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The garden of Toranoko -watashi- young tigers crossing the water
The stones setting represent three tigercubs and a mother tiger crossing over the river.
location : Nanzenji Temple
京都 南禅寺 方丈庭園 （小堀遠州 作庭）
Nanzenji Temple (Zuiryuzan taiheikokoku nanzen zenji)
Nanzenji is the head temple of Rinzaisyu-Nanzenji school,one of zen sects.
In 1264,Emperor Kameyama built the villa Zenrinjiden at his favorite place of natural beauty. Later becoming a monk-emperor embracing the faith of chief priest Daiminkokushi,he donated his villa as a en temple in 1291..At Nanzenji we respect Daimomkokushi as a first chief priest ,monk-emperor Kameyama as the founder and Nan-inkokushi the 2th who completed the buildings of Nanzenji.
Historically speaking,since its establishment,Nanzenji was tanked above the "Five Great Zen Temple" in Kyoto.For generations the greatest Zen priests of the period became the chief priests here,while at the same time,Nanzenji enjoyed cultural prosperity as the centre of "Gozan(five great temples) Literature".
The original buildings were completely destroyed by fire three times during the Muromachi period in;1394,1448 and 1467. The current buildings were rebuilt during the Momoyama period 81570-1600).
Hojo Garden- Designated as a place of scenic beauty
Upon leaving the typical Zen Study (Shoin),through the wide and dimly lit corridor,one comes upon the porch of Hojo(Seiryoden Hall). the famous Aen garden,karesansui(dry Japanese garden) ,is in front of the porch. The combination of the Hojo,garden and the shakkei( borrowed scenery) of the adjoining mountains ,including Mt.Yokakuryo Dainichi-santo,harmonize to produce a garden of simplicity,refinement and dignity.The garden was named "Toranoko -watashi"虎の子渡し（young tigers crossing the water) after the shape of the big rocks. the garden consists of stones and trees grouped together at one end of a large open space,which is characteristic of many famous gardens made after the early Edo period(1600s).This garden is said to have been designed by the renowned landscape architect Kobori Enshu 小堀遠州 in about 1600. - Nanzenji temple
Markarfljót runs around the northern side of Eyjafjallajökull, the famous volcano that caused mayhem in 2010. Straight ahead, in the cloud and fog, you can see the lower edge of Mýrdalsjökull, one of the largest glaciers in Iceland. The glacier covers the volcano Katla, which hasn't erupted in nearly 100 years, though it's usually extremely violent when it does. Eruption of neighbouring Eyjafjall often precedes an eruption from Katla, so the risk of this area being inundated by massive glacial melting was notable. Thankfully, there are usually days of warning for such events.
The dark cleft on the right-hand side of the image is the entrance to Stakkholtsgjá (a canyon we later explored)
I originally presented this image as an HDR, with all its attendant vices (flic.kr/p/deu2zP). This time, I've used only two of the original five exposures and combined them manually. This allowed for the longest exposure to be the most dominant, with beneficial effects on the presentation of the water. I also made clearer decisions on what I wanted this image to feature and how one's eye should move through the image.
This version was shot at a slightly more elevated position and with some compositional refinement during the original exposures.
Manufacturer: PSA Peugeot Citroën S.A., Paris - France
Type: SM Coupé
Production time: September 1970 - July 1972
Production outlet: 7,133
Production time: mid-year 1970 - mid-year 1975
Produsction outlet: 12,920
Engine: 2675cc Maserati C114-1 Type SB V6 DOHC
Power: 168 bhp / 5.500 rpm
Torque: 230.5 Nm / 4.000 rpm
Drivetrain: front wheels
Speed: 219 km/h
Curb weight: 1440 kg
Wheelbase: 116.1 inch
Chassis: all-steel unibody
Steering: rack & pinion speed-controlled power steering (DIRAVI)
Gearbox: five-speed manual / all synchromesh / floor speed
Clutch: hydrualic spring disc
Carburettor: triple Weber 42 DCNF2 2-barrel
Fuel tank: 90 liter
Electric system: 12 Volts 70 Ah
Ignition system: electronic
Brakes front: vented 11.8 inch hydraulic solid inboard discs
Brakes rear: 10.1 inch hydraulic solid outboard discs
Suspension front: independent hydro-pneumatic (oleo pneumatic) self-leveling cross-link suspension, upper and lower transverse leading arms and crossbars, torsion stabilizer (anti-dive geometry)
Suspension rear: independent hydro-pneumatic (oleo pneumatic) self-leveling suspension, trailing arms, longitudinal swing arms, anti dive, anti squat geometry
Rear axle: swing type
Differential: spiral bevel 4.375:1
Wheels: 15 inch steel with stainless trims
Tires: 195/70 VR 15
Options: Air Conditioning, Blaupunkt radio, tinted glass, leather interior, coloured disc wheels, fog lamp
Special:
* this automobile was the test car for the Dutch car magazine "Autovisie" => thanks for that info, Bramari ♫♪
- The SM Fastback Coupé (“Project S”) was designed by Robert Opron, head of the design department of Citroën, based on the DS and the Maserati Mistral and the technical design by a group of technicians, led by Jacques Né. It has an aerodynamic drag coefficient (CW): 0.33.
- In 1961, Citroëns “Project S” started with the goal (based on the DS), to built a luxury car with revolutionary performance as a top speed well over 180 km/h and to develop far-reaching technical refinements.
- The first contacts with the Italian Maserati, for the development of a new engine, followed two years later.
- In 1968, Citroën became owner of the Italian firm with the goal to use the powerful V6 Maserati engine for the SM.
- At the Geneva Motor Show in March, 1970, the public could finally see the new flagship of Citroën.
- Some say SM means “Sa Majesté” ("her majesty"), or "Systeme Maserati", and others again "Sport Maserati".
