of the high-points of Roman sculpture, were all but missing in Gandhara, in spite of the episodic separated head, probably that of a donor, with a discernible feeling of uniqueness. Some constitutions and poses matched those from western Asia and the Roman world; like the manner in which a figure in a recurrently instanced scene from the Dipankara jataka had prostrated himself before the future Buddha, is reverberated in the pose of the defeated before the defeater on a Trojanic frieze on the Arch of Constantine and in later illustrations of the admiration of the divinised emperor. One singular recurrently occurring muscular male figure, hand on sword, witnessed in three-quarters view from the backside, has been adopted from western classical sculpture. On occasions standing figures, even the Buddha, deceived the elusive stylistic actions of the Roman sculptor, seeking to express majestas. The drapery was fundamentally Western- the folds and volume of dangling garments were carved with realness and gusto- but it was mainly the persistent endeavours at illusionism, though frequently obscured by unrefined carving, which earmarked the Gandhara sculpture as based on a western classical visual impact.
The distinguishing Gandhara sculpture, of which hundreds if not thousands of instances have outlived, is the standing or seated Buddha. This flawlessly reproduces the necessary nature of Gandhara art, in which a religious and an artistic constituent, drawn from widely varied cultures have been bonded. The iconography is purely Indian. The seated Buddha is mostly cross-legged in the established Indian manner. However, forthcoming generations, habituated to think of the Buddha as a monk, and unable to picture him ever possessing long hair or donning a turban, came to deduce the chigon as a "cranial protuberance", singular to Buddha. But Buddha is never depicted with a shaved head, as are the Sangha, the monks; his short hair is clothed either in waves or in taut curls over his whole head. The extended ears are merely due to the downward thrust of the heavy ear-rings worn by a prince or magnate; the distortion of the ear-lobes is especially visible in Buddha, who, in Gandhara, never wore ear-rings or ornaments of any kind. As Foucher puts it, the Gandhara Buddha is at a time a monk without shaving and a prince stripped off jewellery.
The western classical factor rests in the style, in the handling of the robe, and in the physiognomy of Buddha. The cloak, which covers all but the appendages (though the right shoulder is often bared), is dealt like in Greek and Roman sculptures; the heavy folds are given a plastic flair of their own, and only in poorer or later works do they deteriorate into indented lines, fairly a return to standard Indian practice. The "western" treatment has caused Buddha"s garment to be misidentified for a toga; but a toga is semicircular, while, Buddha wore a basic, rectangular piece of cloth, i.e., the samghiifi, a monk"s upper garment. The head gradually swerves towards a hieratic stylisation, but at its best, it is naturalistic and almost positively based on the Greek Apollo, undoubtedly in Hellenistic or Roman copies.
Gandhara art also had developed at least two species of image, i.e. not part of the frieze, in which Buddha is the fundamental figure of an event in his life, distinguished by accompanying figures and a detailed mise-en-scene. Perhaps the most remarkable amongst these is the Visit to the Indrasala Cave, of which the supreme example is dated in the year 89, almost unquestionably of the Kanishka period. Indra and his harpist are depicted on their visit in it. The small statuettes of the visitors emerge below, an elephant describing Indra. The more general among these detailed images, of which approximately 30 instances are known, is presumably related with the Great Miracle of Sravasti. In one such example, one of the adjoining Bodhisattvas is distinguished as Avalokiteshwara by the tiny seated Buddha in his headgear. Other features of these images include the unreal species of tree above Buddha, the spiky lotus upon which he sits, and the effortlessly identifiable figurines of Indra and Brahma on both sides.
