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Reference: APAAME_20191022_PF-0457
Photographer: Pascal Flohr
Credit: Aerial Photographic Archive for Archaeology in the Middle East
Copyright: Creative Commons Attribution-Noncommercial-NoDerivative Works
Established in 1909, the Toronto Reference Library initially operated from another building on College Street. In the late-1960s, management of the library was assumed by the Metropolitan Toronto Library Board. Believing the space in the original structure to be inadequate, Raymond Moriyama was tasked to find a new site, and was later commissioned by the board to design a new building for the site. The new building was opened to the public in 1977 as the Metropolitan Toronto Reference Library, and the library continued to operate under that name until 1998, when it reverted to its original name. The building underwent renovations and expansion from 2009 to 2014.
Nikon F5 - AF-S Nikkor 14-24mm 1:2.8G - Kodak Tri-X 400 @ ASA-320
Zone Imaging 510-Pyro (1+100) 8:00 @ 20C
Scanner: Epson V700 + Silverfast 9 SE
Editor: Adobe Photoshop CC
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
John Russell Taylor - A Dictionary of the Theatre
Penguin Books, revised 1970; reprint 1974
Cover Design: Omnific
Mr Levent Yursetver, shop owner of the pastry shop Turkish sweets in Tirana, Albania.
The use of this image is restricted by the ILO and subject to authorization. If you wish to use this photo, please send a request to multimedia@ilo.org specifying the reference number, its intended use, the media you represent, your postal address, email and phone number.
Credit: Crozet M. / ILO
Date : 2014-03-20
Country : Albania
ILO PHOTO reference Mr Levent Yursetver, shop owner of the pastry shop Turkish sweets in Tirana 02
Teitl Cymraeg/Welsh title: Castell Conwy
Ffotograffydd/Photographer: Geoff Charles (1909-2002)
Dyddiad/Date: March 1, 1961.
Cyfrwng/Medium: Negydd ffilm / Film negative
Cyfeiriad/Reference: (gch23817)
Rhif cofnod / Record no.: 3470928
Rhagor o wybodaeth am gasgliad Geoff Charles yn Llyfrgell Genedlaethol Cymru
More information about the Geoff Charles Collection at the National Library of Wales
Giving a fitting to Mr Ravana at Home..
From Wikipedia, the free encyclopedia
Rāvaṇa ( IPA: [ˈrɑːʋəɳə], Sanskrit: रावण, Tamil:ராவணன், was a king of ancient Lanka and the primary antagonist in the Ramayana. In the classic text, Ravana kidnaps Rama's wife Sita, to claim vengeance on Rama and his brother Lakshmana for having cut off the nose of his sister Surpanakha.[1]
This depiction is, however, open to other interpretations. Ravana is described as a devout follower of Shiva, a great scholar, a capable ruler and a maestro of the Veena. He has his apologists and staunch devotees within the Hindu traditions, some of whom believe that his description as a ten-headed person (Daśagrīva) is a reference to him possessing a very thorough knowledge over the 4 Vedas and 6 Upanishads, which made him as powerful as 10 scholars. An alternative interpretation[by whom?] is that he is guided by and does not have control over the five senses and five bodily instruments of action[citation needed]. His counterpart, Rama, on the contrary, is always in full control of these ten. However, there is mention in Atharvaveda of demonic Brahmans called Dasagva (ten-headed) and Navagva (nine-headed). These early beings may be the actual forerunners of the later character in the Ramayana[original research?].
Ravana also authored Ravana Samhita, a powerful book on the Hindu astrology. Ravana possessed a thorough knowledge of Ayurveda and political science. He is said to have possessed the nectar of immortality, which was stored under his navel, thanks to a celestial boon by Brahma.[2] According to some theories, he was a historical emperor who reigned over Sri Lanka roughly between 1800-1600 BC.[3]
The name 'Ravana' is obtained from the root 'ru' and connected to the expression 'rāvayati iti rāvaṇaḥ' ('one who makes god love by his compassion actions.')[4] The name Ravana obtains from the root 'Ra' signifies the sun and 'vaṇa' signifies generation according to a nationalist Sinhala scholar, Arisen.[5] Ravana had many other popular names such as Dasis Ravana, Ravan, Raavan, Ravula, Lankeshwar, Ravanaeshwaran all signifying the qualities of life. Ravana was a cross of Brahmin and Daitya thus attaining a status of Brahma-Rakshasa.
