View allAll Photos Tagged Repousse
Vent de NW avec des rafales de 70 à 100km/heure, l'eau de ce côté-ci l'étang est repoussée, laissant place à la grève par endroits.
The Confraternity of the Immaculate Conception, Cathedral of Popayán (Colombia) were granted permission to sell the crown
by Pius X in 1914. Hopefully that initial sale helped the poor. After going through several collectors it escaped the melting pot when purchased by the Museum in 2015.
Sous la pluie. Avec l'elfe-fée pour veiller sur elles.
Rouquin a été très déçu aujourd'hui car il guettait les chocolats. Frifri lui ayant causé du pays et appris que la chasse aux oeufs était repoussée à demain matin, Rouquin est reparti ultra vexé, sous l'oeil amusé de Frifri et Maïa.
Silver repoussé panels overlaid with electrum foil. Electrum is a naturally occurring alloy of gold and silver, with trace amounts of copper and other metals.
These panels probably decorated a parade-chariot or a piece of furniture. They show two riders with a fallen comrade below; and a sphinx and two lions, one attacking a boar. The fine composition and style show the influence from the Greek cities of Asia Minor.
Etruscan, 540-520 BCE. Found in 1812 at the Castel San Mariano near Perugia in a rich tomb.
British Museum, London (1824,0420+.1,2,3)
Just having some fun with it...Explore #32 (highest pos.)
The Statue of Liberty, on Liberty Island New York, shot from Battery Park through pier marker #1, using Canon 70-200mm. I originally planned to take the ferry to Liberty Island but I got there too late, so i had to improvise...
The Statue of Liberty (French: Statue de la Liberté), officially titled Liberty Enlightening the World (French: La liberté éclairant le monde), is a monument that was presented by the people of France to the United States of America in 1886 to celebrate its centennial. Standing on Liberty Island in New York Harbor, it welcomes visitors, immigrants, and returning Americans traveling by ship. The copper-clad statue, dedicated on October 28, 1886, commemorates the centennial of the signing of the United States Declaration of Independence and was given to the United States by France to represent the friendship between the two countries established during the American Revolution. Frédéric Auguste Bartholdi sculpted the statue and obtained a U.S. patent for its structure.Maurice Koechlin—chief engineer of Gustave Eiffel's engineering company and designer of the Eiffel Tower—engineered the internal structure. Eugène Viollet-le-Duc was responsible for the choice of copper in the statue's construction and adoption of the repoussé technique, where a malleable metal is hammered on the reverse side. (Wikipedia)
I made this repousse bookmark from 26 gauge copper sheet; the Sanskrit word means "Peace." ( I made the globe knot, too.)
This bronze Greek helmet from the island of Crete depicts two long-legged horses worked in repoussé with incised details (one on each side). Small engraved lions appear on the cheekpieces.
Greek, Cretan, late 7th century BCE (Archaic).
Height: 9 5/8 in. (24.5 cm)
Met Museum, New York (1989.281.49)
La Statue de la Liberté - La Liberté éclairant le monde.
La Liberté éclairant le monde1 (Liberty Enlightening The World), plus connue sous le nom de Statue de la Liberté (Statue Of Liberty), est l'un des monuments les plus célèbres des États-Unis. Cette statue monumentale est située à New York, sur l'île de Liberty Island au sud de Manhattan, à l'embouchure de l'Hudson et à proximité d' Ellis Island.
Elle fut construite en France et offerte par le peuple français, en signe d'amitié entre les deux nations, pour célébrer le centenaire de la Déclaration d'indépendance américaine. La statue fut découverte au grand jour le 28 octobre 1886 en présence du président des États-Unis, Grover Cleveland. L'idée venait du juriste et professeur au Collège de France Édouard de Laboulaye, en 1865. Le projet fut confié, en 1871, au sculpteur français Auguste Bartholdi. Pour le choix des cuivres devant être employés à la construction, l'architecte Eugène Viollet-le-Duc eut l'idée de la technique du repoussé. En 1879, à la mort de Viollet-le-Duc, Bartholdi fit appel à l'ingénieur Gustave Eiffel pour décider de la structure interne de la statue. Ce dernier imagina un pylône métallique supportant les plaques de cuivre martelées et fixées.