Another important aspect of the Gandhara art was the coins of the Graeco-Bactrians. The coins of the Graeco-Bactrians - on the Greek metrological standard, equals the finest Attic examples and of the Indo-Greek kings, which have until lately served as the only instances of Greek art found in the subcontinent. The legendary silver double decadrachmas of Amyntas, possibly a remembrance issue, are the biggest "Greek" coins ever minted, the largest cast in gold, is the exceptional decadrachma of the same king in the Bibliotheque Nationale, with the Dioscuri on the inverse. Otherwise, there was scanty evidence until recently of Greek or Hellenistic influences in Gandhara. A manifestation of Greek metropolitan planning is furnished by the rectilinear layouts of two cities of the 1st centuries B.C./A.D.--Sirkap at Taxila and Shaikhan Pheri at Charsadda. Remains of the temple at Jandial, also at Taxila and presumably dating back to 1st century B.C., also includes Greek characteristics- remarkably the huge base mouldings and the Ionic capitals of the colossal portico and antechamber columns. In contrast, the columns or pilasters on the immeasurable Gandhara friezes (when they are not in a Indian style), are consistently coronated by Indo-Corinthian capitals, the local version of the Corinthian capital- a certain sign of a comparatively later date.
The notable Begram hoard confirms articulately to the number and multiplicity of origin of the foreign artefacts imported into Gandhara. This further illustrates the foreign influence in the Gandhara art. Parallel hoards have been found in peninsular India, especially in Kolhapur in Maharashtra, but the imported wares are sternly from the Roman world. At Begram the ancient Kapisa, near Kabul, there are bronzes, possibly of Alexandrian manufacture, in close proximity with emblemata (plaster discs, certainly meant as moulds for local silversmiths), bearing reliefs in the purest classical vein, Chinese lacquers and Roman glass. The hoard was possibly sealed in mid-3rd century, when some of the subjects may have been approximately 200 years old "antiques", frequently themselves replicates of classical Greek objects. The plentiful ivories, consisting in the central of chest and throne facings, engraved in a number of varied relief techniques, were credibly developed somewhere between Mathura and coastal Andhra. Some are of unrivalled beauty. Even though a few secluded instances of early Indian ivory carving have outlived, including the legendary mirror handle from Pompeii, the Begram ivories are the only substantial collection known until moderately in present times of what must always have been a widespread craft. Other sites, particularly Taxila, have generated great many instances of such imports, some from India, some, like the appealing tiny bronze figure of Harpocrates, undoubtedly from Alexandria. Further cultural influences are authenticated by the Scytho Sarmatian jewellery, with its characteristic high-backed carnivores, and by a statue of St. Peter. But all this should not cloud the all-important truth that the immediately identifiable Gandhara style was the prevailing form of artistic manifestation throughout the expanse for several centuries, and the magnitude of its influence on the art of central Asia and China and as far as Japan, allows no doubt about its integrity and vitality.
In the Gandhara art early Buddhist iconography drew heavily on traditional sources, incorporating Hindu gods and goddesses into a Buddhist pantheon and adapting old folk tales to Buddhist religious purposes. Kubera and Harm are probably the best-known examples of this process.
Five dated idols from Gandhara art though exist, however the hitch remains that the era is never distinguished. The dates are in figures under 100 or else in 300s. Moreover one of the higher numbers are debatable, besides, the image upon which it is engraved is not in the conventional Andhra style. The two low-number-dated idols are the most sophisticated and the least injured. Their pattern is classical Gandhara. The most undemanding rendition of their dates relates them to Kanishka and 78 A.D. is assumed as the commencement of his era. They both fall in the second half of the 2nd century A.D. and equally later, if a later date is necessitated for the beginning of Kanishka`s time. This calculation nearly parallels numismatics and archaeological evidences. The application of other eras, like the Vikrama (base date- 58 B.C.) and the Saka (base date- 78 A.D.), would place them much later. The badly battered figurines portray standing Buddhas, without a head of its own, but both on original figured plinths. They come to view as depicting the classical Gandhara style; decision regarding where to place these two dated Buddhas, both standing, must remain knotty till more evidence comes out as to how late the classical Gandhara panache had continued.
