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View allAll Photos Tagged REPRESENTATIONS
Graphic representations of the Three Sisters are used by many of the businesses in and around Canmore. It seems like almost every street points towards them.
I see I used this title back in 2011, but then again, I've posted many photos of this special grouping
When I'm not admiring the mountains, you can find me on Twitter
than alarming representations of its approach :-)
William Benton Clulow, 1833
HPPT!! Protest Injustice! Resist! Vote!!
dahlia, j c raulston arboretum, ncsu, raleigh, north carolina
than alarming representations of its approach :-)
William Benton Clulow, Horæ Otiosæ, 1833
HBW! HGGT! RESIST! VOTE! IMPEACH our delusional president!!
zinnia, sarahp duke gardens, duke university, durham, north carolina
A low perspective on Spirit Island and the box canyon it sits in at the south end of Maligne Lake.
Spiritual: relating to or affecting the human spirit or soul as opposed to material or physical things."
Standing here moved me and felt like I was standing in the middle of the grandest Cathedral or Mosque in the world.
The lake was named by
Father Pierre-Jean De Smet, Maligne meaning "wicked or malignant" in French. The harsh winters and turbulent passage of it's outlet to it's confluence with the Athabasca River were probably why he named it so. Seems it should have been called "Magnifique Lake" to me.
"The island is a spiritual place for the Stoney Nakoda First Nation, who believe mountains are physical representations of their ancestors. The fact that Spirit Island is surrounded on three sides by the same mountain range is very rare and makes it particularly significant to the Stoney."
re: jasper.travel
Thanks for taking a look and for any comments, faves and suggestions!
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Foto: La portada de la iglesia Santa María de Aranda de Duero es una obra de estilo gótico isabelino. Data de comienzos del siglo XVI. En la foto se ve uno de los cuadros monumentales que representa la Natividad.
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Photo : Le portail de l’église Sainte-Marie de Aranda de Duero, Dans la province de Burgos est une œuvre du style gothique renaissance datant du tout début du XVIème siècle. La photo reprend un des tableaux, il représente la Nativité, d’une manière très réaliste.
Often I see New York City as a vast sculpture show. My pictures attempt to translate buildings into sculptural representations with the feeling that they evoke to me.
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Photo : La Nativité tel que représenté dans un touchant tableau (non-signé) existant dans l’église (romane) de ce village auvergnat.
Foto: La Natividad representada en un emotivo cuadro existente en la iglesia (románica) de este pueblo de montaña de Auvernia – cuadro no firmado y reproducido aquí en solo su parte central).
The church of St. Bartholomew was built in 1600, and then over the centuries it was altered and restored a number of times.
The log church is oriented towards the East, and comprises a post-and-frame tower, a post-and-beam vestibule as well as a brick sacristy, which was added later. The nave is covered with a double-pitched roof and the chancel with a slightly lower three-pitched roof. The roof over the nave features a neo-Baroque turret. The tower with tapered walls, comprises a top chamber, and is clad with wood boards, and topped with a bulbous cupola.
Inside there is a coved ceiling, and barrel vault in the sacristy. The gallery is supported by four pillars. The entrance from the chancel to the sacristy is framed with ogee arch. The doors to the side of the nave feature the reinstalled Gothic fittings and a hammered lock from ca. 1600.
The Baroque and late Baroque furnishings inside include the high altar from the 1700s, two side altars at the entrance to the chancel from the 1600s, a unique pomegranate-shaped pulpit from the 1700s, as well as a Baroque chalice-shaped baptismal font made from black marble from the 1700s. The benches from 1756 are embellished with painted representations of the Apostles, representatives of various social strata, and scenes from the New Testament. The late-Baroque confessional, dating from the same time, is also decorated with paintings.
In Rogi, there once was a fortified castle, and relics of the ramparts can still be seen here. A reference to the castle, dating from 1462, can be found in a document related to the division of the estate between Czarnocki brothers. According to the document, the stronghold had two towers.
sad.podkarpackie.travel/en/trail-points/krosno-brzozow-tr...
Hier soir, c'était les dernières représentations du spectacle gratuit "Duels" dans le parc Émilie-Gamelin, présenté dans le cadre du festival "Complètement Cirque" édition 2015.
Le filet que vous voyez ne fait pas partie du spectacle. C'est une sculpture (installation) de l'artiste Janet Echelman qui est suspendue dans le parc depuis le mois de mai.
Last night, it was the last performances of the free show " Duels " in Émilie- Gamelin park presented as part of the
festival " Complètement Cirque" 2015 edition .
The net that you can see is not part of the show. It is a sculpture by the artist Janet Echelman installed temporarily in the park during the whole summer.
Metropolitan Museum of Art.
By the 1890s sculptural representations of Native American and western themes have become extremely popular.While living in Chicago in the early 1890s,MacNeil had learned of a rite of passage that captured his imagination:before a boy at the threshold of manhood can become a warrior,he was required to shoot an arrow directly into the sun.If the chieftain judging the boy's prowess was so blinded by the sun's rays that he could not follow the flight of the arrow,it was said to have gone "out of sight"and the youth had passed the test.MacNeil portrayed the dramatic moment,following the arrows release,heightening both the visual impact of the composition and the sense of narrative suspense.
The axe heads are not represented attached to a haft and seem to be outlined as essential form rather than actual function. Grouping each axe head with a second mirror example creates a new icon once further removed from practical use. This Gavrinis axe cluster display, from between 7 and 6000 years ago, is set within the animation that ripples from within the parallel and unbounded lines.
AJM
Said to be representations of architecture and ecology “arcology” this photo transcends the powerful and benevolent embodiment of compassion & peace that can be seen as a representation of the most sacred sounds in the Universe, including the sound of Om. Arcosanti, AZ
Annual exhibition of the Nativity you can admire walking through the streets of this little hamlet realized by any family that has pleasure to participate. Those was nearly seventy representations past year...
Each participant can use any material.
The only rule: imagination!
From a pastel workshop I attended today. Working with lights and darks on a dark paper was a new and exciting experience for me. With advice and encouragement from the tutor, I came away with a painting I am pleased with.
I think I wrote in a previous post that I recently visited London to see an exhibition at the National Gallery called “ Siena: The Rise of Painting, 1300 ‒1350 “
At least a couple of contacts said they hoped I would post something from the exhibition . This piece by Duccio is quite small only about 18 inches high but it is quite extraordinary . Its hard to look at this 700 years old painting and recognise that Duccio was a revolutionary painter. Although the subject matter owes much to earlier Byzantine Art , the figures in the painting are not idealised but are recognisable human figures people Duccio could have met on the streets of Sienna . In his work we see the seeds of the Renaissance that developed in the next hundred years
Duccio was the leading artist of fourteenth-century Siena. His style is characterised by elegant, flowing lines, soft colours and tender representations of the divine. Here, the Virgin’s cloak is defined by a fluid gold hem. Mother and child share an affectionate gaze as the infant Christ plays with her white veil.
The central panel is flanked by two smaller panels – depicting Saint Dominic on the left and Saint Aurea on the right – which can fold inwards to cover and protect the main image. This was essential as it was most probably designed as a portable temporary altarpiece for private prayer while travelling.
The painting was made for Niccolò degli Albertini da Prato who became Cardinal Bishop of Ostia, near Rome.
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🇫🇷 au centre ,ici la maison Kammerzell
L’origine exacte de sa construction reste un mystère. Un linteau au rez-de-chaussée indique 1467.Les étages supérieurs si admirés aujourd’hui sont un peu plus tardifs.
Le 1° propriétaire était un drapier, un de ses successeurs, Martin Braun, riche marchand de fromage décida en 1589 de reconstruire dans un style plus conforme à l’époque et surtout plus tape-à-l’œil ! Contraint par le conseil de la ville de conserver le rez-de-chaussée en pierre, il investit beaucoup pour les étages que l’on admire encore maintenant. Il y a pléthore de sculptures . A l’époque le culte protestant rejette la vénération d’images et les représentations figuratives….Les grands sculpteurs se réfugient dans d’autre régions catholiques…Les artistes disponibles sont souvent de bons artisans du meuble, et la qualité des sculptures reste modeste Si les sculptures sont donc un peu rigides dans leur aspect, leur richesse est par contre indéniable.