fr.wikipedia.org/wiki/Statue_de_la_Liberté
___________________________________________
The Statue of Liberty (Liberty Enlightening the World; French: La Liberté éclairant le monde) is a colossal neoclassical sculpture on Liberty Island in the middle of New York Harbor, in Manhattan, New York City. The statue, designed by Frédéric Auguste Bartholdi and dedicated on October 28, 1886, was a gift to the United States from the people of France. The statue is of a robed female figure representing Libertas, the Roman goddess of freedom, who bears a torch and a tabula ansata (a tablet evoking the law) upon which is inscribed the date of the American Declaration of Independence, July 4, 1776. A broken chain lies at her feet. The statue is an icon of freedom and of the United States: a welcoming signal to immigrants arriving from abroad.
Bartholdi was inspired by French law professor and politician Édouard René de Laboulaye, who is said to have commented in 1865 that any monument raised to American independence would properly be a joint project of the French and American peoples. Due to the troubled political situation in France, work on the statue did not commence until the early 1870s. In 1875, Laboulaye proposed that the French finance the statue and the Americans provide the site and build the pedestal. Bartholdi completed the head and the torch-bearing arm before the statue was fully designed, and these pieces were exhibited for publicity at international expositions.
The torch-bearing arm was displayed at the Centennial Exposition in Philadelphia, in 1876, and in New York's Madison Square Park from 1876 to 1882. Fundraising proved difficult, especially for the Americans, and by 1885 work on the pedestal was threatened due to lack of funds. Publisher Joseph Pulitzer of the New York World started a drive for donations to complete the project that attracted more than 120,000 contributors, most of whom gave less than a dollar. The statue was constructed in France, shipped overseas in crates, and assembled on the completed pedestal on what was then called Bedloe's Island. The statue's completion was marked by New York's first ticker-tape parade and a dedication ceremony presided over by President Grover Cleveland.
"Regrowth"
Forêt domaniale d'Aitone (Evisa - Corse du sud)
Website : www.fluidr.com/photos/pat21
www.flickriver.com/photos/pat21/sets/
"Copyright © – Patrick Bouchenard
The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."
The monumental doors in the late 13th-century Qalawun Complex in old Cairo. Spectacular geometric tessellations are created in a variety of techniques, in this case primarily repoussé.
L'herbe a bien repoussée depuis les foins. Je n'ai vu les 2 oreilles du rouquin qu'au dernier moment.
La place Royale est un ensemble fabuleux qui nous transporte en Nouvelle-France. Ce site avait été choisi par Samuel de Champlain pour fonder, en 1608, un établissement français permanent qui de poste de traite deviendra la ville que l’on connaît. Les maisons de pierres calcaires provenant des environs de Québec sont une des caractéristiques les plus typiques de la place.
La place est dominée par l’église de pierre Notre-Dame-des-Victoires datant de 1688, dédiée à Sainte Geneviève et reconstruite en 1763 après le siège de Québec. Pour un peu, on croirait voir, dans l’église, des dames de la colonie agenouillées devant la statue de la Vierge. Elles avaient promis d’y venir en pèlerinage si le gouverneur Frontenac libérait Québec des Anglais. Le 16 octobre 1690, leur vœu se réalisa. Après trois jours de siège, la flotte anglaise était repoussée. Fallait-il remercier la Vierge? Ou plutôt Frontenac, qui avait menacé l’amiral Phipps de lui répondre par la bouche de ses canons?
Au sortir de l’église, érigée sur l’emplacement de l’"Habitation" de Champlain, on se trouve face maison Bruneau. Celle-ci fut reconstruite en 1791 par le marchand Pierre Bruneau qui y installa un magasin général. Il s'agit du père de Julie Bruneau qui épousa le patriote et parlementaire Louis-Joseph Papineau.