- In 1971 Coachbuilder Chapron in Levallois-Perret assemled only 5 Convertibles: The SM Mylord Chapron Convertible.
- Chapron also built 2 units 4-door SM Présidentielle in 1972 and 7 units 4-door SM Opéra in 1972 and 1973.
- In 1971, Heuliez in La Crenuère Rorthais, produced 2 units of pillarless targa top convertible, the SM Espace.
- 1970-1972: 2.7 L V6 with 3x Weber 42 DCNF2 carburettors, "C114-1" (170 bhp).
- 1973-1975: 2.7 L V6 with Bosch D-Jetronic injection, "C114-03 Type SC" (185 bhp). Not available in the USA.
- 1971-1975: 3.0 L V6 with triple Weber 42 DCNF2 carburettors, "C114-11 Type SD" (190 bhp), USA sales only in 1971, rest of the world, and Borg Warner three-speed automatic transmission only in 1974 & 1975).
- The 1974 bankruptcy of Citroën and the 1973 oil crisis and economic recession, reinforced the decision of PSA to stop the SM production in 1975.
Dialogue is a delicate process. A literary dialogue comprises a little drama without opinions. It has long served writers who have something to censure or to impart, but who love to stand outside the pulpit, and to encourage others to pursue a train of thought which the author does not seem to do more than indicate. The dialogue expresses and notes down the undulations of human thought so spontaneously that it almost escapes analysis. Commonly, records of the alleged actual words spoken by living or imaginary people and it appears in a dialogued format. One branch of this form of expressive documentation, the drama, depends upon dialogue almost exclusively. Yet, in its technical sense, the word 'dialogue' describes what the Greek philosophers invented, and what the noblest of them lifted to the extreme refinement of an art.
top - Refinement Vanessa
skirt - Sweet Victory Natalia
purse - Ooh La La Poppy
booties - In Rouges Erin
[4 of 52]
three pieces of my current university project (i study architecture) about the phenomenon of emotions in human faces. (natural light from the window in my room)
watch big!
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Commentary.
The sun catches the rocky headlands guarding the entrance to the awesome sea-loch, Loch Nevis.
I was trundling my way across the Sound of Sleat on my journey from the mainland at Mallaig, to Armadale
on the Sleat Peninsula, part of the wondrous Isle of Skye.
Nevis twists north, then south and finally east, where it narrows to under a quarter of a mile wide, from a maximum of four miles, at its mouth.
It is not absurd to suggest that this terrain represents one of the wildest, most remote and isolated in Caledonia and the United Kingdom.
To the left (north) is Knoydart, the “Rough Bounds.”
To the right (south) is North Morar.
Both are only accessible by foot or boat.
There are no metalled roads within an area exceeding a hundred square miles.
They are truly rugged, remote, untamed and aloof to the influence of humanity.
Starkly untouched, rocky, bare but spartanly pristine, unspoiled, natural wildernesses.
Their raw, unsophisticated beauty rakes at your psyche, your soul, your spirit.
But in this “other world” you find your real self because refinement and urbanity has been stripped away in the face of precipitous rock and Sgurr na Ciche, 1,020 metres.
This pyramidal peak, just right of centre is a sentinel,
an icon, a landmark for 20-50 miles in all directions, in this land of raw, unbridled beauty.
Even in this shot it lies beyond the far eastern end of Loch Nevis, twenty miles away in this image.
Should you wish to be “far from the madding crowd,” come here, to the mountains, to the eternal thrones of the Gods.
This is God’s Garden. It is a rocky one. Walk with him.
See your real self in the mountain pool, not the work-place window.
[ kunst ] - Jagger Pipe @TMD
With a refinement and a certain classic spirit that spans generations, add the [kunst] - Jagger Pipe bringing more personality and elegance to your style.
Aert de Gelder (October 26, 1645 - August 27, 1727) - The Holy Family - (1685-1710) oil on canvas 80.5 x 97.3 cm - Gemäldegalerie, Berlin
De Gelder inizialmente fece l'apprendista presso Samuel van Hoogstraten a Dordrecht intorno al 1660 prima di entrare nella bottega di Rembrandt ad Amsterdam, dove fu influenzato dal suo stile tardo.
Nella foto si vede Maria con un bambino in grembo, a cui Giuseppe offre un'arancia. A destra, tagliata dal bordo dell'immagine, una ragazza è inginocchiata. L'esecuzione di genere del tema conferisce alla rappresentazione il carattere di un semplice idillio domestico e di grande intimità. Solo l'abbigliamento dall'aspetto orientale del raffigurato fornisce un indizio per riconoscere la Sacra Famiglia nelle figure. A causa delle varie strutture dell'applicazione con pennello, stile di pennello e spatola e la risultante moltitudine di interruzioni di colore attraenti, de Gelder ha ottenuto un'esecuzione senza pittura di estrema raffinatezza.
De Gelder was initially apprenticed to Samuel van Hoogstraten in Dordrecht around 1660 before joining Rembrandt's workshop in Amsterdam, where he was influenced by his late style.
Pictured is Mary with a baby on her lap, to whom Joseph offers an orange. To the right, cut off from the edge of the image, a girl is kneeling. The genre execution of the theme gives the representation the character of a simple domestic idyll and great intimacy. Only the oriental-looking clothing of the depicted person provides a clue to recognize the Holy Family in the figures. Due to the various textures of the application with brush and palette knife style and the resulting multitude of attractive color breaks, de Gelder achieved a paintless execution of extreme refinement.
We came for the dam, for the view of the lake, but the sun...there was just too much of it! Too bright, too hot. I'm at this spot where...I've done bright, I've done the dam, I got there and quickly found myself bored with the spot, with what I was seeing in the viewfinder.
I got a few solid shots, but it was in this second spot, bit more shade, bit more breeze, that we really started having some fun.