🇬🇧 in the centre, this is the Kammerzell house
The exact origin of its construction remains a mystery. A lintel on the ground floor indicates that it was built in 1467, while the upper floors, which are so much admired today, were built a little later.
The 1st owner was a draper, but one of his successors, Martin Braun, a wealthy cheese merchant, decided in 1589 to rebuild the building in a style that was more in keeping with the times and, above all, flashier! Compelled by the town council to keep the stone ground floor, he invested heavily in the upper floors, which can still be admired today. There is a plethora of sculptures. At the time, Protestant worship rejected the veneration of images and figurative representations....The great sculptors took refuge in other Catholic regions... The artists available were often good furniture craftsmen, and the quality of the sculptures remained modest If the sculptures are therefore a little rigid in their appearance, their richness is undeniable.
🇩🇪 in der Mitte ,hier das Haus Kammerzell
Der genaue Ursprung seines Baus bleibt ein Rätsel. Ein Sturz im Erdgeschoss deutet auf das Jahr 1467 hin, während die oberen Stockwerke, die heute so bewundert werden, etwas später entstanden sind.
Der erste Besitzer war ein Tuchhändler. Einer seiner Nachfolger, Martin Braun, ein reicher Käsehändler, beschloss 1589, das Haus in einem zeitgemäßeren und vor allem auffälligeren Stil wieder aufzubauen. Vom Rat der Stadt gezwungen, das steinerne Erdgeschoss zu erhalten, investierte er viel in die Stockwerke, die man auch heute noch bewundern kann. Es gibt eine Fülle von Skulpturen . Die großen Bildhauer flüchteten in andere katholische Regionen...Die verfügbaren Künstler waren oft gute Möbelhandwerker und die Qualität der Skulpturen blieb bescheiden Die Skulpturen sind daher etwas steif, aber ihr Reichtum ist unbestreitbar.
🇮🇹 al centro, questa è la casa Kammerzell
L'origine esatta della sua costruzione rimane un mistero. Un architrave al piano terra indica che fu costruita nel 1467, mentre i piani superiori, che oggi si ammirano tanto, furono costruiti un po' più tardi.
Il primo proprietario era un drappiere, ma uno dei suoi successori, Martin Braun, un ricco commerciante di formaggi, decise nel 1589 di ricostruire l'edificio in uno stile più consono ai tempi e, soprattutto, più appariscente! Costretto dal consiglio comunale a mantenere il piano terra in pietra, investì molto nei piani superiori, che si possono ammirare ancora oggi. Vi è una pletora di sculture. All'epoca, il culto protestante rifiutava la venerazione delle immagini e delle rappresentazioni figurative....I grandi scultori si rifugiarono in altre regioni cattoliche... Gli artisti disponibili erano spesso buoni artigiani del mobile, e la qualità delle sculture rimase modesta Se le sculture sono quindi un po' rigide nel loro aspetto, la loro ricchezza è innegabile.
🇪🇸 En el centro, la casa Kammerzell.
El origen exacto de su construcción sigue siendo un misterio. Un dintel en la planta baja indica que se construyó en 1467, mientras que los pisos superiores, tan admirados hoy en día, se construyeron un poco más tarde.
El primer propietario era un pañero, pero uno de sus sucesores, Martin Braun, un rico comerciante de quesos, decidió en 1589 reconstruir el edificio en un estilo más acorde con la época y, sobre todo, ¡más llamativo! Obligado por el ayuntamiento a conservar la planta baja de piedra, realizó grandes inversiones en los pisos superiores, que aún hoy pueden admirarse. Hay una plétora de esculturas. En aquella época, el culto protestante rechazaba la veneración de imágenes y representaciones figurativas.... Los grandes escultores se refugiaron en otras regiones católicas... Los artistas disponibles eran a menudo buenos artesanos del mueble, y la calidad de las esculturas siguió siendo modesta Si las esculturas son por tanto un poco rígidas en su aspecto, su riqueza es innegable.
Haddasah Emmerich addresses different themes, including indentity, the body, representations of exotism. For this exhibition, the artist has created a large-sized painting consisting of ornaments, represenations of the female body and motifs ispired by Indonesian Batik.
whitehousegallery.be/en/artists/hadassah-emmerich
BXL UNIVERSEL II : MULTIPLI.CITY Expo
🇫🇷 l ’intérieur de l’église est constitué d’une nef à vaisseau unique de trois travées, couverte d’une voûte en berceau à lunettes et comprend deux chapelles latérales en hémicycle en voûte
Les représentations présentes à l’intérieur de l’église sont de style baroque classique. Les peintures, trompe-l’œil, ont été réalisées par Nicolas Ivanoff entre 1928 et 1930. Ce dernier a ainsi réalisé la majeure partie de la décoration, ainsi que la voûte.En 1995, la décoration intérieure de l’église a été complétée par les artistes russes Anestesiya Sokolova et Valeri Tchernoritsky, à l’initiative de Monseigneur Florent Marchiano, curé des deux paroisses cargésiennes.
🇬🇧 The interior of the church consists of a single nave with three bays, covered by a barrel vault with lunettes, and includes two semicircular side chapels with vaulted ceilings.
The interior decorations are in the classical Baroque style. The trompe-l'oeil paintings were created by Nicolas Ivanoff between 1928 and 1930. He was responsible for most of the decoration, as well as the vault. In 1995, the interior decoration of the church was completed by Russian artists Anestesiya Sokolova and Valeri Tchernoritsky, on the initiative of Monsignor Florent Marchiano, parish priest of the two parishes in Cargès.
🇩🇪 Das Innere der Kirche besteht aus einem einschiffigen Langhaus mit drei Jochen, das von einem Tonnengewölbe mit Lünetten überspannt wird, und umfasst zwei halbkreisförmige Seitenkapellen mit Gewölben
Die Darstellungen im Inneren der Kirche sind im klassischen Barockstil gehalten. Die Trompe-l'œil-Malereien wurden zwischen 1928 und 1930 von Nicolas Ivanoff geschaffen. Dieser schuf den größten Teil der Dekoration sowie das Gewölbe. 1995 wurde die Innenausstattung der Kirche auf Initiative von Monsignore Florent Marchiano, Pfarrer der beiden Pfarreien von Cargés, von den russischen Künstlern Anestesiya Sokolova und Valeri Tchernoritsky vervollständigt.
🇮🇹 L'interno della chiesa è costituito da una navata unica a tre campate, coperta da una volta a botte con lunette e comprende due cappelle laterali semicircolari con volta a botte.
Le decorazioni all'interno della chiesa sono in stile barocco classico. I dipinti, trompe-l'œil, sono stati realizzati da Nicolas Ivanoff tra il 1928 e il 1930. Quest'ultimo ha realizzato la maggior parte delle decorazioni, compresa la volta. Nel 1995, la decorazione interna della chiesa è stata completata dagli artisti russi Anestesiya Sokolova e Valeri Tchernoritsky, su iniziativa di Monsignor Florent Marchiano, parroco delle due parrocchie di Caruges.
🇪🇸 El interior de la iglesia consta de una nave única de tres tramos, cubierta con una bóveda de cañón con lunetas, y comprende dos capillas laterales semicirculares con bóveda
Las representaciones presentes en el interior de la iglesia son de estilo barroco clásico. Las pinturas, en trampantojo, fueron realizadas por Nicolas Ivanoff entre 1928 y 1930. Este último realizó la mayor parte de la decoración, así como la bóveda. En 1995, la decoración interior de la iglesia fue completada por los artistas rusos Anestesiya Sokolova y Valeri Tchernoritsky, por iniciativa de Monseñor Florent Marchiano, párroco de las dos parroquias de Cargés.
The lotus (Sanskrit and Tibetan padma) is one of the Eight Auspicious Symbols and one of the most poignant representations of Buddhist teaching.
The roots of a lotus are in the mud, the stem grows up through the water, and the heavily scented flower lies pristinely above the water, basking in the sunlight. This pattern of growth signifies the progress of the soul from the primeval mud of materialism, through the waters of experience, and into the bright sunshine of enlightenment.
Though there are other water plants that bloom above the water, it is only the lotus which, owing to the strength of its stem, regularly rises eight to twelve inches above the surface.
According to the Lalitavistara, "the spirit of the best of men is spotless, like the lotus in the muddy water which does not adhere to it."