Fondée au 17e siècle, Québec demeure la seule ville d'Amérique du Nord à avoir conservé ses remparts qui regroupent de nombreux bastions, portes et ouvrages défensifs ceinturant toujours le Vieux-Québec. Celui-ci a été classé au patrimoine mondial de l'UNESCO en 1985 (WHL-300).
Cette place est un ensemble fabuleux qui nous transporte en Nouvelle-France. Ce site avait été choisi par Samuel de Champlain pour fonder, en 1608, un établissement français permanent qui de poste de traite deviendra la ville que l’on connaît. Les maisons de pierres calcaires provenant des environs de Québec sont une des caractéristiques les plus typiques de la place.
Occupant l’angle nord-est de la place, ces trois maisons, soit la Maison Bruneau au 3A, la Maison Drapeau, au 3B et la Maison Rageot au 3 ont retrouvé leur aspect de la Nouvelle-France. La maison Bruneau fut reconstruite en 1791 par le marchand Pierre Bruneau qui y installa un magasin général. Il s'agit du père de Julie Bruneau qui épousa le patriote et parlementaire Louis-Joseph Papineau. Après les débats au Parlement, Pierre Bruneau invitait son collègue à souper à la maison. Papineau tomba sous le charme de Julie, qu’il présenta à ses parents comme «une jeune fille dont la douceur, l’éducation et les vertus ne manqueront pas de gagner votre affection?».
La maison Rageot, située à l'extrémité droite de la photo et qui présente ici sa façade arrière, a une façade plus noble du côté de la rue St-Pierre, jadis le Wall Street de Québec.
Fondée au 17e siècle, Québec demeure la seule ville d'Amérique du Nord à avoir conservé ses remparts qui regroupent de nombreux bastions, portes et ouvrages défensifs ceinturant toujours le Vieux-Québec. Celui-ci a été classé au patrimoine mondial de l'UNESCO en 1985 (WHL-300).
À mes amis francophones que ça intéresse, je vous informe que la célèbre série documentaire française "Des Racines et des Ailes" a produit une émission consacrée au Québec sous le titre "Le goût du Québec". Celle-ci offre une belle occasion de découvrir la ville de Québec et plusieurs régions importantes le long du fleuve St-Laurent telles, le Saguenay et Charlevoix:
9docu.org/regarder-et-telecharger-le-documentaire-des-rac...
I don't have a fireworks image or anything remotely New Year. Instead, I took a quick shot of a prayer wheel that I have had for a few dozen years, bought somewhere in the Middle or Far East. In my imagination (and maybe in yours, too), this wheel can turn and turn forever, repeating prayers (and hope) that some day the world will change and each one of us would be able to live in peace, no matter what part of the world one lives. Hopefully, the year 2017 will begin to change in that direction - it definitely needs to. Wishing you all a healthy, happy and peaceful New Year. If you are out on the roads, please don't drink and drive.
en.wikipedia.org/wiki/Prayer_wheel
"In Buddhism, a prayer wheel is of a hollow metal cylinder, often beautifully embossed, mounted on a rod handle and containing a tightly wound scroll printed with a mantra. Prayer wheels come in many sizes: they may be small, attached to a stick, and spun around by hand, medium-sized and set up at monasteries or temples, or very large and continuously spun by a wind or water mill.
Prayer wheels are used primarily by the Buddhists of Tibet and Nepal, where hand-held prayer wheels are carried by pilgrims and other devotees and turned during devotional activities.
According to Tibetan Buddhist belief, spinning a prayer wheel is just as effective as reciting the sacred texts aloud. This belief derives from the Buddhist belief in the power of sound and the formulas to which deities are subject. For many Buddhists, the prayer wheel also represents the Wheel of the Law (or Dharma) set in motion by the Buddha.
The prayer wheel is also useful for illiterate members of the lay Buddhist community, since they can "read" the prayers by turning the wheel.
The external cylinder of a prayer wheel is made out of repoussé metal, usually gilded bronze. The wheel is supported on a handle or axis made of wood or a precious metal. On the outside of the cylinder are inscriptions in Sanskrit (or sometimes Tibetan) script (often Om mani padme hum) and auspicious Buddhist symbols. This outer part is removable to allow for the insertion of the sacred text into the cylinder. The uppermost point of the prayer wheel forms the shape of a lotus bud.