A big up to Cassie, climbing on old dusty...whatever that thing is...big concrete thing to keep the bears in the forest from eating people.
I'm finding myself bored a lot during shoots, these days.
And that's good. It's that urge to try something else, to fiddle, to experiment. I knew it was gonna show up, felt the same thing after coming back from England last year.
Just like last time, a lot of new ideas started percolating while I was teaching. Nothing groundbreaking, always refinements, tweaks.
I'm off on my trip through America in less than two weeks, really looking forward to shooting different kinds of subjects, different environments. Giving the snow globe that is my creative life a good shake.
I wouldn't go so far as to say EVERYONE SHOULD SHAKE THINGS UP ALWAYS, but I will say, when you feel that stirring, that itch for something else, follow it, yeah?
ShinMaya US-2 9903 (CN 4003) Japan Maritime Self-Defense Force (JMSDF), 31 Kokugun (Air Wing), 71 Kokutai (Squadron). Photo taken at the 2025 Iwakuni MCAS (RJOI) Friendship Day.
The ShinMaywa US-2 is a large Japanese short takeoff and landing amphibious aircraft that employs boundary layer control technology for enhanced STOL and stall suppression performance. Manufactured by seaplane specialist ShinMaywa (formerly Shin Meiwa), it was developed from the earlier Shin Meiwa US-1A seaplane, which was introduced during the 1970s. ShinMaya commenced working on the US-1A replacement in 1995 which was initially referred to as the US-1A kai (US-1A 改 - meaning "improved US-1A"). The US-2, as it was later named, features numerous aerodynamic refinements over its predecessor, along with a pressurized hull, and the adoption of more powerful Rolls-Royce AE 2100 engines and electronic cockpit instrumentation. Flight testing commenced in December 2003. The JMSDF intends to purchase up to 14 US-2s for its search and rescue needs. The type is currently operated by 71 Kokutai (71st Squadron) JMSDF from both Iwakuni Air Base and Atsugi Air Base.
Sources: Scramble, Wikipedia
Manufacturer: Thunderhead Racing Vehicles
Nationality: United States of America
First assembled: May 8th, 2199
Birthplace: Milwaukee, Wisconsin
Engine 5.0L V12
HP: 806 BHP
0-60: 2.8 Seconds
Top speed: 280.16 MPH
At the dawn of the 23rd century, American Auto manufacturer Thunderhead wasn't a company with much racing pedigree outside of drag racing and stock cars. The only car they had that could truly be competitive on international circuits was the new Supercobra, a car that even then needed some refinement before it could truly be worthy of taking on the world. In 2199, an oddity for the company was born from their own performance division, Thunderhead Racing Vehicles. It was the LMP-12. As the name hints, it was an Le Mans Prototype. What makes this odd is that Le Mans wasn't a race Thunderhead participates in, not in over half a century at least. Nonetheless, here was this new race car, ready to take on the tracks of the world with the latest and greatest tech available. The LMP-12s party piece was another thing hinted in it's name. Instead of a big, shouty V8 like most would expect from Thunderhead, the LMP-12 had a bigger, shoutier V12 producing over 800 HP. This V12 was a new, experimental engine that many thought was being tested in racing for later use on the road. Chances of this happening were slim, however. In it's own right the LMP-12 was a beast, with it's 0-60 of under 3 seconds and a top speed of 280 MPH. Everything else was beastlier though, and besides a podium here and there the LMP-12's career was lackluster. After 2 1/2 years Thunderhead killed the project to concentrate on road cars and a GT2 endeavor for the Supercobra.
Photographer: Astralia
1st Runner Up - MMV 2014 ✰ Miss Brazil ✰ Luana Barzane Akina
luanabarzane.wix.com/missbrasil2014
✰ Note: I was waiting for the photos to me to post the thanks
I would like to thank some people who has been crucial to this wonderful achievement, would not be possible without your support.
I dedicate this title to all of you my beloved sponsors:
✰ Ramona Criss - My Animation, throughout her patience, friendship and caring, thank you for always being by my side encouraging me and giving me strength even in difficult times. My great friend!
✰ Belle Roussel - CHOP ZUEY, for her perfect jewelry that gave a special glow every moment of this achievement.
You are a wonderful friend!
✰ Mami Jewell - AZUL - which for me, is a reference of refinement and good taste. I am honored to have a gorgeous dress designed by you, which is a real precious gem, thank you for your dedication and caring my dear new friend!
Kisses in everyone's heart!
Angkor Wat (/ˌæŋkɔːr ˈwɒt/; Khmer: អង្គរវត្ត, "City/Capital of Temples") is a Hindu-Buddhist temple complex in Cambodia. Located on a site measuring 162.6 hectares (1,626,000 m2; 402 acres) within the ancient Khmer capital city of Angkor, it is considered the largest religious structure in the world by Guinness World Records. Originally constructed in 1150 CE as a Hindu temple dedicated to the deity Vishnu, it was gradually transformed into a Buddhist temple towards the end of the century.
Angkor Wat was built at the behest of the Khmer king Suryavarman II in the early 12th century in Yaśodharapura (present-day Angkor), the capital of the Khmer Empire, as his state temple and eventual mausoleum. Angkor Wat combines two basic plans of Khmer temple architecture: the temple-mountain and the later galleried temple. It is designed to represent Mount Meru, home of the devas in Hindu mythology and is surrounded by a moat more than 5 km (3.1 mi). Enclosed within an outer wall 3.6 kilometres (2.2 mi) long are three rectangular galleries, each raised above the next. At the centre of the temple stands a quincunx of towers. Unlike most Angkorian temples, Angkor Wat is oriented to the west with scholars divided as to the significance of this.