According to another scholar, "in esoteric Buddhism, the heart of the beings is like an unopened lotus: when the virtues of the Buddha develop therein, the lotus blossoms; that is why the Buddha sits on a lotus bloom."
The lotus is one of Buddhism's best recognized motifs and appears in all kinds of Buddhist art across all Buddhist cultures. Scrolling lotuses often embellish Buddhist textiles, ceramics and architecture.
Every important Buddhist deity is associated in some manner with the lotus, either being seated upon a lotus in full bloom or holding one in their hands. In some images of standing Buddhas, each foot rests on a separate lotus.
The lotus does not grow in Tibet and so Tibetan art has only stylized versions of it, yet it appears frequently with Tibetan deities and among the Eight Auspicious Symbols.
The color of the lotus has an important bearing on the symbology associated with it:
White Lotus (Skt. pundarika; Tib. pad ma dkar po): This represents the state of spiritual perfection and total mental purity (bodhi). It is associated with the White Tara and proclaims her perfect nature, a quality which is reinforced by the color of her body.
Pink Lotus (Skt. padma; Tib. pad ma dmar po): This the supreme lotus, generally reserved for the highest deity. Thus naturally it is associated with the Great Buddha himself.
Red Lotus (Skt. kamala; Tib: pad ma chu skyes): This signifies the original nature and purity of the heart (hrdya). It is the lotus of love, compassion, passion and all other qualities of the heart. It is the flower of Avalokiteshvara, the bodhisattva of compassion.
Blue Lotus (Skt. utpala; Tib. ut pa la): This is a symbol of the victory of the spirit over the senses, and signifies the wisdom of knowledge. Not surprisingly, it is the preferred flower of Manjushri, the bodhisattva of wisdom.
The Green Man is an ancient symbol of rebirth - representations are found all round the world. Statues and carvings more usually have leaves or other vegetation growing out of the mouth or eyes.
This butterfly is very battered and worn and has seen better times but she was still happily flying around in the sunshine. Red Admirals are mainly migrants and fly here from Central Europe in May or June (so it is not surprising that they are a bit tatty by the time they get here). These breed and give rise to the next generation of adults with a peak of emergence between mid-August and early October. (There are a few which now breed in southern England but most seen in the summer are migrants)
Info from www.ukbutterflies.co.uk/species.php?species=atalanta
Thank you for your visit, comment or fave. All are much appreciated. Thank you also to all who invite my photos to their groups.
All photos and textures used are my own.
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The Southern Cross is one of the most popular representations in the sky for observers in the southern hemisphere. Four stars give the constellation its characteristic configuration:
1. Acrux, at the foot of the cross, is the brightest of the four at magnitude 0.67 (and is the 13th brightest in the sky). Although a single star is visible in the image, Acrux is a sixfold system 321 light-years (average) from Earth.
2. Mimosa (below in the image), is second in order of brightness with a magnitude of 1.15. It is also known by the name of Becrux and is a spectroscopic binary system 278 light years from Earth.
3. Gacrux, the head of the cross, is third in order of brightness with a magnitude of 1.63. It is a red giant 88 light years from Earth.
4. Delta Crucis, also known as Imai, is the least bright of the quatern, with a magnitude of 2.70. Delta Crucis is in the process of evolving into a red giant.
An important group of star clusters enrich the view of this magnificent region of the sky, such as NGC 4755, known as The Jewel Box, under Mimosa. Caldwell 97 and Caldwell 100 can be seen above in the image on the Gacrux and Delta Crucis side. But surely what is most striking are the dark areas surrounding the foot of the cross. It is the most important of the dark nebulae in our sky, known as the "coal sack."
If you visit Argentina, don't miss the opportunity to go to a dark sky and look at the stars. After the astonishment, after feeling and assuming our enormous finiteness and contingency under that magnificent starry sky, look for the Southern Cross, the smallest, but the most notable of the 88 constellations in the sky. It is always visible, not hidden, and the sack of coal can be seen with the naked eye.
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Details:
nova.astrometry.net/user_images/7940925#annotated
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Nikon D5600.
Nikon 75-150 lens (in 100 mm).
23 minutes of integration.
Iso 1000.
f/3.5.
Processed with Siril and Gimp.
April 30, 2023 - 00:38 UT (average time).
Rural area, Concordia, Entre Ríos, Argentina.
L’opéra de Lyon, dit parfois l’opéra Nouvel, est une salle d’opéra de la ville de Lyon.
Il est situé place de la Comédie, en face de l'hôtel de ville. Construit en 1831 par Antoine-Marie Chenavard et Jean-Marie Pollet, il a été totalement restructuré et agrandi entre 1989 et 1993 par Jean Nouvel. Le projet architectural fut lauréat du prix de l'Équerre d'argent du Moniteur en 1993.
Il abrite une salle de représentations affectée principalement à l'opéra national de Lyon qui y fait représenter des opéras, ballets et concerts. Il est le lieu de résidence du ballet de l'Opéra de Lyon. L'Opéra de Lyon, subventionné par la ville de Lyon (60 %), le département du Rhône (10 %), la région Rhône-Alpes (10 %) et l'État (20 %), a un budget annuel qui avoisine 35 millions d'euros. En 2011, l'âge moyen des spectateurs était de 47 ans.
The Opera de Lyon, sometimes called Opera Nouvel, is an opera house in the city of Lyon.
It is located Place de la Comedie, in front of the city hall. Built in 1831 by Antoine-Marie Chenavard and Jean-Marie Pollet, it was totally restructured and expanded between 1989 and 1993 by Jean Nouvel. The architectural project was awarded the Prix de l'Equerre d'Argent du Moniteur in 1993.
It houses a performance hall mainly dedicated to the Opéra national de Lyon, where operas, ballets and concerts are performed. It is the place of residence of the Opera de Lyon ballet. The Lyon Opera, subsidized by the city of Lyon (60%), the Rhône department (10%), the Rhône-Alpes region (10%) and the State (20%), has an annual budget that is around 35 million euros. In 2011, the average age of the audience was 47 years old.
The Unisphere, located at the center of the radial pathways in the northern half of Flushing Meadows-Corona Park, was commissioned for the New York World's Fair of 1964-65. Designed by landscape architect Gilmore D. Clarke (1892–1982) and erected by the American Bridge Division of the United States Steel Corporation, the 350-ton, 120-foot-diameter globe was the centerpiece and icon of the fair. The sphere features representations of the continents and major mountain ranges in relief, and is encircled by three giant orbital rings that represent the tracks of early satellites. The capital cities of the world are marked by lenses which, during the fair, were illuminated by flashing lights. The Unisphere celebrated both the dawn of the space age and the fair’s broader theme of “Peace Through Understanding". It has since become a beloved symbol of Queens.
Symbolic representations of what's being stripped away from me. The past six weeks has been a whirlwind of fighting, anger, disappointment, resentment and circular arguments, situations that go round and round...feelings of helplessness, hopelessness and failure...a stubborn inability to just let go because no matter what is going on, I can't escape the intense love for the other, even as dreams shatter and worlds crumble beneath my feet. Crying uncontrollably every chance I get to be by myself, wondering how we could fail so miserably and praying that this is all just a test and we'll come out stronger, closer and more in love...but today...today, I stopped praying, stopped wishing, stopped wanting, started accepting.
But you've seen me bare
You've seen me covered up
Maybe I'm not scared
Of what you're thinking of.
It’s VERY frustrating that some locations and representations of them, have become so fundamentally iconic to landscape photography, that even visiting them gives you a feeling of déjà vu. Now this over familiarity with certain locations, (even before one has even visited them) not only dampens the spirit of adventurous discovery, but poses even greater problems to the landscape photographer who is trying to develop and present new fresh approaches, especially when many of the dramatic places already have their own representations cemented in the popular consciousness.
On one level, even attempting to working in ‘these’ locations can feel akin to plagiarism, especially when a particular image has become so iconically tied to a location and photographer, it can feel futile to even point the camera in the same direction, in fear of diminishing one’s own creative integrity. Yes, yes, I’m aware of the popular urban myth perpetuated by photographic journalists, that encourages attempting new insights on the familiar, but frustratingly the room for creative manoeuvre is already pissing in the wind. Even then, assuming you have managed to find some creative shelter from the prevailing westerly’s, you then have to contend with flushing the said ‘icon’ out of your head, in order to explore fresh inspiration in the hope of unearthing something creatively unique. Ironically this approach can force the congruent photographer to ignore the obvious photogenic elements, leaving them to contend with lesser vaguer aesthetics.