The cylinder contains a sacred text written or printed on paper or animal skin. These texts might be sutra or invocations to particular deities (dharani or mantras). In Tibetan prayer wheels, the mantra Om Mani Padme Hum is printed in an ancient Indian script or in Tibetan script, usually on the outside as well as on the scroll inside. "Om mani padme hum" is the most important mantra of Buddhism. It is the six syllable mantra of the Bodhisattva of compassion Avalokiteshvara. The Dalai Lama is said to be an incarnation of Avalokiteshvara, so the mantra is especially revered by his devotees." From religionfacts,com.
This is my first attempt at 3D, I stumbled across this tutorial this evening
Created for Its An Addiction tutorial discussion here
With thanks to.....
Sky ~ ~Brenda-Starr~
Model ~ Marcus Ranum
Awake, thou wintry earth -
Fling off thy sadness!
Fair vernal flowers, laugh forth
Your ancient gladness!
Thomas Blackburn
An Easter Hymn
A photo of Easter symbols mapped onto a cube in Photoshop CS5 3D
Repousse Text in Photoshop 3D
Aussi appelé tunnel de Barges d'une longueur de 142M, cet ouvrage abandonné a subi une tentative d’obstruction. De la terre a été repoussée dans la galerie près de sa sortie, mais un passage demeure possible pour les piétons.
Ligne Mouchard – Salins les bains -Jura
Longueur :
7,457 km
mise en service en 1952 , fermée en 1975
Thème courant dans la peinture de la Contre Réforme, symbolique de la pénitence, alors repoussée par les protestants.
Jeweled covers of the Lindau Gospels, front cover (Court School of Charles the Bald, Abbey of St. Gall), c. 880; back cover (Salzburg or vicinity), 750-800, 350 x 275 mm (Morgan Library)
Brume est aveugle de naissance. Elle n'a pas connu sa mère qui est morte lorsqu'elle a poussé son 1er cri et lorsqu'elle aurait dû, comme on dit habituellement "voir" le jour!
Châtiment divin pour celle qui, pour vivre, a causé la mort de sa génitrice? C'est en tout cas ainsi que l'a interprété son père fou de chagrin, lequel a repoussé l'enfant "maudite" au bout d'à peine quelques jours... c'est le jeune frère de sa mère, son seul parent,qui a consenti à adopter Brume... Elle a grandi à ses côtés ou disons, sous le même toit car il n'a guère été présent. L'éducation de Brume a été confiée à une gouvernante. Pourquoi son oncle la fuit-il ainsi?... A -t-il voulu échapper au charme irrésistible qu' exerce à son insu la jeune infirme?
Brume (Mist in english !) is blind from birth. She’s never known her mother who died when she screamed for the fist time and when she should have “seen” the light!
Divine punishment for the one who has “stolen” the life of her mother? That’s the opinion of her father who pushed away the “blasted” child when she’s only few days old… the young bother of her mother, her single parent, adopted Brume.. She grew up near him, more exactly under the same roof, because he used to be often absent… ( a governess took care of the girl) What does he flee from? The irresistible charm of her disabled niece?
The leaves of the street trees keep Portlandia hidden from street view most of the year. Fall color signals her winter exposure will come soon.
Portlandia is a sculpture by Raymond Kaskey located above the entrance of the Portland Building, in downtown Portland, Oregon, at 1120 SW 5th Avenue. It is the second-largest copper repoussé statue in the United States, after the Statue of Liberty.[1]
The statue is based on the design of the city seal. It depicts a woman dressed in classical clothes, holding a trident in the left hand and reaching down with the right hand. The statue is above street level, and faces a relatively narrow, tree-lined street. en.wikipedia.org/wiki/Portlandia_(statue)
Vent de NW avec des rafales de 70 à 100km/heure, l'eau de ce côté-ci l'étang est repoussée, laissant place à la grève par endroits.