The temple complex fell into disuse before being restored in the 20th century with various international agencies involved in the project. The temple is admired for the grandeur and harmony of the architecture, its extensive bas-reliefs and devatas adorning its walls. The Angkor area was designated as a UNESCO World Heritage Site in 1992. It is regarded as one of the best examples of Khmer architecture and a symbol of Cambodia, depicted as a part of the Cambodian national flag. The Angkor Wat is a major tourist attraction and attracts more than 2.5 million visitors every year.
Angkor Wat was commissioned by the Khmer king Suryavarman II (ruled 1113–c. 1150) in the early 12th century in Yaśodharapura (present-day Angkor), the capital of the Khmer Empire. The construction of the temple commenced in 1122 CE and was completed in 1150 CE. The temple complex was constructed on the suggestion of Divākarapaṇḍita (1040–c. 1120). The temple was dedicated to Hindu god Vishnu and the original religious motifs were derived from Hinduism. It was built as the king's state temple in the capital city. While there are no foundation stela or any contemporary inscriptions referring to the temple's name that have been found, its original name is unknown and it may have been known as Vrah Viṣṇuloka after the presiding deity. The work on the temple ceased after the king's death, leaving some of the bas-relief decoration unfinished.
In 1177, approximately 27 years after the death of Suryavarman II, Angkor was sacked by the Chams, the traditional enemies of the Khmer. Thereafter, the Khmer empire was restored by Jayavarman VII, who established a new capital at Angkor Thom and the Bayon as the state temple, situated to the north. The temple was dedicated to Buddhism as the king's wife Indratevi was a devout Mahayana Buddhist who encouraged him to convert. Angkor Wat was therefore also gradually converted into a Buddhist site with many Hindu sculptures replaced by Buddhist art.
After the transformation from a Hindu centre of worship to Buddhism towards the end of the 12th century, Angkor Wat continues to be a Buddhist center till the present day. Historical records show that Chinese envoy Zhou Daguan and traveller Zheng He visited the Angkor Wat in the 13-14th centuries. Zheng He studied the temple architecture which was later incorporated in the Dabaoen Temple and Galazed Pagoda. Angkor Wat is unusual among the Angkor temples in that although it was largely neglected after the 16th century, it was never completely abandoned. Fourteen inscriptions dated from the 17th century, discovered in the Angkor area, state that Japanese Buddhist pilgrims had established small settlements alongside Khmer locals. The inscription also tells of Ukondayu Kazufusa, who celebrated the Khmer New Year at Angkor Wat in 1632.
The first Western visitor to the temple was António da Madalena, a Portuguese friar who visited in 1586 and said that it "is of such extraordinary construction that it is not possible to describe it with a pen, particularly since it is like no other building in the world. It has towers and decoration and all the refinements which the human genius can conceive of." In 1860, the temple was effectively rediscovered by French naturalist and explorer Henri Mouhot with the help of French missionary Father Charles-Émile Bouillevaux. Mouhot popularised the site in the West through the publication of travel notes, in which he wrote:
One of these temples, a rival to that of Solomon, and erected by some ancient Michelangelo, might take an honorable place beside our most beautiful buildings. It is grander than anything left to us by Greece or Rome, and presents a sad contrast to the state of barbarism in which the nation is now plunged.
Mouhot's work was published posthumously in 1864 through the Royal Geographical Society with descriptions of Angkor under the title Travels in the Central Parts of Indo-China, Siam, Cambodia and Laos. In 1861, German anthropologist Adolf Bastian undertook a four-year trip to Southeast Asia and his account of this trip titled The People of East Asia, ran to six volumes and was published in 1868. The books detailed the Angkor monuments but lacked drawings of the Angkorian sites.
France adopted Cambodia as a protectorate on 11 August 1863 partly due to the artistic legacy of Angkor Wat and other Khmer monuments in the Angkor region and invaded Siam. This quickly led to Cambodia reclaiming lands in the northwestern corner of the country including Siem Reap, Battambang, and Sisophon which were under Siamese rule from 1795 to 1907. Following excavations at the site, there were no ordinary dwellings or houses or other signs of settlement such as cooking utensils, weapons, or items of clothing usually found at ancient sites.
Pastels or pastel colors belong to a pale family of colors, which, when described in the HSV color space, have high value and low saturation. They are named after an artistic medium made from pigment and solid binding agents, similar to crayons. Pastel sticks historically tended to have lower saturation than paints of the same pigment, hence the name of this color family. The popularity of pastel colors has evolved over time, with notable periods of prominence in various historical and cultural contexts. However, one significant era that saw a surge in the popularity of pastel colors was the late 19th century, particularly during the Victorian era.
These delicate tones exhibit a soft and muted appearance, evoking a sense of tranquility and refinement. Pastel colors are characterized by their gentle, subtle quality, often conveying a feeling of innocence and sophistication. The colors of this family are usually described as "soothing." Pink, mauve, and baby blue are commonly used pastel colors, as are mint green, peach, periwinkle, lilac, and lavender. Pastel colors are common in the kawaii aesthetic.
The MK2 Cressida sales were fairly low in the UK, as it had to fight in a fierce market segment. Like the Carina I recently photographed, the build quality and refinement was right up there with the best and provided the impetus for Lexus.
I am home again for a while and will catch up when I can. Thank you all very much for your wonderful comments. It was so lovely in Akaroa it was hard to come back to the city again.
I meet up with a wonderful flickr friend and we had a wonderful time getting blown and rained on while looking around the city. It was great to meet up with her. Pity the weather wasn't kinder!
September 19, 2015 Christchurch, New Zealand.
It got so wet and cold we spent some time looking around the inside of the Heritage Hotel.
A Write up About the Heritage Hotel.
Christchurch is a long way from the Mediterranean – nevertheless, the opulence of an Italian High Renaissance Palazzo awaits you at the Heritage Christchurch. Designed by Joseph Clark Maddison and opened in 1913, the hotel is listed as a category one building on the Historic Places Trust Register, reflecting its status as a building of national significance. The hotel’s grand design is fitting: after all, Christchurch is regarded as the Garden City, and is regarded internationally for its culture and refinement.