Then, in an act of lasting degradation, when the photographer has dealt with the self induced shame, and struggled with the creative exploration and finally come up with something personally insightful, (however slight the movement forward is), they then have the final indignity of ‘comparison’ to deal with. How can something that is so loved, so widely published in the psyche of millions be distorted by new representations? How can David even contemplate approaching Goliath? Is there really any point?
Go on, I’ve asked for it... I ask for no mercy... I have no defence...Bring on the torrent... Open the flood gates...I deserve it........................
This relief is attributed to the workshop of Desiderio da Settignano (1430-1464).
Prudence - Desiderio da Settignano - London, V&A Museum, collection
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The relief depicts a three-faced image of the Cardinal Virtue of Prudence. Erwin Panofsky was the first to explain the significance of the figure, noting its relationship of the iconography of Titian's "Allegory of Prudence". Oddly however, in this rendering there seems no allusion to the virtue of Prudence relying on knowing the past, the present and the future.
The three faces seem to have similar features and there is no obvious difference in their ages. There is, however, something rather reminiscent of contemporary representations of Christ in the half-closed eyes and slightly forked beard of the central figure that could lead one to speculate on possible associations between the "trifrons" Prudence and the Christian concept of the tripartite Holy Trinity.
As there is no trace of such a connection in the sources or commentaries of the period, however, it seems that any interpretation based on this possible association would be ill-founded.
collections.vam.ac.uk/item/O154719/prudence-panel-desider...
Un ami ayant regretté 😃😃😃(que je cache des représentations de la vie de JC ), voici une autre fresque ,plus abimée que les précédentes, que j' ai contrastée légèrement dans sa partie basse).
On y constate qu'elle a subi ou bénéficié d'apports nouveaux au cours des siècles....en bas à droite on voit partiellement apparaitre la peinture précédente.
🇩🇪 Nachdem ein Freund bedauert hat (dass ich Darstellungen aus dem Leben Christi verberge 😔😉), hier ein weiteres Fresko ,das stärker beschädigt ist als die vorherigen, im unteren Teil leicht kontrastreich).
Man sieht, dass es im Laufe der Jahrhunderte neue Ergänzungen erfahren oder davon profitiert hat....unten rechts sieht man teilweise das vorherige Gemälde erscheinen.
:🇮🇹 Avendo un amico rimpianto (che nascondo le rappresentazioni della vita di JC 😔😉 ), ecco un altro affresco, più danneggiato dei precedenti, leggermente contrastato nella sua parte inferiore).
Si può notare che ha subito o beneficiato di nuove aggiunte nel corso dei secoli....in basso a destra, si può vedere parzialmente il dipinto precedente.
:🇬🇧 A friend having regretted (that I hide representations of JC's life 😔😉), here's another fresco ,more damaged than the previous ones, slightly contrasted in its lower part).
You can see that it has undergone or benefited from new additions over the centuries....at bottom right you can partially see the previous painting.
Habiéndose arrepentido un amigo (de que oculte representaciones de la vida de JC 😔😉), he aquí otro fresco, más deteriorado que los anteriores, ligeramente contrastado en su parte inferior).
Se ve que ha sufrido o se ha beneficiado de nuevos añadidos a lo largo de los siglos....en la parte inferior derecha, se ve parcialmente la pintura anterior.
A fachada plateresca da Universidade de Salamanca, datada do século XVI, destaca-se como um dos exemplares mais emblemáticos do estilo em Espanha. Edificada em pedra de Villamayor e dividida em três corpos ornamentados, a fachada exibe medalhões dos Reis Católicos, elementos heráldicos, incluindo o escudo de Carlos V, e representações mitológicas. A obra simboliza a ligação entre a universidade, fundada em 1218, e o poder régio da Coroa Hispânica. Um dos elementos mais procurados pelos visitantes é a pequena rã esculpida sobre uma caveira, cuja descoberta, segundo a tradição, traz boa sorte nos exames. A profusão de detalhes e simbolismos, característicos do plateresco, transformam a fachada num autêntico retábulo pétreo, narrando a história e a relevância da Universidade de Salamanca, classificada como Património Mundial da UNESCO, enquanto centro de educação e cultura europeia.
The Plateresque façade of the University of Salamanca, dating from the 16th century, stands out as one of the most emblematic examples of the style in Spain. Built in Villamayor stone and divided into three ornate bodies, the façade displays medallions of the Catholic Monarchs, heraldic elements, including the coat of arms of Charles V, and mythological representations. The work symbolizes the connection between the university, founded in 1218, and the royal power of the Hispanic Crown. One of the most sought-after elements by visitors is the small frog carved on a skull, whose discovery, according to tradition, brings good luck in exams. The profusion of details and symbolism, characteristic of the Plateresque style, transform the façade into an authentic stone altarpiece, narrating the history and relevance of the University of Salamanca, classified as a UNESCO World Heritage Site, as a center of European education and culture.
Representations that fall into the Uncanny Valley would not necessarily have to be mechanoid - or at least that is what I would imagine. Something which is humanoid yet clearly non-human, should also qualify. It would however have to have negative subconscious associations, such as a succubus surely must have. I am reading up on my Freud to see if I can find any substantiation for this claim in what he has to say upon the subject of the Uncanny.
So meanwhile, Flea Bussy's Smoke avatar comes with an entirely different shape and skin as well as hair. I kept the bald look and adjusted all the prims to Alpha's shape and size. And also made them semi transparent. The skin is Vry Offcourse's "Frail" skin.
This one is actually called the "Smoke Incubus" at Grendel's Children. However, since Alpha is female she cannot be an Incubus, only a Succubus.
Citrus medica var. sarcodactylis, or the fingered citron, is a citron variety whose fruit is segmented into finger-like sections, resembling those seen on representations of the Buddha. It is called Buddha's hand in many languages including English, Chinese, Japanese, Korean, Vietnamese, and French.
The different cultivars and variations of this citron variety form a gradient from "open-hand" types with outward-splayed segments to "closed-hand" types, in which the fingers are kept together. There are also half-fingered fruits, in which the basal side is united and the apical side fingered. The origin of this kind of citron is commonly traced back to South or East Asia, probably northeastern India or China, where most domesticated citrus fruits originate.[1]
Description
Citrus medica var. sarcodactylis[2] is, like any other citron variety, a shrub or small tree with long, irregular branches covered in thorns. Its large, oblong leaves are pale green and grow about four to six inches. Its white flowers are tinted purplish from the outside and grow in fragrant clusters. The fruit's fingers contain only the white part of the fruit and sometimes a small amount of acidic pulp, but many of them are completely juiceless and some are seedless.[3]
The plant is sensitive to frost, as well as intense heat and drought. It grows best in a temperate climate. Trees can be grown from cuttings taken from branches two to four years old. It is very commonly grafted onto sufficient rootstock.
Restoration House in Rochester, Kent in England, is a fine example of an Elizabethan mansion. It is so named after the visit of King Charles II on the eve of his restoration.