Dame Carcas personnage légendaire de la ville de Carcassonne.
femme de Ballak, prince musulman de Carcassonne, tué au combat contre Charlemagne. Elle décide alors de défendre la ville face à l'armée franque et l'aurait repoussée.
Après un long siège, voyant l'armée de Charlemagne quitter la plaine devant la Cité, elle fit sonner les cloches de la ville. Un des hommes de Charlemagne se serait écrié « Carcas sonne ! », d'où le nom de la Cité...
** Updated photos - earlier ones remain in my account **
Closeup of the medallion with the repoussé figures of Aphrodite with a tiny Eros on her shoulder.
This elaborate gold hairnet is one of the few surviving from antiquity (the contemporary “Schimmel” hairnet in the Metropolitan Museum, New York, inv. no. 1987.220, is another) and is an example of the extraordinary level of achievement that was possible for goldsmiths in the 3rd century BC. It is considered to have been made in the same goldsmith’s workshop, probably in Alexandria, Egypt, as the Diadem. The hairnet consists of four elements: the central medallion, the tassels and chains, the net, and the circular clasp. Made to enclose a gathered bun of hair at the back of the head, the fabrication of the hairnet is remarkable for the quality of its execution. The medallion consists of a central repoussé bust of Aphrodite with Eros clinging to the drapery on her left shoulder. The Ptolemaic queens often presented themselves as descendants of Aphrodite; here, the goddess’s features and hairstyle are similar to those of Queen Arsinoe II (ca. 316 – ca. 270 BC). Two concentric bands of filigree separated by rows of beads surround the center. The innermost band consists of a running pattern of framed acanthus leaves (identical to the inner frieze on the Schimmel hairnet noted above); the outer band is filigreed with a step pattern perhaps once inlaid with enamel, now lost. Running filigree as used here, constructed from lengths of wire rather than short pieces connected together, can also be seen on the Diadem and indicates the work of a master gold-smith. Garnet and gold beaded tassels dangle from the medallion and clasp. The net is comprised of bands of gold spool beads linked by tiny filigreed chains, their intersecting points articulated with tiny masks of Dionysos and actors. The circular clasp is embellished with a large Herakles knot, floral tendrils, ivy leaves, and berries.
The association of Arsinoe II with Aphrodite on the hairnet finds parallels on other items in the Assemblage of Ptolemaic Gold Jewelry, such as the identification of Tyche/Fortuna with Arsinoe II on the carnelian ring. Commonalities between the materials and the workmanship of many objects in this group indicate they were made by Greek goldsmiths working in more than one workshop in Alexandria, Egypt, and were created to be worn as an ensemble. While a royal context can be ascribed to the group, the association cannot be extended to the royals themselves. It therefore seems possible that the original owner was an elite of the exclusive circle of dynastic princesses, who, ornamented in her golden finery, served the queen in one of the royal cults devoted to her worship.
Ptolemaic Greek, ca. 225–175 BCE. Created in Egypt, probably Alexandria. Gold, garnets, and glass paste
Getty Villa Museum, Pacific Palisades, California (92.AM.8.1)
*NOTE* This was one of several Ptolemaic gold jewelry pieces sold by the infamous looted antiquities trafficker Robin Symes. They were purchased from him by the Fleischman family, who sold the lot to the Getty.
We usually identify nude depictions of female figures in ancient Greece or Rome as images of Aphrodite, the Greek goddess of love and sexuality. This mirror, however, is a rare exception that may instead show Artemis, the chaste goddess of the hunt.
Artemis' cloak is draped over the rocks on which she sits - ready to cover herself quickly after a dip - and she holds the end wrapped around a small hand mirror in her raised left hand, a divine celebration of the uses of the mirror in a Roman household. The landscape in front of her, to the right, recalls the paintings and reliefs from houses around the Bay of Naples before the eruption of Mount Vesuvius in 79 CE. The quiver of the goddess leans against the base of a garlanded altar with a small herm on top. A second terminal figure, Priapis, the god of gardens and fertility, tilts back while facing to the right on the ledge at the right. The bovine skull in the right foreground suggests the sacrifice after a successful hunt. The scene likely represents a famous encounter in which the hero Actacon stumbled across Artemis while she was bathing. The modest and vengeful goddess punished him by turning him into a deer so he would be killed by his own hounds.