Variations of the name include the following:
Assamese: ৰাৱণ(Rāvan)
Odiya: ରାବଣ (Rāvaṇa)
Bengali: রাবণ(Rabon)
Burmese: ရာဝဏ, [jàwəna̰]
Indonesian: Rahwana, Rahwono
Javanese: Rahwana, Rahwono or Dasamuka (from Sanskrit Daśamukha or 'ten faced')
Kannada:ರಾವಣ, Rāvaṇa
Khmer: Rabana or Rab, Krong Reap
Lao: Raphanasuan
Malay (Malaysian): Rawana or Wana
Malayalam: രാവണന് (Rāvaṇan)
Maranao: Lawana
Marathi: रावण (Rāvaṇ)
Sinhalese: රාවණා (Rāvaṇa)
Tamil: இராவணன் (Rāvaṇan)
Thai: ทศกัณฐ์, Thosakan (from Daśakanṭha or 'ten necked')
Telugu: రావణాసురుడు(Rāvaṇasurdu)
Yuan: Rahbanasun
Sinhala: රාවනා(Ravana)
Ravana was born to a great sage Vishrava (or Vesamuni), and his wife, the daitya princess Kaikesi. He was born in the Sandilya gotra, as his grandfather, the sage Pulastya, was one of the ten Prajapatis or mind-born sons of Brahma and one of the Saptarishi (Seven Great Sages Rishi) in the first Manvantara. Kaikesi's father, Sumali (or Sumalaya), king of the Daityas, wished her to marry the most powerful being in the mortal world, so as to produce an exceptional heir. He rejected the kings of the world, as they were less powerful than him. Kaikesi searched among the sages and finally chose Vishrava, the father of Kubera. Ravana was thus partly Brahmin and partly Daitya.
Even though he was partly Brahmin and partly Rakshas, Rama praised Ravan as Mahabrahmin. Rama had to do Ashwamedha yagna as penance for killing a Brahmin (Brahmahatyadosha).
His brothers were Vibhishana, Kumbhakarna and Ahiravana. Through his mother, he was related to the daityas Maricha and Subahu. Kaikesi also gave birth to a daughter, Meenakshi ("girl with fish like eyes"), although later she was dubbed the infamous Shoorpanakha "winnow-like nails".
Father Vishrava noted that while Ravana was aggressive and arrogant, he was also an exemplary scholar. Under Vishrava's tutelage, Ravana mastered the Vedas, the holy books, and also the arts and ways of Kshatriyas (warriors). Ravana was also an excellent veena player and the sign of his flag had a picture of veena on it.[citation needed] Sumali, his mother's father, worked hard in secret to ensure that Ravana retained the ethics of the Daityas.
The Ramayana tells that Ravana had close connections with region of the Yadus, which included Gujarat, parts of Maharashtra and Rajasthan up to Mathura south of Delhi. Ravana is believed to be related to Lavanasura, also regarded as a Rakshasa, of Madhupura (Mathura) in the region of the Surasenas, who was conquered & killed by Shatrughna, youngest brother of Rama.
After worshipping a Shiva Linga on the banks of the Narmada, in the more central Yadu region, Ravana was captured and held under the control of King Kartavirya Arjuna, one of the greatest Yadu kings. It is very clear from the references in the Ramayana that Ravana was no commoner among the Humans or Asuras, a great chanter of the Sama Veda.
Following his initial training, Ravana performed an intense penance (or tapasya) to Brahma (the Creator God), lasting several years. During his penance, Ravana chopped off his head 10 times as a sacrifice to appease brahma. Each time he sliced his head off a new head arose, thus enabling him to continue his penance. At last, Brahama, pleased with his austerity, appeared after his 10th decapitation and offered him a boon. Ravana asked for immortality, which Brahma refused to give, but gave him the celestial nectar of immortality. The nectar of immortality, stored under his navel, dictated that he could not be vanquished for as long as it lasted.