Charles had landed in Dover on 25 May 1660 and by the evening of the 28th arrived in Rochester. He was received by the Mayor and eventually retired for the night to the home of Colonel Gibbon. The following day Charles continued to London and was proclaimed King on 29 May, his 30th birthday. Although the home of Colonel Gibbon, the property was actually owned by Sir Francis Clerke (he was knighted during the visit), a fact which has led to confusion in the past.[1]
Although it is a private home, the house and garden are open to the public during the summer.[2] The house is protected as a Grade I listed building.[3]
History
Restoration House was originally two medieval buildings (1454 and 1502–22) with a space between.[1] They were joined in 1640–1660 (tree ring data from roof) by inserting a third building between the two, to create a larger house.[1][4] The first owner of the completed house was Henry Clerke, a lawyer and Rochester MP.[1] Clerke caused further works in 1670, the refacing of the entrance facade, the Great Staircase and other internal works.[1] The house was then bought by William Bockenham.[5] It was owned by Stephen T. Aveling in the late 19th century,[6] and he wrote a history of the house which was published in Vol. 15 of "Archaeologia Cantiana".[7]
The house was purchased for £270,000[8] by the English entertainer Rod Hull, in 1986, to save it from being turned into a car park;[9] and he then spent another £500,000 restoring it.[10] It was taken by the Receiver in 1994 to cover an unpaid tax bill.[9]
The current owners over the past decade have uncovered decoration schemes from the mid 17th century, which reveal the fashionable taste of the period, much influenced by the fashions on the continent.[4]
Charles Dickens
According to the biographer John Forster, the novelist Charles Dickens, who lived nearby, used Restoration House as a model for Miss Havisham's Satis House in Great Expectations.[11] The name "Satis House" belongs to the house where Rochester MP, Sir Richard Watts, entertained Queen Elizabeth I; it is now the administrative office of King's School, Rochester. Wikipedia
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Photo : La Nativité vue par un artiste local et exposée en continu à côté de l’église de Bagnasco, petit village du Piedmont italien. Il s’agit d’une sculpture d’environ 5 m de long et 1 m de haut dans un magnifique tronc d’arbre, taillée sommairement et représentant à la fois la crèche et un berger censé représenter la scène biblique appelée l’Adoration des bergers.
Foto: La Natividad según un artista local expuesta en continuo al lado de la iglesia parroquial de Bagnasco, una aldea de Piedemonte italiano. Se trata de una talla tosca de unos 5 m de largo por 1 m de alto (tal vez 1,20 m) en un tronco monumental. Esta escultura representa a la vez la escena del Nacimiento y la de la Adoración de los pastores.
GENIALE STREET ART
I murales sono il fenomeno espressivo più importante della civiltà contemporanea.
Occorre ricordare, però, che il murale è un fenomeno che rischia enormemente di abbandonare il territorio artistico per cadere nell’obsolescenza della moda o del folklore.
Molti paesi, vedendo il successo di questa forma d’arte, hanno fatto la corsa a riempire i muri con raffigurazioni. Spesso non vi è un programma artistico ma solo il desiderio di abbellire il centro abitato.
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GENIUS STREET ART
Murals are the most important expressive phenomenon of contemporary civilization.
It must be remembered, however, that the mural is a phenomenon that risks enormously abandoning the artistic territory to fall into the obsolescence of fashion or folklore.
Many countries, seeing the success of this art form, have rushed to fill the walls with representations. Often there is no artistic program but only the desire to beautify the town.
CANON EOS 600D con ob. SIGMA 10-20 f./4-5,6 EX DC HSM
Michael is portrayed as the “great captain” of angels “and the warrior helping the children of Israel.” He was recognized as the “helper of the church’s armies against the heathen and against the attacks of the Devil” and “numerous representations of Michael in art reflect his character as a warrior.”
Under the guise of environmentalism and conservation the powers that be want to tokenize everything, including nature. They want to “monitor, preserve, and enhance the natural world.” Just like they plan to enhance (control) humans through transhumanism, they plan to enhance (control) nature. They want to enslave both man and nature.
These elitists want to integrate blockchain technology into nature and market it as biodiversity conservation. They not only want to build the Internet of Bodies (people), but also the Internet of Forests (nature). They want everything to become part of the Internet of Things. They want to connect every living thing to artificial intelligence. This trans-human-ism and trans-nature-ism would commoditize every living thing. It would be the merging of man and machine; it would be the merging of nature and machine. It would be “a world where virtually everyone and everything is intelligently connected.” Dystopia anyone?
They are marketing this tokenization of nature as “an effort to minimize negative impacts on ecosystems and species.” Snake oil anyone? If they tokenize nature, they can use nature as a financial instrument. They can then sell green bonds and derivatives based on biodiversity data. This data would be gathered via sensors, drone fleets (“swarm intelligence drones”), and satellites. Thus all the species of the forest would be monitored and data mined. They want to build an “AI-driven neural network for our planet.” They want a global AI network that monitors everyone and everything in real-time.
This system will require datafication of biodiversity. This means that they will need to create digital representations of all species and all ecosystems on earth. They want to commoditize everything. “Almost every core function in financial services will be transformed.” It’s good for the planet and good for business…buhahaha!
The scam: Carbon Markets! “Carbon markets are critical in helping the world attain net-zero greenhouse-gas emissions.” Carbon markets revolve around the buying and selling of carbon credits. These credits allow the buyer to emit a certain amount of pollution. “Carbon justice for all!”
“Carbon markets can be a powerful tool to help advance carbon justice.” – United Nations
Carbon trading was first introduced as part of the 1997 Kyoto Protocol. The Kyoto Protocol’s carbon trading system was a major step towards establishing a global market for carbon emissions. The Kyoto Protocol was adopted as the first addition to the United Nations Framework Convention on Climate Change. The Kyoto Protocol has since been replaced by the Paris Agreement.
The globalists have also been talking about “carbon emissions trading schemes under which emissions credits would be allocated to adult individuals.” To bring about a personal carbon market scheme, they must introduce digital IDs and central bank digital currencies. Then they can introduce a Chinese-style social credit score system. They will tie your “carbon footprint” to your social credit score. Therefore, you’ll own nothing, and you’ll happily eat your bugs. You won’t have enough money to buy a carbon credit to leave your 15-minute city neighbourhood prison. But then again, climate lockdowns! By the way: you may want to breathe less, because they will carbon tax your every breath.
The carbon market is being introduced through public-private partnerships, which adhere to the Sustainable Development Goals of the United Nations. A low-carbon economy: degrowth. Degrowth is synonymous with poverty and depopulation.
Eventually, they will install a world leader over their new world order. Each individual will have to take this leader’s Mark (blockchain technology) in order to participate in his new world economic order. No one will be able to buy or sell unless they take his transhuman technology—the merging of man and Beast. If they receive his Mark, they will become one with the Beast’s AI-driven neural network. The public persona of this Skynet system will be the Image of the Beast. Those who refuse to take the Mark of the Beast and worship his Image will be enemies of the new world state. All such people will be hunted down and terminated—hasta la vista, baby. The new world surveillance state: you can run, but you can’t hide!
2 Timothy 3:1 “This know also, that in the last days perilous times will come.”
Now, for one of my favourite verses:
Psalm 42:1 “As the deer pants for streams of water, so my soul longs after You, O God.”
At Epiphany all water becomes holy, even the water in falling rain or the water in frozen form (as in snow). Snow surrounds the bas-relief of St. Michael the Archangel slaying Satan (aka Lucifer) and lower demons (or fallen angels) with his sword. The bas-relief is just beneath the South choir’s dome of The Exaltation of the Holy Cross church.
The archangel is represented as anthropomorphic, flying with wings and a halo around his head. This old bas-relief is very rare, since in Greek Orthodox churches Angels’ and Saints’ representations are almost always painted (as either icons or wall-paintings, aka frescoes), instead of being carved.
The church was once the katholikon (main church) of an Abbey (aka “Monastery”). It is a vaulted three-aisled basilica of a singular architectural style all of its own, measuring 72.8 × 43.3 ft (22.2 × 13.2 m without apses and choirs). The church is defined by its thirteen domes and still stands within a picturesque fir-trees’ forest at an altitude (elevation) of 3,609 ft (1,100 m). It was built in c.1770 or 1792. Severe damages were caused by the Nazi Germans during the occupation in WWII. The Exaltation of the Holy Cross is dependent on St. Stephen’s monastery (Meteora).
The church is located between two villages—Dholianá and Kraniá. Both villages are in the greater area of Aspropótamos (Greek for “White River,” toponym of river Acheloos) in Trikala county, Greece.
Some said Monet painted Roen Cathedral at every hour of the day and went from canvas to canvas as the light changed throughout each day to finish his flat pale low contrast depictions all the way through to deep Sun rich yellows into burnt evening reds and ambers. He did paint the Cathedral again and again his pictures portraying the different light upon the same scene. The light brought out detail and it shaded sections, colour changed and it in turn changed the character of the same stone structure. Light gave an atmospheric change that altered the emotive response from the painter and from the viewer.