For more Info and photos:http://www.stuff.co.nz/the-press/news/city-centre/9191247/Heritage-Hotel-reopens-on-birthday
Because of last week's snow storms, it looks like a blah, and colorless March around here. If you look closely you can find refinements of of last summer's colorful beauty. Before we know it, this almost lifeless rose bush will be teaming with lush green foliage and fragrant pink blossoms. I can't wait! Have a wonderful Wednesday!
HBW
Giotto (Giotto di Bondone - Colle di Vespignano-Vicchio, c. 1267 - Florence, Jan. 8, 1337) Polyptych of Bologna (c. 1330-1334) - Tempera and gold on panel size 146.5×217 cm. - National Picture Gallery of Bologna, Bologna.
Il polittico, realizzato da Giotto e dalla sua bottega probabilmente a Firenze, è una delle tre opere firmate dall'artista: la firma in lettere dorate appare visibile sul gradino del trono.
Il dipinto era in origine destinato all’altare della Cappella Magna del Palazzo Apostolico, costruito a Bologna, nei pressi dell’attuale porta Galliera, per ospitare il Papa di ritorno da Avignone e andato distrutto poco dopo.
E’ un capolavoro di raffinatezza e Giotto, protagonista indiscusso dell’arte italiana del Trecento, mostra, insieme ai suoi collaboratori, tutto il suo talento nella resa dei particolari, nell’eleganza degli ornati e nel gioco di alternanza dei colori, creando un’opera destinata a onorare l’autorità del Papa e a incidere profondamente sulla vita artistica di Bologna.
I santi, identificati dalle scritte sottostanti, occupano le singole tavole. Al centro la Vergine, imponente e massiccia, è seduta su un trono di marmi chiari strutturato in modo da suggerire l’idea di una profondità spaziale. Con lei è il Bambino, che cerca la sua attenzione sfiorandole il mento, aggrappandosi allo scollo e scalciando con i piedini.
Nella cuspide sopra il trono è raffigurato Dio padre che sorregge il globo stellato e le chiavi.
A sinistra sono l’Arcangelo Gabriele, raffigurato di profilo e San Pietro, con le chiavi e il pastorale. A destra è Michele, l'Arcangelo guerriero dalle ali rosse che combatte il demonio, rappresentato come una figura mostruosa a più teste; quindi San Paolo, con il libro e la spada.
In basso, dagli oculi perfettamente circolari della predella, si affacciano, a mezzo busto, i personaggi che affiancano il Cristo della Passione posto al centro: da sinistra, San Giovanni Battista, la Madonna, san Giovanni Evangelista e Maria Maddalena.
The polyptych, made by Giotto and his workshop probably in Florence, is one of three works signed by the artist: the signature in gold letters appears visible on the throne step.
The painting was originally intended for the altar of the Cappella Magna of the Apostolic Palace, which was built in Bologna, near what is now Porta Galliera, to house the Pope returning from Avignon and was destroyed shortly thereafter.
It is a masterpiece of refinement and Giotto, the undisputed protagonist of 14th-century Italian art, shows, together with his collaborators, all his talent in the rendering of details, the elegance of the ornamentation and the play of alternating colors, creating a work destined to honor the Pope's authority and to have a profound effect on the artistic life of Bologna.
The saints, identified by the inscriptions below, occupy the individual panels. In the center the Virgin, imposing and massive, is seated on a throne of light-colored marbles structured to suggest the idea of spatial depth. With her is the Child, who seeks her attention by brushing her chin, clinging to her neckline and kicking with his little feet.
In the cusp above the throne is God the Father holding the starry orb and keys.
On the left are Archangel Gabriel, shown in profile, and St. Peter, holding the keys and crosier. On the right is Michael, the red-winged warrior Archangel fighting the devil, depicted as a multi-headed monstrous figure; then St. Paul, with book and sword.
At the bottom, from the perfectly circular oculi of the predella, half-length figures appear alongside the Christ of the Passion placed in the center: from the left, St. John the Baptist, Our Lady, St. John the Evangelist, and Mary Magdalene.
Offer a Song of Praise to God | A Cappella | Gospel Music "Love the Practical God With All Our Heart"
www.holyspiritspeaks.org/videos/mv-love-the-practical-god...
La … la la la … la la la….
La … la la la … la la la … la….
The sun of righteousness is rising from the East.
O God! Your glory fills the heaven and earth.
Beautiful darling, Your love surrounds my heart.
People who pursue the truth all love God.
Though I rise alone in the early morning, I feel enjoyment when meditating on God’s word.
The tender words are like a loving mother, the words of judgment like a severe father. (Hey….)
I love nothing in the world; with all my heart I only love my God.
Ah hey … ah hey … ah hey … ah hey….
I love nothing in the world; with all my heart I only love my God.
Ah hey … ah hey … ah hey … ah hey….
I love nothing in the world; with all my heart I only love my God.
La la la … la la la….
La la la … la la la … la….
God’s will has been revealed—to perfect the true lovers of God.
Lively and innocent people all offer up praises to God,
and dance beautiful dances around the true God together.
People are called back by God’s voice from different places.
Words of life are bestowed upon us. We are purified by the judgment of God’s words.
Our love is strengthened through refinement. We feel sweet to enjoy God’s love. (Hey….)
Who would not love the lovely God? With all my heart I only love the practical God.
Ah hey … ah hey … ah hey … ah hey….
Who would not love the lovely God? With all my heart I only love my God.
Ah hey … ah hey … ah hey … ah hey….
Who would not love the lovely God? With all my heart I only love my God.
I love nothing in the world; with all my heart I only love my God.
Thank You! (Thank You!) (Thank You!) (Thank You!)