Roman, 101-200 CE.
Note: The museum's info card conflicts with its online listing. This repoussé side of the mirror is listed in the museum as gold, while on their website it's listed as brass. I've sent a note to their curators for confirmation of one or the other.
Art Institute of Chicago (ARTIC 1985.1042a-b)
Merle d'Amérique | American robin | Turdus migratorius
Les merles d'Amérique en hiver sont grégaires contrairement à l'été. Ils forment des groupes de quelques dizaines d'individus et se promènent dans les bois et parcs à la recherche d'arbres fruitiers. Après les pluies de dimanche, le pourtour de bon nombre d'arbres était à découvert, la neige étant repoussée de quelques pieds, le couvert automnal a refait surface! Les merles s'en sont donné à coeur joie, retrouvant avec délice les insectes, si protéinés et recherchés, blottis et endormis sous les feuilles...
La marche d'après (pour le climat); la batterie de la préfecture revisitée.
En avril 2019 et en réaction au mouvement de contestation des gilets jaunes, le président de la République française a mis en place une Convention constituée de 150 citoyens tirés au sort pour définir des mesures s'inscrivant dans l'accord de Paris de 2015 (COP21) et respectant un esprit de justice sociale. Le remarquable travail réalisé par cette commission a abouti à une proposition de 149 mesures qui ont malheureusement pour l'essentiel et contrairement aux engagements pris été détricotées ou repoussées. La journée de manifestations du 9 mai nommée "Marche d'après" parce qu'elle en suivait une première organisée le 28 mars 2021 réclame une vraie loi climat conforme aux propositions de la Convention. Elle s'inscrit dans une longue série de manifestations survenues en France et dans le monde pour réclamer une réelle prise en compte des problèmes environnementaux et plus particulièrement des actions effectives pour respecter les engagements concernant l'arrêt des émissions de gaz à effet de serre.
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"La marche d'après" (Marche after for the climate); the battery of the prefecture revisited.
In April 2019 and in reaction to the protest movement of the "Gilets jaunes" (yellow vests), the President of the French Republic set up a Convention made up of 150 citizens sorted out to define measures in line with the Paris agreement of 2015 (COP21 ) and respecting a spirit of social justice. The remarkable work carried out by this commission resulted in a proposal for 149 measures which unfortunately for the most part and contrary to the commitments made were unraveled or postponed. The day of demonstrations of May 9, called "March after" because it followed a first organized on March 28, 2021 calls for a real climate law in accordance with the proposals of the Convention. It is part of a long series of events that have taken place in France and around the world to call for real consideration of environmental problems and more particularly for effective actions to meet commitments regarding the cessation of greenhouse gas emissions.
My silver repousse mexican mirrors can't hold a candle to this work. ecuador, attributed to bernardo de legarda, 17th-18th c., carved, gilded and polychromed wood, and repousse silver, 31 1/8" high
The Rendille. Pushed away by their neighbours, they henceforth inhabit a vast territory : from the Kaisut Desert to the east to the shores of Lake Turkana to the west.They are semi-nomadic, that is to say both nomad and pastoralist. Clans live in temporary settlement called gobs. The Rendille never stay long at the same place to look for water sources and pasturing areas. They move 3 to 5 times a year. Women are in charge of taking the houses apart and putting them back in the new location. The Rendille favour camels rather than cattle, because they are better suited to the environment. The Rendille depend heavily on them for food, milk, clothing, trade and transport. The Rendille are skilled craftsmen and make many different decoration or ornaments. Like the Maasai with cows, camels are bled in order to drink their blood. Marriage is not allowed within one's own clan. Society is strongly bound by family ties. The Rendille still believe in their God, called Wak or Ngai. They also have fortune-tellers who predict the future, and perform sacrifices to make it rain. Special ceremonies take place at a child's birth. A ewe or goat is sacrificed if it is a girl, a ram if a boy. The girl is blessed 3 times while 4 for the boy. In the same way, mother drinks blood for 3 days for a babygirl, 4 days for a babyboy. The weeding ceremony takes time. The prospective groom must give the bridewealth to the bride's family: 4 female and 4 male camels.