Ravana also asked for absolute invulnerability from and supremacy over gods, heavenly spirits, other rakshas, serpents, and wild beasts. Contemptuous of mortal men, he did not ask for protection from these. Brahma granted him these boons in addition to his 10 severed heads and great strength by way of knowledge of divine weapons and magic. Thus ravana known as 'Dasamukha' (Dasa = ten, mukha =face). According to the serials made on the Ravana, in his childhood he was the first person who prohibited the cow slaughtering.
Ravana was known for his virility and his aggressive conquests of women. Ravana had several wives, foremost of whom was Mandodari - daughter of Mayasura and an apsara named Hema.
Mandodari was renowned for her wisdom and grace as well as beauty and chastity. She is known as "Ayonija" where "Yoni" means "Mother's Womb" & "Ja" means "Janma" - incarnation, a divine term, normally we say "Life/Birth" of a person . Hence "Ayonija" means "A" before "Yonija" means who didn't take birth from a normal mother. so cannot say about her "Mother" as Hema. and she had a great boon that until she leaves her life as per her "Karma", she will remain as "Sumnagali". That is why, though when Ravana was hit by "Rama's" powerful arrow, Ravana didn't lose his life. the "Jyothi" at Mandodari's "Puja Mandir" has to become "Unchastic" and when that happened, Ravana fell down. and Ravana Kashtam, the term which people use today, has happened when Ravana fell down i.e., when his body was burnt, the "Moksha" didn't happen till Mandodari was on earth with life. and thus, she can be called as "Sumangali", which satisfies her boon. Ravana did not have any special in women. The first was the encounter with the sage-woman Vedavati. Vedavati had been performing penance with the intention of winning Lord Vishnu as her husband. Ravana met her at her hermitage, her beauty enhanced by the austerities she had performed. He proposes to her and is rejected. Ravana mocks her austerities and her devotion to Vishnu; finding himself firmly rejected at every turn, he tries to molest Vedavati, pulling her hair. This greatly incensed her, and she forthwith cut off her hair, and said she would enter into the fire before his eyes, adding, "Since I have been insulted in the forest by thee who art wicked-hearted, I shall be born again for thy destruction." So she entered the blazing fire, and celestial flowers fell all around. It was she who was born again as Sita, and was the moving cause of Ravana's death, though Rama was the agent.
Vedavati is said to have been reborn as Sita, causing Ravana's death and winning Vishnu (as Rama) as her husband.
As reincarnation of Vishnu's dwaarpaal
In the Bhagavata Purana, Ravana and his brother, Kumbhakarna were said to be reincarnations of Jaya and Vijaya, gatekeepers at Vaikuntha, the abode of Vishnu and were cursed to be born in Earth for their insolence.
These gatekeepers refused entry to the Sanatha Kumara monks, who, because of their powers and austerity appeared as young children. For their insolence, the monks cursed them to be expelled from Vaikuntha and to be born on Earth.
God Vishnu agreed that they should be punished. They were given two choices, that they could be born about 7 times as normal mortals and devotees of Vishnu, or 3 times as powerful and strong people, but as enemies of Vishnu, for which they chose the second one. Ravana and his brother Kumbhakarna were born to fulfill the curse on the second birth as enemies of Vishnu in the Treta Yuga. The curse of first birth was fulfilled by Hiranyakashipu and his brother Hiranyaksha in Satya Yuga when they were both vanquished by earlier avatars (incarnations) of Vishnu and the curse of third birth was fulfilled by Dantavakra and Shishupala in the Dwapar Yuga when they were both vanquished by Lord Krishna.
Tattva interpretation
Ravana has ten heads. These are indicative of ten indriyas (sensory and material faculties). Ravana is an indicative of every person who defies death (demon), who goes around in this world only for sensory pleasures. Ravana lives in south (of India) - direction of death, indicating that some day this body is bound to die. Ravana wishes to procure Sita avoiding Rama. Everything in this world is a combination of the Truth (The only Brahman or Consciousness) and what it looks and feels like, to us (Maya). One who tries to see or procure things in this world, only based on his indriyas will have a life of Ravana.