Methodical study of the Gandhara art, and specifically about its origins and expansion, is befuddled with numerous problems, not at least of which is the inordinately complex history and culture of the province. It is one of the great ethnical crossroads of the world simultaneously being in the path of all the intrusions of India for over three millennia. Bussagli has rightly remarked, `More than any other Indian region, Gandhara was a participant in the political and cultural events that concerned the rest of the Asian continent`.
However, Systematic study of the art of Gandhara, and particularly of its origins and development, is bedeviled by many problems, not the least of which is the extraordinarily complex history and culture of the region.
In spite of the labours of many scholars over the past hundred and fifty years, the answers to some of the most important questions, such as the number of centuries spanned by the art of Gandhara, still await, fresh archaeological, inscriptional, or numismatic evidence.
Odd title but the question was would I pass if I went out like this?
Well after my visit to Alice last Wednesday night I remembered that my daughter had asked me to get some hairspray so I went to a supermarket on the way home dressed as above I sat in the car tarted my self up a little the bit the bullet and made my way to the shop braving a rather strong wind (not good weather for T girls at the moment) my hair blowing all over the place (no it didn't come off and no i didn't chase it around the carpark lol) once inside I set about my task of locating the holy hairspray. I found my self so at ease that i went to clothes section then the electrical goods before pay for my goods and leaving.
I know I was read by a couple of girls but no one said a thing.
I now have the bug and will be going out more often.
Why rare bees are attracted to me? A question that doesn't really keep me up at night, but...here consider this Dieunomia nevadensis. (Nice orange legs there, lady Di). This bee is known from one site in Maryland. So it is rare. It also has not been found in the surrounding states...so this population would appear to be very special. You have to go to North Carolina to find a record. Interesting in a Bermuda Triangle sort of way is the fact that this site is only a couple of miles from my house. How cool is that? This particular specimen collected by Tim McMahon, but the very first one (and there was only one) I found at a sand mine at the same spot. This has happened repeatedly, I am seemingly surrounded by rare bees that are attracted from long distances away to be near me. Or, perhaps it is not so much my beeaura but the fact that there are so few people really looking for bees? How are bees really doing then? Don't ask me I have beeaura issues. Photo by Brooke Goggins.
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All photographs are public domain, feel free to download and use as you wish.
Photography Information:
Canon Mark II 5D, Zerene Stacker, Stackshot Sled, 65mm Canon MP-E 1-5X macro lens, Twin Macro Flash in Styrofoam Cooler, F5.0, ISO 100, Shutter Speed 200
We Are Made One with What We Touch and See
We are resolved into the supreme air,
We are made one with what we touch and see,
With our heart's blood each crimson sun is fair,
With our young lives each spring impassioned tree
Flames into green, the wildest beasts that range
The moor our kinsmen are, all life is one, and all is change.
- Oscar Wilde
You can also follow us on Instagram - account = USGSBIML
Want some Useful Links to the Techniques We Use? Well now here you go Citizen:
Best over all technical resource for photo stacking:
Free Field Guide to Bee Genera of Maryland:
bio2.elmira.edu/fieldbio/beesofmarylandbookversion1.pdf
Basic USGSBIML set up:
www.youtube.com/watch?v=S-_yvIsucOY
USGSBIML Photoshopping Technique: Note that we now have added using the burn tool at 50% opacity set to shadows to clean up the halos that bleed into the black background from "hot" color sections of the picture.
www.youtube.com/watch?v=Bdmx_8zqvN4
Bees of Maryland Organized by Taxa with information on each Genus
www.flickr.com/photos/usgsbiml/collections
PDF of Basic USGSBIML Photography Set Up:
ftp://ftpext.usgs.gov/pub/er/md/laurel/Droege/How%20to%20Take%20MacroPhotographs%20of%20Insects%20BIML%20Lab2.pdf
Google Hangout Demonstration of Techniques:
plus.google.com/events/c5569losvskrv2nu606ltof8odo
or
www.youtube.com/watch?v=4c15neFttoU
Excellent Technical Form on Stacking:
Contact information:
Sam Droege
sdroege@usgs.gov
301 497 5840
I'm having problems getting the top lid off and also the clear paper around it. It just sticks to it and does any one know how to fix this problem???