Les Rendille. Repoussés par leurs voisins, ils habitent désormais un vaste territoire, qui va du Désert de Kaisut à l’est aux rives du Lac Turkana à l’ouest.Ils sont semi-nomades, c’est-à-dire à la fois nomades et pasteurs. Les clans vivent dans des installations temporaires appelées gobs. Les Rendille ne restent jamais longtemps au même endroit pour chercher des sources d’eau et des pâturages. Ils se déplacent 3 à 5 fois par an. Les femmes sont chargées de démonter les maisons et les replacer dans leur nouveau lieu d’habitat. Les Rendile privilégient les dromadaires au bétail, étant plus adaptés à leur environnement. Ils dépendent largement d’eux pour leur nourriture, lait, habits, commerce et transport. Les Rendille sont des artisans qualifiés et créent des décorations et ornements divers. Comme les Maasai avec les vaches, les dromadaires sont saignés pour boire le sang. Le mariage n’est pas autorisé à l’intérieur d’un même clan. La société est solidement lié par les attaches familiales.Les Rendille croient dans un Dieu qu’ils appellent Wak ou Ngai. Ils ont aussi des voyants qui prédisent l’avenir, et réalisent des sacrifices pour faire pleuvoir. Des cérémonies spéciales ont lieu à la naissance d’un enfant. Une brebis ou chèvre est sacrifiée si c’est une fille, un bélier si c’est un garçon. La fille est bénie 3 fois, 4 pour le garçon. De la même manière, la mère boit du sang pendant 3 jours pour une petite fille, 4 pour un petit garçon. La cérémonie du mariage prend du temps. Le futur époux doit payer le prix de la mariée à la famille de celle-ci : 4 dromadaires femelles et 4 mâles.
The Samburu are closely related to the Maasai.Like the Maasai, they live in the central Rift Valley area of Kenya, where the climate is semi-arid.They are seminomadic and belong to the Maa (Nilotic) speaking group of people. They do very little farming. Their livelihood depends upon the cattle, sheeps and goats they raise. They use their milk more than meat. They often drink milk mixed with cow's blood. Like their neighbours, they have to search for water and grazing land which leads them out from their homes during dry seasons. The Samburu live in huts made of branches, mud and cow dung. Around it, there is a fence made of thorn bushes, in which the cattle is kept at night. Most Samburu still wear traditional dress. Like the Maasai, women wear colorful beaded necklaces similar to the ones the Rendile women also wear. The number of necklaces is a sign of wealth, often given as dowry. They wear bright clothes, usually red and pink. To protect their eyes from the sun, Samburu warriors (like the Rendile) often paste their hair with ochre which creates a visor.Samburu are very spiritual people, believing and praying every day the God called Ngai. Age determines men's social status: each man has to go through various stages before becoming a powerful elder. Circumcision marks the boy’s transition to a young warrior, while girls excision is carried out on the day of marriage (usually at 16 years old).