Taken on ISO100 DX Studio35 colour film with a Bell+Howell PZ3300.
Built at the close of the 19th century, the Tennessee State Prison housed inmates until it was closed in 1989. From the time it began operations in 1898, the 800 cells of the prison had almost continually been over crowded. Throughout it's history numerous calamities have occurred at the penitentiary including riots, mass escapes, and fires. Conditions at the facility were forbidding and harsh due to overcrowding, sanitation problems and insufficient ventilation. In 1983 a federal court decision prohibited the Tennessee Department of Corrections from ever housing prisoners at the TN State Prison.
Since 1992 the facility has been left mostly abandoned. Several buildings on the massive compound are still in some use today, but the rest of the prison lies in disrepair and deterioration. The Tennessee State Prison is now a wonderland of decay. Not without danger, the buildings on the site are contaminated with black mold, asbestos, and lead based paint among other obvious perils. Yet, it is a completely fascinating location to explore. Numerous films and music videos have been shot on the grounds of the prison.
Nearly all of my exploration of this site on this visit was of the medical facility on the northern end of the compound. The medical facility one of the most restricted buildings at the prison, attributable in part to damage caused by a film crew from VH1 that were visiting to shoot the “Celebrity Paranormal Project.”
References
Copyright - All Rights Reserved - Black Diamond Images
The Reorganised Church of Jesus Christ of Latter Day Saints Church or as it was known - The Saints Church, Tuncurry, NSW was built under the direction of Ernest Wright in what was then referred to as Wharf St, now Manning Street. The new church opened its doors on 15th July 1910.
John Wright the Latter Day Saints Pastor and Tuncurry Founder had established a Latter Day Saints Church in Tuncurry in 1877 having been converted from Presbyterianism to the Mormon faith very early in the life of the fledgeling Tuncurry community which Wright had established from 1875 when he began sawmilling and shipbuilding on the north shore, later to become known as Tuncurry, meaning 'plenty of fish'
John Wright died just 2 months before the official opening on 28th May 1910.
John Wright had made substantial financial contributions to the construction of the church and he was remembered in a special service on the opening day. John Wright's son Ernest Wright then became Pastor from 1911 and remained so for the next 35 years till his death in 1946. After Ernest's death his brother Stan Wright and sister in law Ella assumed some of the religious duties but the church was without a local Pastor until 1960.
The church was designed by Elder Cornelius Butterworth who erected the frame and construction was then largely completed by Stanley Wright and Frank Avery, both church members.
The Bell Tower was added circa 1923 and a Vestry in 1950. A fire in 1969 saw the roof replaced as well as other repairs and repainting. In 1982 when John Wright House and the Wright's shop had been moved from the growing commercial centre of Tuncurry plans were made to move the church to Tiona, south of Forster, where the church owned land. This did not eventuate and the church remains on its original site having become a Community of Christ Church in 2001. In 1995 Bruce Wright and Lyn Nicholson restored the old church to the sparkling appearance it has today.
Reference - 'Tuncurry , A Tapestry of a Town' by Susan Gogerty 2011
I bought these years ago because I loved the sound from the horn tweeter. These things are 98dB @ 1watt/1meter efficient, which is pretty awesome for floor standing.
www.audioreview.com/mfr/klipsch/floorstanding-speakers/re...
I'm currently driving them with a Denon AVR 2801. If I ever upgrade, I'm probably going to get a Marantz.
Reference Only
1/3 SD Pullip
8 - 9'' Inch size wigs
22 - 24 cm size
Items:
L- ndoll.com Baby Gold RARE
M- Taeyang Gyro Original wig
N- Dollfie chocolate brown trimmed wig RARE
O- nDoll Peach Pink wig RARE
P- Angell-Studio brown bob wig RARE
Q- nDoll Choco brown wig RARE
R- Parabox Princess curls brown
S- Parabox Wine red bob hair
T- Parabox Mix brown Bob hair RARE
If you are looking for a cool bridge Camera: check my samples
+
Canon Powershot SX1 IS - HD VIDEO - f/2.8 - 5.7 USM
28 - 560mm , widescreen
& supermacro
4/frames / sec.