Artists creating their picture on site outdoors is often termed, “En plein air,” for outdoor painting, but Monet in capturing Sunlight created pictures, “plein soleil,” full Sun images giving acknowledgement to the elemental power within the creation process. Monet from a perspective of the time had in the Cathedral a constant a structure venerated and regulated that held impressions of permanence and a rock steady stone construction exhibiting the finest reverence to God the generator and creative centre of life. The Sun striking and shading, colouring and clouding on the same surface created many impressions, some of which Monet sought to reveal in his works that in turn were mirrors of God’s work. He is said to have made more than Thirty full representations of Roen Cathedral working similar scenes in the different light available over his time there. Twenty of his works from Roen were exhibited together and some of the pictures have been collected together again for exhibitions and now through art in books and online we can see his many images brought together appreciated beside one another.
The light and shadow at Megalithic Monument is a part of the structure. Beyond the flat base levelled in construction of site there is the horizon and the surrounds that determine the position of the structure. The stones chosen and carefully sited create the frame for a tapestry to be woven in light and shadow that creates a physical pattern all around and within the hallow. Several Megalithic Monuments have had their central stones destroyed as these stones created shadow conceptions from the central stone to the waiting encircled stones. The central shadow casting stones in their shadow created an alignment not unlike a sundial and the Megalithic Monuments produced a sign that it was the time for holidays and feasts that were a part of the older calendar fixed on Solar Cycle.
© PHH Sykes 2022
phhsykes@gmail.com
Calanais Standing Stones
12m west of Stornoway off the A859, Isle of Lewis
www.historicenvironment.scot/visit-a-place/places/calanai...
13603 Broken slab, probably from a sarcophagus with relief representations in two recessed rectangular panels: left, a female figure on a couch; right, within a pedimented frame, a male and female figure en face. Early Imperial period, 1st-2nd century AD.
The Archaeological Museum of Rhodes (Greek: Αρχαιολογικό Μουσείο Ρόδου) is located in the Medieval City of Rhodes. The museum is housed in the monumental edifice that was the hospital of the Knights of Saint John. Construction was begun in 1440 and brought to completion in the time of the Grand Master d'Aubusson (1476-1503). The Museum contains various collections of archaeological artifacts from various parts of Rhodes and the neighbouring islands, including the Statue of the Crouching Aphrodite (1st century BC), which was inspired by a famous prototype work created by the sculptor Doidalsas in the 3rd century BC, and the Pyxis of the Fikellura type (mid-6th century BC).
The museum also holds the Head of Helios, which was featured in 2011 on the album cover of Floral Shoppe by Macintosh Plus, and subsequently became famous for its association with the Vaporwave movement....Wikipedia
Canon EOS 6D - f/18 - 1/3 sec - 100mm - ISO 200
- for challenge Flickr group Macro Mondays,
theme: On a Coin
- coin: France, 50 Francs, 1952, diameter 27mm
- subject: the cock (rooster) is a Venetian glass souvenir
- NB: A rooster, also known as a cockerel or cock, is a male gallinaceous bird, with cockerel being younger and rooster being an adult male chicken (Gallus gallus domesticus).
The term "rooster" originated in the United States as a puritan euphemism to avoid the sexual connotation of the original English "cock", and is widely used throughout North America.
- The Cock (US: Rooster), a Christian symbol of vigilance since the New Testament story of the Passion, has long been part of French national culture, largely because the Latin words for cock and inhabitant of Gaul are similar (Gallus v gallicus).
In the Middle Ages it was widely depicted in French churches and is recorded in 14th century Germany in references to France. Chaucer's vain, foolish and boastful character Chantecleer in the Canterbury Tales may have been recognised by his readership as refering to the French national character.
From the 16th century onwards representations of a cockerel occasionally accompanied the King of France on coins - it appears on the coins struck under both the Valois and Bourbon kings.
The French Revolution gave wider currency to the emblem: it appeared on the Seal of the Premier Consul, and surmounted the staff carried by the allegorical figure of Fraternité. It was an official emblem under the July Monarchy and the Second Republic when it was used on the poles of regimental flags.
Napoleon was not so keen on it. When a commission of Councillors of State proposed it as an emblem of France, the Emperor rejected it on the grounds that: "the cockerel has no strength; in no way can it stand as the image of an empire such as France." He replaced it by a more appropriate eagle. It returned to favour from 1830 onwards.
Under an an ordinance of July 30, 1830, the Gallic cock figured on the buttons of the uniforms of the National Guard and surmounted their colours. It replaced the fleur-de-lis as the national emblem. In 1848 it featured on the the Great Seal of France (The Official Seal of the French Republic) - as it still does - depicted on a ship's rudder next to the figure of Liberty.
Dune Varela
« Always the sun »
The exhibition shows a collection of representations of sacred places, such as temples, which have become “vestiges, backdrops, tourist sites, spaces of representation and learning.” Varela’s presentation of these places, however, challenges their use. The image of a temple is more meaningful than the temple itself.
The viewers have before their eyes the photograph of a statue splattered with paint; next come fragments, scraps of pictures cut abruptly and photoshopped onto the pottery. The image of a colonnaded wall comes to a halt at a smashed stone. The form prevails, tells us Dune Varela. But this form is manipulated. The image has taken a blow. “I wanted to destroy, to deconstruct. Fixing is inherent in the photograph: it captures. I wanted to produce something more raw, take a leap into the unknown with the material by accepting its accidents, even provoke them.” (Toujours le soleil, interview with Manon Lutanie, Éditions Trocadero.)
It is precisely this system of representation that the photographer explores and plays with. A temple is being manipulated, photographed, rephotographed, captured from a screen display. The image multiplies, transforms. First carved in stone, the image of a temple is shattered. Antiquity withdraws into the distance. The myth is far away. There remains a correspondence between these ruins visited as a proof of the past, and the finite character of photography.
Dune Varela, winner of the BMW Residency at the Musée Nicéphore Niépce, works on landscapes and their representation. Spanning various timeframes, she ponders the fragility of the photographic support with pictures culled from museum collections and the Internet or her own photographs. Printed on plaster, glass or ceramic, her images beckon us to places steeped in mythological or mystical meanings that have become part of our collective consciousness. Traces of time and history at these endlessly photographed tourist sites are eroded until the artist’s interventions finally finish them off. Photography, which fulfills the need to remember but is also a metaphor for that which is no longer there, invents new temples as vulnerable as she is.
The Wiślicka Plate or the Plate of Orans /floor size 4.1 × 2.5 meters/ from around 1175-1177 with engraved figural representations, discovered in 1959 in the crypt of the demolished church from the 12th century, whose place is now a Gothic Collegiate Church in Wiślica.
A unique monument of Romanesque art in the world.
The floor is made of screed (gypsum mass, hardening after pouring). Carvings were made on it, then filled with gypsum mass, tinted black with tar or charcoal. As a result, a black drawing was obtained on a light background, reminiscent of the effect Niello.
this image doesnt do justice the night I had. my good friend Jeroen and I went to see Clash of the Titans and Alice in Wonderland in the cinema tonight. both movies where as expected awesome!! loved them both for various reasons. Clash mostly for übercutie Sam Worthington, and I had to hear Liam Neeson say "Release the Kraken!"
Taken in the parking lot because I totally forgot to do a picture today and only had 20 minutes to shoot one. Tomorrow I'll do my Mad Hatter impression!
Piazza del Duomo - Battistero di san Giovanni Battista.
All'interno del battistero sono collocate le sculture ad altorilievo, raffiguranti i mesi e le stagioni dell'anno.
In origine le statue erano poste sul parapetto della prima balconata con sotto i simboli dello zodiaco corrispondenti..
Il ciclo di statue è tuttavia incompleto: le rappresentazioni dell'estate e dell'autunno sono infatti mancanti.
Nel complesso, il ciclo era probabilmente destinato al portale principale della facciata del duomo, ma l'opera venne interrotta, forse a causa della morte di Antelami (avvenuta mentre il cantiere del battistero era ancora in attivo o di una sua partenza prematura.
Pur non potendosi escludere gli interventi della bottega, è unanimemente riconosciuto come il capolavoro di Antelami, il lavoro nel quale profuse una sintesi della sua concezione della rappresentazione dell'uomo e nel quale raggiunse l'apice della sua raffinatezza esecutiva.
Piazza del Duomo - Baptistery of St. John the Baptist.
Inside the baptistery there are high-relief sculptures depicting the months and seasons of the year.