We love You!
from Follow the Lamb and Sing New Songs
Eastern Lightning, The Church of Almighty God was created because of the appearance and work of Almighty God, the second coming of the Lord Jesus, Christ of the last days. It is made up of all those who accept Almighty God's work in the last days and are conquered and saved by His words. It was entirely founded by Almighty God personally and is led by Him as the Shepherd. It was definitely not created by a person. Christ is the truth, the way, and the life. God's sheep hear God's voice. As long as you read the words of Almighty God, you will see God has appeared.
Het origineel is een stuk knapper dan deze creatie van de Duitse tuner Startech.
Cluj-Napoca, Roemenië
The original is a lot better than this creation of the German tuner Startech.
Cluj-Napoca, Romania
Our Daily Challenge 22-27 September : Fill the Frame.
I've just started this one, it smells good.
The blurb inside the package says
"Omnia is a contemporary light oriental fragrance with a distinctive gourmande note.
The main ingredient, masala tea is combined with the freshness of mandarin, the refinement (?) of saffron and the sensal aroma of white chocolate which creates an exceptionally addictive fragrance"
So, there you go, as they say!
The smaller bottle is Bulgari Omnis Crystalline, which I haven't had a sniff at yet.
Perhaps destined to be the last “all British” fighter design to enter service, the Buzzard FG.2 represents the culmination of decades of refinements and upgrades on a dependable 4th generation platform. Buzzard’s story dates back to Falklands War, where Royal Navy and Royal Air Force Harriers battled for aerial supremacy over the disputed territory. Despite the sterling service performed, multiple ships were damaged or destroyed by anti-shipping missiles or even dumb bombs lobbed by largely antiquated Argentine air forces. The Royal Navy, which had just divested itself of CATOBAR carriers, quickly did an about-face and authorized a new generation of fleet carriers capable of fielding a long-legged, supersonic, BVR capable fighter aircraft. As the design and construction of new supercarriers would take more than a decade, MoD decided to design and produce a fighter to accompany it. Though briefly a binational project, the French quickly dropped out after favoring a smaller aircraft, leaving BAe to design and build the Buzzard F.1 on its own.
Entering service just after the end of the Cold War, the Buzzard F.1 was a potent air superiority fighter with little ground attack capability. Serving in NATO air policing missions throughout the nineties, the Buzzard proved to be a capable, albeit limited, platform. By the time of its greatest test to date, the Second Eastern European War, the Buzzard F.1 was particularly outmoded in avionics and electronic warfare capabilities. Three Buzzards were lost in the conflict, all to JNA SAMs. Outdated and with more modern Eurofighter Tempest and Cyclones entering service, the Buzzard’s service days seemed all but over. By 2020 however, a new technology would transform Buzzard into one of the UK’s most important boutique forces.
The hypersonic arms race resulted in two UK developments, based on a shared design - the strategic, nuclear-tipped Red Rain, and the conventional anti-shipping (and limited ground strike) Blue Gale hypersonic missiles. Red Rain would ensure the UK’s commitment to strategic deterrence for the new age, while Blue Gale would seek to check the almost impossibly-quickly growing Songun People’s Army Navy (SPAN) fleet and its accompanying global influence. These missiles, however, were large, larger than could be mounted on any Eurofighter. Without developing a dedicated bomber or relying on converted transport craft, only one aircraft in the UK’s inventory could physically mount such a weapon - the Buzzard. The FG.2 upgrade program was a massive SLEP that overhauled almost everything about the aircraft to convert the air supremacy fighter into a survivable theater / strategic missile carrier. The airframe was strengthened and flight hours extended, the engines upgraded, avionics completely replaced, new secure strategic communications suite installed, along with the latest and greatest countermeasure suites. The second crew member was also deleted, replaced with highly classified electronics, rumored to include an artificial intelligence to aid in target acquisition and classification and threat avoidance. Though a massively expensive program, it was still the cheaper option compared to developing a new airframe, or divesting any strategic mobility platforms for the purpose.
Though only a few squadrons of Buzzards remain, and their hypersonic weapons are only deployed from ground bases, the Buzzard force has never before enjoyed the degree of importance as it does now. This Buzzard, of the Royal Navy No. 892 Naval Air Squadron, is depicted carrying Blue Gale and a self-defense loadout of two Meteor 2 Mk.3 and two AIM-132B ASRAAMs. Even with the massive power of its twin EJ-290 engines, Blue Gale’s weight and bulk limits its payload. Despite its new role as a dedicated strike aircraft, Buzzard FG.2 could theoretically serve with aplomb in its original role of fleet defender, its upgrades and pure kinematic performance putting it on par with even more modern aircraft such as the NATF or Eurofighter Tempest.
Huge thank you to -Evan M- for his awesome photoshop work, which really has brought this build to life!
“To live content with small means; to seek elegance rather than luxury, and refinement rather than fashion; to be worthy, not respectable, and wealthy, not rich; to listen to stars and birds, babes and sages, with open heart; to study hard; to think quietly, act frankly, talk gently, await occasions, hurry never; in a word, to let the spiritual, unbidden and unconscious, grow up through the common - this is my symphony." William Henry Channing
"Tuckingmill Valley has been transformed from the most visible derelict land site in West Cornwall into an award winning park. The site is situated in the heart of Camborne and Redruth and has become a symbol of regeneration for the area." (Cornwall Council)
This valley was filled with stream works (ore refinement facilities) from several local mines, so the land here was heavily contaminated. So much so that the stream is known as the 'Red River'. The transformation made due to the regeneration project is simply amazing, and worth every penny (part of which came from the EU, which some people seem to forget). While most of the industrial ruins have been removed, one or two remain, including this chimney.
another photo with some editing refinements from my visit late last year to the Bisti Badlands.
This was taken at sunset, or minutes after the sun had retreated below the horizon. I had some really nice color in the sky to work with and the nice soft glow on the foreground subject matter, reflecting from the light of the sky behind me.