ALL IN ONE - Bridgecamera
or more
with tech. specs.
reference shots :
Canon Powershot SX1 IS - HD VIDEO - f/2.8 28 - 560mm supermacro
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captured by my celly Nokia 6220c-1
5 megapixel Camera
[3/4 view]
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FLUIDR
NEW TOOL
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My FAVES
with FLUIDR
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SX1IS Canon Powershot
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Reference: APAAME_20160526_REB-0313.jpg
Photographer: Rebecca Elizabeth Banks
Credit: Aerial Photographic Archive for Archaeology in the Middle East
Copyright: Creative Commons Attribution-Noncommerical-No Derivative Works
Reference File: ARBARELLO-171029-653
©2017 Fernando Lopez Arbarello - All Rights Reserved
Fine Art Photography by Fernando Lopez Arbarello
This is the first bike in a series of Project bikes I am collaborating with various painters and artists on.They are all one off's and FOR SALE! This is a 52cm frame and if you are interested I am happy to use your contact points in the CAD program to see if the bike will fit and work for you well. Please email me directly for more info.
Here is what Ben had to say about his inspiration for the paint scheme-
When beginning a project like this with little to no parameters on the design, it's helpful to narrow down the colors and think of a general theme.
For this frame set, Thomas (of Horse Cycles) helped to give me some budget constraints by proposing a palette of white and some varying shades of red. From there, I did a quick sample tube to get a feel for the masking process I was going to use for the final product. Naturally, upon completing the sample tube I ended up departing from it entirely, and just started laying down the white and taping away while sketching various abstract geometric patterns until something felt right.
I ended up landing on an architectural design that started as Art Deco, and perhaps ended up conveying the visual language of some ancient cultures as well. Once I saw the connection to some ancient cultures, my mind went to one of my favorite cartoons, Samurai Jack. I kept that in the back of my mind and continued taping and spraying away. The lattice work around the down tube logo probably owes more to that reference than the rest of the design, and was an afterthought. Once I applied the Bishop text and saw how it was interacting with the cascading lines around it, I decided to emphasize that effect with a lattice work in an accent color.
-Ben
This content for this Flickr site was developed by Jennifer Hewitson for the NPWS. The content was loaded onto Flickr by Tumut work experience students - Daniel Craft, Matthew Nylar and Brad Smith. Site images by Damian De Marco and all filming by Richard Snashall. Historic images from the NSW Department of Industry and Investment, Klaus Hueneke and other sources.
Australian National University, Department of Archaeology and Anthropology Course Manual for 2007. Courtesy of Ian Farrington.
Australian National University, Department of Archaeology and Anthropology, 1995, Archaeological Investigations at Kiandra Kosciuszko National Park, I Excavations at Kiandra Hotel & Mr Marks' tail race, 1995.
Australian National University, Department of Archaeology and Anthropology, 1996, Archaeological Investigations at Kiandra Kosciuszko National Park, II Excavations at Chinese emporia, mining races and Matthews' cottage, 1996
Anderson, W, 1887, Report on the Kiandra Goldfields: Annual Report, Department of Mines, NSW.
Andrews, E. C, 1901, Report on the Kiandra Lead. Department of Mines and Agriculture.
Clarke, Keith, 2009, Private research into the Kiandra Dredge, Berridale, NSW.
Clarke, Rev. W.B, 1860, Researches in the Southern Goldfields of New South Wales.
Clift, D S L, 1975, Gold Dredging in NSW. Department of Mines, Geological survey of New South Wales, Mineral resource No 41.
Department of Mines and Agriculture, New South Wales, 1875- 1949, Annual Reports
Dowling, Phyllis, 2011, personal collection.
Grant-Thompson, Christine, 2009, Survey of Mining Remains in the Kiandra District, ANU, for the National Parks and Wildlife Service.
Gregors, Gatis, 1979, A survey of the Southern NSW Alpine Architecture. University of Sydney.