Originally the statues were placed on the parapet of the first balcony with the corresponding zodiac symbols underneath.
The cycle of statues is however incomplete: the representations of summer and autumn are in fact missing.
Overall, the cycle was probably intended for the main portal of the cathedral façade, but the work was interrupted, perhaps due to Antelami's death (which occurred while the construction site of the baptistery was still active or his premature departure.
Although the interventions of the workshop cannot be excluded, it is unanimously recognized as Antelami's masterpiece, the work in which he lavished a synthesis of his conception of the representation of man and in which he reached the pinnacle of his executive refinement.
IMG_1174m
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click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
Qi Bo's photos on Flickr Hive Mind
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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This year I asked myself, like so many Sicilian and non-Sicilian photographers, where to go to take pictures for Good Friday, to discover one of the many popular traditions scattered throughout Sicily, in fact Easter in Sicily is a cathartic moment for those in search of traditional popular events, to be able to tell with words and above all (for those like me) with photographs, a research that may appear not without contradictions, for example for that great Sicilian thinker who was Leonardo Sciascia, for he Sicily cannot be called Christian, which he defined the Sicilian festivals, at best it is only in appearance, in those properly pagan explosions, tolerated by the Church; Sciascia deals with the topic as an introductory essay in the book "Religious feasts in Sicily" (a volume that is still found on flea markets at ever higher prices), illustrated with photographs of a young and still unknown Ferdinando Scianna (in the first edition they made a mistake also his name, Fernando Scianna can be read on the cover), a book that did not fail to raise some controversy precisely because of the introductory note of the Sicilian thinker, appearing in open controversy with the sacredness of that popular devotion (so much so that the book was the subject of a criticized by the newspaper of the Holy See, The Roman Observer), Sciascia writes “What is a religious feast in Sicily? It would be easy to answer that it's anything but a religious holiday. It is, above all, an existential explosion; the explosion of the collective id, where the collectivity exists only at the level of the id. Because it is only in celebration that the Sicilian emerges from his condition as a lonely man, which is after all the condition of his vigilant and painful superego, to find himself part of a class, a class, a city ”. Going back over the thought of Gesualdo Bufalino, Sicilian writer and poet, we find interesting indications on the meaning that the Sicilians give to these traditional popular events, he says "during Easter every Sicilian feels not only a spectator, but an actor, before sorrowful and then exultant, for a Mystery which is its very existence. The time of the event is that of Spring, the season of metamorphosis, just as metamorphic is the very nature of the ritual in which, as in a story from the “Opera dei Pupi” (Puppets work), the fight of Good against Evil is fought. The Deception, the Pain and the Triumph, the Passion, the Death and the Resurrection of Christ are present”.
In short, Easter in Sicily is a recurrence deeply felt throughout the island since ancient times, it has always had the moving participation of the people as its fulcrum, with representations and processions that have become rites and traditions that unequivocally characterize many Sicilian towns, which recall the most salient moments narrated in the Gospels and which recall the Passion, Death and Resurrection of Jesus Christ, with processions formed by the various brotherhoods (sometimes with theatrical re-enactments) which have in themselves contents and symbols often coming from the Spanish domination, which in Sicily between the 16th and 17th centuries.
Returning to my question, expressed at the beginning, I had several suggestions from friends and acquaintances, among these a nurse friend of mine, originally from Leonforte, Vincenzo, managed to tickle my interest in a particular way, hence the photographic story that I present, made this year, is that of the Good Friday procession of Leonforte.
The procession begins in the late morning, which proceeds from the Oratory to the Mother Church, through the Piazzale Matrice, during the short journey the Stations of the Cross are meditated on; the procession that advances towards the Cathedral (which will represent Golgotha, because it is there that the Crucifixion of Christ will take place) is started by a large Cross, behind it proceed two long lines of sisters and brothers, there are those who carry cushions with nails, the crown of thorns, and the sheet of the deposition with a "Red Rose" on it; then we find Christ with an uncovered face supported by five brothers, followed by the Virgin of Sorrows, carried on the shoulders of the confraternity of the same name. At noon, inside the Mother Church, once in front of the Cross, the statue with jointed arms is "crucified". When dusk comes everything is ready for the procession, which starts from the Mother Church with the rite of the deposition of Christ down from the Cross, which is taken care of by the priests; the procession winds along an estimated route of just over 7 km, involving the 13 churches of Leonforte (thirteen as there are stations of the “Way of the Cross”), a procession called "'U Mulimentu", a term that indicates the sepulcher which it guarded for three days the body of Christ before his Resurrection (The procession of the “'U Mulimentu” can be dated around 1650). This itinerary also includes the lighting of a huge bonfire placed in the square in front of the " Great Fountain of Leonforte" (built on the remains of an ancient Arab fountain), from whose 24 spouts water does not come out only on Good Friday, as a sign of mourning the death of Christ.
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Quest’anno mi ponevo la domanda, come tanti fotografi, siciliani e non, dove recarmi a realizzare fotografie per il Venerdì Santo, alla scoperta di una delle tantissime tradizioni popolari sparse in tutta la Sicilia, la Pasqua infatti in Sicilia, è un momento catartico per chi è alla ricerca di eventi popolari tradizionali, da poter così raccontare con parole e soprattutto (per chi come me) con fotografie, una ricerca che può apparire non priva di contraddizioni, ad esempio per quel grande pensatore Siciliano che fu Leonardo Sciascia, per lui la Sicilia non può dirsi cristiana, che definiva le feste Siciliane, al massimo lo è solo in apparenza, in quelle esplosioni propriamente pagane, tollerate dalla Chiesa; Sciascia affronta l’argomento come saggio introduttivo nel libro “Feste religiose in Sicilia” (volume che si trova ancore sui mercatini dell’usato a prezzi sempre più alti), illustrato con fotografie di un giovane ed ancora sconosciuto Ferdinando Scianna (nella prima edizione sbagliarono anche il suo nome, sulla copertina si legge Fernando Scianna), libro che non mancò di sollevare qualche polemica proprio per la nota introduttiva del pensatore Siciliano, apparendo in aperta polemica con la sacralità di quella devozione popolare (tanto che il libro fu oggetto di una stroncatura da parte del quotidiano della Santa Sede, l’Osservatore Romano), Sciascia scrive “Che cos’ è una festa religiosa in Sicilia? Sarebbe facile rispondere che è tutto, tranne che una festa religiosa. E’, innanzi tutto, un’esplosione esistenziale; l’esplosione dell’es collettivo, dove la collettività esiste soltanto a livello dell’es. Poiché e soltanto nella festa che il siciliano esce dalla sua condizione di uomo solo, che è poi la condizione del suo vigile e doloroso super io, per ritrovarsi parte di un ceto, di una classe, di una città ”. Andando a ripercorrere il pensiero di Gesualdo Bufalino, scrittore e poeta Siciliano, si trovano indicazioni interessanti sul senso che i Siciliano danno a questi eventi popolari tradizionali, egli dice “durante la Pasqua ogni siciliano si sente non solo uno spettatore, ma un attore, prima dolente e poi esultante, per un Mistero che è la sua stessa esistenza. Il tempo dell’evento è quello della Primavera, la stagione della metamorfosi, così come metamorfica è la natura stessa del rito nel quale, come in un racconto dell’Opera dei Pupi, si combatte la lotta del Bene contro il Male. Sono presenti l’Inganno, il Dolore e il Trionfo, la Passione, la Morte e la Resurrezione di Cristo”.
In breve, la Pasqua in Sicilia è una ricorrenza profondamente sentita in tutta l’isola fin dall’antichità, essa ha sempre avuto come fulcro la commossa partecipazione del popolo, con rappresentazioni e processioni divenuti riti e tradizioni che caratterizzano inequivocabilmente numerosissimi centri Siciliani, che rievocano i momenti più salienti narrati nei Vangeli e che ricordano la Passione, la Morte e la Resurrezione di Gesù Cristo, con cortei formati dalle varie confraternite (a volte con rievocazioni teatrali) che hanno in se contenuti e simbologie spesso provenienti dalla dominazione Spagnola, avvenuta in Sicilia tra il XVI ed il XVII secolo.