Tagged by jess;o
1. Are you named after anyone? My middle name is my granddad's woop
2. When was the last time you cried? Wednesday sigh bullying
3. Do you have kids? mayb
4. If you were another person, would you be a friend of yourself? um probably bc I'm popular with the unpopular people at school if that makes sense and all the girls love me so yh
5. Do you use sarcasm a lot? I don't think I say anything without using sarcasm
6. Will you ever bungee-jump? nope
7. What’s your favorite cereal? idk I don't eat breakfast, but if I do it's 1 little belvita thing hehe
8. What’s the first thing you notice about people? if they're hot or not duh
doesn't mean I'm judgemental but u kno
9. What is your eye color? blue/yellow
it's weird
10. Scary movie or happy endings? scare aa
11. Favorite smells? Vanilla pod(No, not vanilla-vanilla pod. Smell an actual vanilla pod. It's the best smell in the world) freshly cut grass yaaassss and rain?ifthatmakessense
basically summer smells here x))
12. Summer or winter? is this a serious question
SUMMER
13. Computer or television? ew I hate TV
computer obv
14. Do you have any piercings, or tattoos?nope and I don't plan to
15. How you would describe yourself? shy, my friends always say I'm really rude and sassy, apparently I have great comebacks and I like insulting people
so basically a bitch mhm
16. What’s the furthest you’ve ever been from home? I went to Bolounge(?) in france last summer
that's it
17. Do you have any special talents? I used to play the trumpet and beatbox and sing..now my best talent is acting heh
18. Where were you born? inside of a vagina
19. What are your hobbies? watching horror films, skyping, scaring friends and going out for long walks on my own in woods;)
20. Do you have any pets? I had a cat that I had since I was about 3 and it died in September on the 13th..which was a Friday...
21. Favorite movie? Favorite singer? Favorite model? Evil Dead 2013 obv<3333
Gaga YAASSS
um I don't pay attention to modelling unless it's gaga then it's gaga YAAASSS
22. Do you have any siblings? Yh, a brother who's 2 years older than me who is the most annoying and criticising little shit ever and my half sister who is 9 years older than me! She's so kind and nice aw
there u go babe
The new bulletin cover for our series "Hard Questions Jesus Asked" at Four Corners Church.
Ever wonder how much easier it would be to follow Jesus if all of your questions could be answered? Ironically, when Jesus walked the earth he did not spend a lot of time giving answers -- instead he asked a lot of questions.
Over the next few Sundays, we're looking at some of the HARD QUESTIONS JESUS ASKED that still impact our lives today:
• Why is fear such a big part of your life?
• Where is God when you really need him?
• Is there more to knowing Jesus than
going to church, praying and reading your Bible?
I posted this question on social media earlier today: What is saving your life right now?
Would love to hear your answers, a question Barbara Brown Taylor asks to combat the dark cloud that we can sometimes focus on of what is the going well...
For me it's running and reading and writing, walking the dog, trying to sleep enough.
Then I took this photo and realized noticing the everyday beauty everywhere makes the list as well.
for those of you who are in london: do you know where can i buy precious metal clay offline? some art store? preferably somewhere inside 1st or 2nd zones, near the center of the city? i'm going to visit you at the first half of march and really would like to buy this thing. thanks!
Hey Flickr friends,
My DH and myself seem to have a difference in opinions. I was wondering if you would be able to help me out?? See I spend HOURS on my babies (cakes) and love to take pictures of them. I'm proud of my talents and love to display them. My DH thinks that I should only post one picture, or two at the most of my cakes and the details I add. I, on the other hand love to show all the little details and showing them up close so you all may enjoy and appreciate them. But I wonder if it detours others from browsing my photo stream?? My DH says that viewers may get board and move on quickly. So what I'm asking is please give me your honest opinion. What do you think is the appropriate amount of pictures I should upload for each cake...lol ; )
Thanks friends!!
-Andrea