Hueneke, Klaus, 1978, Kiandra 1861 where skiing began, Canberra History Journal, No 2.
Hueneke, Klaus, 1982, Huts of the High Country. ANU Press.
Hueneke, Klaus, 1987, Kiandra to Kosciusko, Tabletop Press.
Hueneke, Klaus, 1994, People of the Australian High Country, Tabletop Press
Locker, N, 2011, personal collection.
Moye, D.G, 1959, Historic Kiandra; A Guide to the History of the District, Cooma Monaro Historical Society.
Preshaw, G. O, 1888, Banking under difficulties, Edwards Dunlop and Co., Melbourne.
Scott, David. 2008, A Draft History of the Nine Mile Diggings, Kiandra Goldfields.
Scott, David, 2008,Tabletop Goldmines Tour.
Sheppard, Jill, 2006, Pattinson's Cottage and Wolgal Lodge Heritage Action Statements, for NSW NPWS.
Smith, Lindsay. M. 1997 The Chinese of Kiandra, NSW. Report to the Heritage office of the NSW Department of Urban Development and Planning
Tybussek, Damian, 2007. Thesis, ANU School of Archaeology and Anthropology.
Warren-Smith, Bob, 1991, The Rush that ended: Towards a social reconstruction of Kiandra during the decline of the Gold rush in 1860. Department of History, Australian National University.
Wilkinson, V and Pebesma, M, 1994, Small Cemeteries and Isolated Graves of the Tumut District, Tumut Family History Group Inc.
Image of the Kiandra Courthouse and Chalet in the early 1960s courtesy of Barry Wrenford.
captivating depiction of a woman in gold metallic material with striking green eyes and intricate green hair with various natural elements. A parrot with fine, bright green plumage is perched close to it, suggesting a harmonious relationship with nature. The background is a mix of soft shades of green, giving it an ethereal and mystical feel. The woman's gaze is intense and seems to be looking into the distance, while the parrot looks directly at the viewer, adding a sense of life and curiosity to the composition.
AIKEN JOHN J. HOUSE
Ellicottville, New York
Listed 02/20/2013
Reference Number:13000025
Located at 6805 Poverty Hill Road in the town of Ellicottville, Cattaraugus County, New York, the John J. Aiken House meets Criterion C of the National Register of Historic Places for its architecture. Constructed ca. 1837 for Reverend John J. Aiken, the building is an excellent example of an early, mortise-and-tenon constructed Greek Revival house from the early{o-mid nineteenth century era of development around Ellicottville. Rev. Aiken was locally significant as a prominent religious and business leader with strong ties to the Western New York community. The vernacular Greek Revival house reflected his initial success as a businessman and the respect he earned as a missionary. Rev. Aiken chose the Greek Revival style for his property, which was the dominant trend in residential architecture in the early nineteenth century. Associated with the culture and values of ancient Roman and Greek architecture, the design of the house indicated the attempt to showcase the growing cultural and architectural sophistication of the Ellicottville community in the 1830s, rising beyond the hard-scrabble pioneer cabins of early settlers. Modestly ornamented and embellished, the mortise-andtenon constructed house demonstrated the attempt to show this level of refinement in spite of a lack of locally available highly-skilled artisans and high quality materials and finishes. inexpensive, available woods were accented with faux-painting to elevate them to resemble hardwoods, while doors and windows featured simple eared surrounds. While the decorative elements were modest, the house displayed key characteristic features of the Greek Revival, including an articulated front entry door with pilasters and entablature, a prominent frieze band at the eaves and a front-gabled block with side wing massing.
National Register of Historic Places Homepage
Grey Point Fort (map reference J45698325) is a battery located at Helen's Bay on the south side of Belfast Lough. It was part of the defences of Belfast.
Construction of the battery began in 1904, with the guns mounted by 1907.[1] The construction of the battery and another battery on the opposite side of the Lough at Kilroot was noted by the Owen Report of 1905.[2]
The battery was armed with two 6-inch Mark VII Breech loading guns. During the First World War additional buildings were constructed to provide accommodation for men of Kitchener's Army. Following the war, the battery remained in use with two coastal defence search lights being installed in 1936.