This was in one of the first main "wing" fields I came across my first evening out at the Bisti.
Visit my Website @ WSM photography
© 2019 Walker Scott Moore - All rights reserved
In order to find a stone for the “Bronze Horseman” pedestal, the newspaper “St. Petersburg Vedomosti” published an appeal to private individuals who would like “to order ... a monument uphill to be broken down and brought here to St. Petersburg.”
A suitable stone was proposed by the official peasant Semyon Grigoryevich Vishnyakov, a supplier of building stone to St. Petersburg. Knowing about this block for a long time, he had planned to split it into pieces for sale earlier, but technically he could not carry it out. The stone was reported to the project’s search manager, Captain Marina Karburi (Greek Μαρίνος Χαρβούρης), Count Laskari, later in French Liege, who published detailed notes on the works .Semyon Vishnyakov received from him 100 rubles - a very decent amount for those times .
Thunder-stone was located in the vicinity of the village of Horse Lahta. According to local legend, the stone acquired its original shape as a result of a lightning strike that split a granite rock. Hence its name.
Mass-dimensional characteristics.
In its original form, the stone weighed about 2000 tons, having dimensions of about 13 m in length, 8 m in height and 6 m in width. Later, part of it was chipped. The cut off parts of the stone were attached to the main monolith, in order to subsequently use it according to the artistic design of Falconet to “lengthen” the pedestal. Together with two chipped pieces, later docked with the main monolith in the front and rear parts, the total transported weight of the Thunder-stone was 1500 tons .Despite the fact that the fragments, once docked to the pedestal in its front and rear parts, once made up a monolith of one stone, they have a different color shade.
Scraping of the stone was carried out during its transportation until Catherine II, who visited Lakhta and arrived to see the stone’s movement, forbade further processing, wishing that the stone would arrive in St. Petersburg in its “wild” form without losing volume. The stone got its final form already on Senate Square, having significantly lost its original size. This refinement was led by academician Yuri Felten.
Transportation of stone .
Preparatory work .
Petrovsky Pond, which arose after the removal of the Thunder-stone
The beginning of the transportation of stone corresponded to serious preparation. The recommendations of Academician Ivan Betsky were taken into account. A study of the ten times reduced model of the “machine” proposed for stone transportation was carried out. Her tests showed that a 75-pound weight can be dragged with a finger. It was found that the most rational is the installation of stone on a wooden platform, rolled on two parallel gutters, in which 30 five-inch balls were laid. Through the experiment, a sufficiently strong material was selected for the gutters and balls. It consisted of an alloy of copper with tin and galme. The technology of their manufacture was developed [1]: 27. A process has been developed for lifting stones using levers and jacks to bring the platform under it. At the same time, special measures were taken to insure the stone against its fall during an accident .
Direct preparatory work for moving the stone began on September 26, 1768. Barracks were built for 400 workers, and a glade 40 meters wide and almost 8 km long was cut to the shore of the Gulf of Finland. Further, around the boulder, which went into the ground for five meters, they dug a pit, thereby completely freeing it. The part separated by a lightning bolt was separated from the stone, and it was freed from unnecessary deposits, which lightened the load by about 600 tons. On March 12, 1769, the stone was hoisted with levers onto a wooden platform .
After removing the stone, the remaining foundation pit was gradually filled with water. The reservoir formed has survived to the present. It is called Petrovsky Pond .On February 15, 2011, this pond with adjoining territory was given the status of a natural monument .
Delivery to the marina .
Shattered boulder - alleged fragments of Thunderstone at the marina .
The unique transport operation lasted from November 15 (26), 1769 to March 27 (April 7), 1770, when the paved road, frozen by one and a half meters, could withstand the load. With the help of huge jacks, the rock was lifted and placed on a transport vehicle specially created as part of the preparatory work. Direct movement of the transport machine was carried out by two capstans .For a day, in a straight line, about 20 –0 steps were taken. On corners, the speed decreased .
The stone was delivered ashore east of the current North Coast of the Neva Bay reserve .where a special marina was built for its loading. With low water, the remnants of this pier can be seen off the coast not far from a split boulder lying at the very edge of the water .
Water transportation .
Thunder Stone Transportation by Water .
Transportation of stone by water was carried out on a ship, such as whitewash, specially built according to the drawing of the famous galley master Grigory Korchebnikov. It was transported by two sail craters supporting on the sides for increased stability. Posting began only in the fall. The length of the route was almost 13 kilometers. The giant Thunder-stone with a huge crowd of people arrived in St. Petersburg on Senate Square on September 26, 1770. To unload the stone off the banks of the Neva, a technique already used during loading was used: the vessel was sunk and landed on piles previously driven into the bottom of the river, which made it possible to move the stone ashore .
Some details .
Despite the measures taken, emergency situations repeatedly occurred that threatened to collapse the entire enterprise. Five times a stone fell off a transport vehicle and went deep into the ground. Nevertheless, all problems were successfully solved [8].
In honor of the transportation of the stone, a commemorative medal with the inscription “To boldness is like. Henry, 20. 1770 ”.
The inhabitants of St. Petersburg were so surprised by the view of the huge rock that, as they wrote then, “for the sake of a memorable definition of this stone, many hunters ordered to make various cufflinks, knobs and the like from the fragments thereof.”
The monument itself was opened only 12 years after the delivery of the stone, on August 7, 1782 - to the centenary of accession to the throne of Peter I, with a huge gathering of people, in the presence of the imperial family, the diplomatic corps, invited guests and the thunder of the orchestra with cannon fire
The Royal Palace of Turin, seat of the Dukes and later Kings of the House of Savoy, stands at the heart of the city as a symbol of political power and artistic patronage. Originally a medieval fortress, it was transformed in the 17th century by architects like Carlo di Castellamonte and Guarino Guarini into a magnificent Baroque residence. With its lavish staterooms, grand staircase, and adjacent Royal Armory and Chapel of the Holy Shroud, the palace served as the center of court life and state affairs. Today, it is a UNESCO World Heritage site and a key part of the Residences of the Royal House of Savoy, reflecting centuries of dynastic ambition and cultural refinement.