Ritornando alla mia domanda, espressa all’inizio, ho avuto diversi suggerimenti da parte di amici e conoscenti, tra queste un mio amico infermiere, originario di Leonforte, Vincenzo, è riuscito a solleticare il mio interesse in particolar modo, da qui il racconto fotografico che presento, realizzato quest’anno, è quello della processione del Venerdì Santo di Leonforte.
La processione inizia in tarda mattinata, che procede dall’Oratorio fino alla Chiesa Madre,attraverso il piazzale Matrice, durante il breve tragitto vengono meditate le stazioni della Via Crucis; ad inziare la processione che avanza verso il Duomo (che rappresenterà il Golgota, perché è li dentro che avverrà la Crocifissione del Cristo) è una grande Croce, dietro procedono due lunghe file di consorelle e confrati, ci sono coloro che portano i cuscini con i chiodi, la corona di spine, ed il lenzuolo della deposizione con sopra una “Rosa Rossa”; poi troviamo il Cristo a volto scoperto sorretto da cinque confrati, segue la Vergine Addolorata, portata in spalla dall’omonima confraternita. A mezzogiorno, dentro la Chiesa Madre, giunti dinnanzi alla Croce, la statua con le braccia snodabili viene “crocifissa”. Quando sopraggiunge l’imbrunire tutto è pronto per la processione, che inizia dalla Chiesa Madre col rito della deposizione del Cristo giù dalla Croce, della quale se ne occupano i sacerdoti; la processione si snoda lungo un percorso stimato in poco più di 7 Km, interessando le 13 chiese di Leonforte (tredici quante sono le stazioni della Via Crucis), processione chiamata “’U Mulimentu”, termine che indica il sepolcro che custodì per tre giorni il corpo del Cristo prima della sua Resurrezione (La processione del “’U Mulimentu” è databile intorno al 1650). Questo percorso prevede anche l’accensione di un enorme falò posto sul piazzale antistante la “Gran Fonte di Leonforte” (costruita sui resti di una antica fontana araba), dalle cui 24 cannelle non esce acqua solo il giorno del Venerdì Santo, in segno di lutto per la morte del Cristo.
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Processione del Venerdì Santo a Leonforte (2023)
Venerdì Santo mattina (crocifissione)
Leonforte - Venerdì Santo 2012.wmv
Venerdì Santo - Leonforte (Enna)
venerdì santo 2022 rientro chiesa madre Leonforte
Traslazione Urna Gesù morto dalla matrice all'oratorio (Leonforte)
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Il Nome della Rosa (film 1986) TRAILER ITALIANO
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The Name of the Rose Official Trailer #1 - Sean Connery Movie (1986) HD
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I didn't change my shape at all. I was always annoyed that live-action screen representations of Wonder Woman always ignore that as an ultra-fit Amazon, Wonder Woman should be muscular. In the comics and the Lynda Carter version, she's always depicted as tall as well.
Because of her height and skeletal proportions, even without a hyper-developed musculature, Lynda Carter's Wonder Woman is the best live-action visual-representation of Diana Prince.
Only the other Amazons in all the other live-action versions of the mythology actually look physically kick-ass. Hahaha... The producers/directors bend the Wonder Woman mythology to the will of men's perceptions of female-beauty. I guess "magically created" strength is the excuse. Oh well...
I had a hunch, this skin may work on my GenX body shape, as is. I didn't adjust my shape at all.
I tried it on my Lara Wonder Woman and it didn't look bad, but I had to thicken my over-all body, and slim my legs slightly. It still didn't look "quite right" with my Lara.
I had to yellow-tint this skin a little bit to attempt matching my regular skin and face. The creator of this skin doesn't give demos or a wide range of tones, so I took a chance with it.
I also took a chance that someone out there may have a Wonder Woman outfit for GenX and I got incredibly lucky.
I was willing to attempt wearing one of the versions of the costume, that I've previously used on my Lara body. Sometimes you get lucky in sizing and/or alpha-cut trickery.
Ceiling with representations of St. Peter Martyr - Church Sant'anastasia - Verona
La chiesa di Sant’Anastasia è uno splendido esempio di gotico italiano. Fu eretta a partire dal 1290 con il contributo della famiglia che governava la città, gli Scaligeri, e di altre famiglie veronesi. Prima dell’attuale edificio qui esistevano due chiese dedicate, una a Sant'Anastasia e l’altra a San Remigio.
Nel 1290 i domenicani chiamati a custodirle, decisero di costruire al loro posto un’unica chiesa dedicata a San Pietro da Verona detto anche San Pietro Martire, ma il popolo continuò a chiamarla Sant'Anastasia. Accanto alla chiesa i monaci domenicani avevano un grande convento.
L’opera di costruzione del sacro edificio continuò per tutto il 1300 e il 1400 e finalmente nel 1500 si ebbe l’ultima fase dei lavori per il suo completamento. La facciata è l'unico elemento mai portato a termine.
Sant’Anastasia è la chiesa più grande di Verona. La basilica si sviluppa in tre grandi navate sorrette da 12 imponenti colonne di marmo rosso di Verona. Sul transetto si aprono 5 cappelle. Sul lato sinistro si apre l’antico oratorio del convento, Cappella Giusti.
La chiesa, ricchissima di opere d’arte, custodisce anche il celebre affresco del Pisanello San Giorgio e la Principessa, tornato nella sua collocazione originaria sopra la Cappella Pellegrini.
All’esterno la facciata incompiuta con lo splendido portale gotico e la zona absidale, posta sulla riva del fiume Adige. All’interno: gli altari con le cappelle con opere di Pietro da Porlezza, Cattaneo, Michele da Firenze, Liberale da Verona, Girolamo Dai Libri, Giolfino, Brusasorzi, Altichiero, e Pisanello. All’ingresso i singolari gobbi che reggono l'acquasantiera.
The church of St. Anastasia is a fine example of Italian Gothic architecture. It was designed by two Dominican friars and work began on it as from 1290 AD. Work lasted throughout the 14th and 15th centuries and by the early years of the 16th century the final stages of building showed that the end was in sight. The only thing never to be completed was the façade. St. Anastasia is the largest church in Verona.
The Basilica extends over three large aisles supported by twelve impressive pillars in red Veronese marble. To the left of the transept a splendid marble entrance opens onto the Giusti chapel which was at one time the oratory of the Dominican monastery.
The church soars to a great height and the interior is impressive; it is virtually an art gallery which contains many of the works of art Masters often mentioned in art history books. The most important is Pisanello’s well known fresco (St. George and the Princess) above Pellegrini Chapel. Note outside he unfinished façade with the splendid Gothic portal. Inside, you can see altars and chapels with works by Pietro da Porlezza, Cattaneo, Michele da Firenze, LiIberale da Verona, Girolamo dai Libri, Giolfino, Brusasorzi, Altichiero and Pisanello; at the entrance the singular hunchbacks of the holy water stoup.
Join us for the Metrocities Exhibition - Opening this Saturday!
Metrocities
An exhibition of images exploring impressions and representations of urban agglomeration from utopian and dystopian perspectives.
Hogan Gallery
310 Smith St Collingwood
14-29 January 2012
Monday-Friday 10am-6pm
Saturday 10am-5pm
Sunday 1pm-5pm
Opening Saturday 14 January 2012 6pm-8pm
Photography by Christian Were, Jesse Swallow, Paul Hocksenar, Roberts Birze and Sandy Birze
Antinoüs, Emperor Hadrian's lover. Artistic representations of Antinous have multiplied after his mysterious death by drowning in the Nile, 130. Most statues are identifiable by the specific features of the boy and his attitude : his head turned and bent, his eyes looking down.
I first heard of him when I read the "Mémoires d'Hadrien" by French Author Marguerite Yourcenar. Antinous also inspired various writings, poems and songs including the beautiful, melancholic song by HF Thiefaine : "Automne à Tanger (Antinous Nostalgia)"
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I've always loved visual representations of things. When we say words like "forever" and "infinity"… how can we visually represent something like that? It's challenging. When I say I write a lot, I wanted to be able to visually capture that.
I have the pages of my journal yes to represent my writing, but there's much more writing I do than just in my journal. I wanted to collect the pens that I used for all of my writing and be able to showcase them. This trio of display boxes allows me to display what I have written, while giving room for the future.
Theme: Re-Creation
Year Thirteen Of My 365 Project