The first of three images I'm posting from my new favourite place in Wales!
To be fair, it's only about a mile from my previous favourite place in Wales, but hey, with age comes wisdom and refinement, right ? ;-)
I was taken to this location one afternoon in October by Greg Whitton and Lee Acaster on a (superb) workshop they ran. We went up to try to get some good evening light, but arrived nice and early with hours to spare. So I got a chance for quite a bit of roaming-around-handheld-snapping, just exploring and scouting spots for sunset. In the end I didn't get images I was pleased with from the evening , but looking back I actually quite like these earlier afternoon snaps... which give a sense of the place in all its wild, rocky grandeur.
If you want to see some proper, deeply classy landscapes from this neck of the woods, check out the quite brilliant Nicholas Livesey's stream!!
Lorenzo Lotto (Venice, 1480 - Loreto, 1556/1557) - Portrait of Laura da Pola (wife of Febo from Brescia) (1543-44) - Oil on canvas 90 × 75 cm - Pinacoteca di Brera, Milan
Il ritratto di Laura da Pola appartiene alla tarda maturità di Lotto e la sua esecuzione è documentata: nel 1543 l’artista registrava nel proprio Libro di spese l’incarico avuto a Treviso “per dui quadri de retrati grandi de naturale meze figure” e, nel marzo del 1544, si lamentava del pagamento ricevuto da Febo da Brescia, fatto che induce a credere che il lavoro fosse a quella data ormai concluso.
Il dipinto è considerato tra i vertici della produzione di Lotto, che fu capace qui di dar forma pittorica ai numerosi messaggi che la committente intendeva trasmettere attraverso il proprio ritratto: quest’ultima, moglie di uno dei personaggi più in vista di Treviso, appare in atteggiamento dimesso, appoggiata a un mobile della camera da letto. Tuttavia, nonostante la familiarità dell’ambientazione, essa posa con un abito di foggia ricercatissima ed esibisce oggetti di lusso quali il ventaglio di piume con catenella d’oro e gli anelli preziosi, elementi che permettevano ai contemporanei di riconoscerla immediatamente come membro delle più alte gerarchie cittadine. Dato che all’epoca non era concesso alle ragazze nubili di apparire in pubblico, il ritratto va interpretato anche come celebrazione della condizione di donna sposata di Laura, autorizzata a esibire se stessa e il proprio rango grazie al buon matrimonio che aveva contratto.
The Portrait of Laura da Pola dates from Lotto’s late maturity and its execution is documented: in 1543 the artist recorded in his expenses ledger the commission he had received in Treviso “for two pictures of life-size half-length figures” and, in the March of 1544, complained about the payment made by Febo da Brescia, a fact that leads us to believe that the work was already finished by that date.
The painting is regarded as one of Lotto’s highest achievements, in which he was capable of giving pictorial form to the numerous messages that the client wanted to convey through her portrait: the latter, wife of one of the most prominent figures in Treviso, is presented in an unassuming attitude, leaning on a piece of furniture in her bedroom. Despite the informality of the setting, she is wearing a dress of great refinement and displaying luxury objects like the fan of plumes with a gold chain and the precious rings, elements that permitted her contemporaries to recognize her immediately as a member of one of the city’s highest- ranking families. Given that at the time unmarried girls were not allowed to appear in public, the portrait should also be seen as a celebration of Laura’s status as a married woman, authorized to exhibit herself and the rank she has achieved thanks to the good marriage she has contracted.
The over-lifesize Dancing Satyr of Mazara del Vallo is a Greek bronze statue, whose refinement and rapprochement with the manner of Praxiteles has made it a subject of discussion.
The torso was recovered from the sandy sea floor at a depth of 500 m (1600 ft.) off the southwestern coast of Sicily, on the night of March 4, 1998, in the nets of the same fishing boat (operating from Mazara del Vallo, hence the sculpture's name) that had in the previous year recovered the sculpture's left leg.
A refinement of a new film simulation. This is my Lightroom Fuji Acros Film Simulation preset.
Referenced against 900 colour chips. Should be as close as one gets to Acros.
The A7 is just such a gorgeous file to convert to black and white.
I was trembling when I left the hotel room like some school girl or first timer at a conference. I felt this outfit so ultra fem it might be considered almost fetish or sissy. My girl friends corrected me; simply so elegant one doesn’t see that sort of refinement much these days. I guess I’m just more a throw back to “Dallas” (the show) of the 1980’s - why do you suppose that is? 😉
Skirt: AtelierniShasha
Magazine: misterdollface.com/ad/fashion-royalty-mini-mags-for-diorama/
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The over-lifesize Dancing Satyr of Mazara del Vallo is a Greek bronze statue, whose refinement and rapprochement with the manner of Praxiteles has made it a subject of discussion.
The torso was recovered from the sandy sea floor at a depth of 500 m (1600 ft.) off the southwestern coast of Sicily, on the night of March 4, 1998, in the nets of the same fishing boat (operating from Mazara del Vallo, hence the sculpture's name) that had in the previous year recovered the sculpture's left leg.
A-Z Challenge: Z - Ziegfeld Girls
I'm glad I'd time to take the last photo for this theme. The whole experience was amazing and fun and only thing I regret is not having enough time for every theme.
Some of you will recognize this photo. I took it some years ago but every time I looked at it i felt like I could have done a better job. The lamb-eye looked dead and I was so unhappy with the cut head/ear.
So today I gave it another try. Still it's not perfect but so much better now. I'm kind of proud on the lamb-eye now :)
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