Les Samburu sont intimement liés aux Maasai. Lieu de vie : Comme les Maasai, ils vivent dans la zone de la vallée centrale du Rift au Kenya, où le climat est semi-aride.Ils sont semi-nomades et appartiennent au peuple de langue Maa (nilotique). Ils font peu d’agriculture. Leur moyen de subsistance dépend de leur bétail, moutons et chèvres qu’ils élèvent. Ils se servent davantage de leur lait que de leur viande. Ils boivent souvent du lait mélangé au sang de vache. De la même façon que leurs voisins, ils doivent chercher de l’eau et de nouveaux pâturages, ce qui les conduit en dehors de leurs territoires durant les saisons sèches. Les Samburu vivent dans des huttes faites de branches, boue et bouse de vache. Autour, il y a une barrière faite de buissons épineux, dans lesquels le bétail est gardé la nuit. La plupart des Samburu portent encore leur costume traditionnel. Comme les Maasai, les femmes portent des colliers en perles colorés, similaires à ceux que les femmes Rendile portent aussi. Le nombre de colliers est un signe de richesse, souvent offerts en guise de don pour le mariage. Ils portent des vêtements clairs, souvent rouges et roses. Pour protéger leurs yeux du soleil, les guerriers Samburu (comme les Rendile) souvent couvrent leurs cheveux d’ocre ce qui constitue une visière.Les Samburu sont très spirituels, croyant et priant chaque jour le Dieu appelé Ngai. L’âge détermine le statut social des hommes : chaque homme doit passer par les diverses étapes avant de devenir un aîné puissant. La circoncision marque la transition du garçon vers l’âge de jeune guerrier, tandis que l’excision des filles est réalisée le jour du mariage (souvent à 16 ans).
© Eric Lafforgue
From the Collection of Mycenaean Antiquities (1600-1100 BCE):
16th-century BC Gold death mask that Schliemann incorrectly identified as the mask of Agamemnon.
On display in the National Archaeological Museum of Athens in Greece.
Description in the museum:
Finds from Grave V, Grave Circle A, Mycenae. 16th century BC
Gold death-mask, known as the ‘mask of Agamemnon’. This mask depicts the imposing face of a bearded man. It is made of a gold sheet with repoussé details. Two holes near the ears indicate that the mask was held in place over the deceased’s face with twine (624)
The Telegram from Heinrich Schliemann to King George I
November 16/28, 1876
Your Majesty, it is with great pleasure that l inform you that I have discovered the tombs which, according to Pausanias’ account, belong to Agamemnon, Cassandra and their comrades who were murdered by Clytaemnestra and her paramour, Aegisthus, during a feast. The tombs are enclosed within a double stone circle, something which would only have been erected in honour of exalted personages. Inside the tombs, I have discovered fabulous treasures and ancient objects of solid gold. These treasures alone are enough to fill a large museum which will become the most famous in the world and will attract myriads of foreigners to Greece from every land. Since I work out of sheer love of science, I naturally make no claim on these treasures and enthusiastically make them over, in their entirety, to Greece. May these treasures be the foundation of immeasurable national wealth.
→ The National Archaeological Museum in Athens, Greece, has a wonderful sculpture collection with around a thousand of the museum's 16,000 sculptures on permanent display. Exceptional highlights include the korai and kouroi sculptures from the archaic period and the rare large bronze sculptures from the classical and Hellenistic periods.
Riding his winged horse Pegasos, the Greek hero Bellerophon slays the monstrous Chimaera on this gold ring. A South Italian goldsmith constructed the elaborate box bezel from sheet gold and decorated it with gold floral filigree on all sides. He made the repoussé scene of Bellerophon separately and attached it to the bezel as an appliqué. Using a link of a gold chain for the ring's hoop, he masked the join of the hoop and bezel with palmettes.
Box bezel rings are rare, and this example is unique in its rendering of a complex mythological scene on the bezel. The theme of Bellerophon and the Chimaera may have been adapted from vases. It was a popular motif among South Italian vase-painters in the later 300s BCE.
Greek, South Italian, ca. 340-320 BCE. Attributed to Santa Eufemia Master.
Getty Villa Museum (88.AM.104)
A photo of my friend sat in a very ornate timber carved window of the Patan Museum reading her Japanese Lonely Planet guide.
More photos from the trip : www.flickr.com/photos/darrellg/albums/72157709610673461
From Wikipedia : "The Patan Museum is a museum located in Patan, Lalitpur, Nepal. The museum falls under the UNESCO’s World Heritage Sites. The Patan Museum was inaugurated in 1997 by Late King Birendra Bir Bikram Shah. The Patan Museum displays the traditional sacred arts of Nepal in an illustrious architectural setting. Its home is an old residential court of Patan Darbar, one of the royal palaces of former Malla Kings of the Kathmandu Valley. The Museum’s exhibits cover a long span of Nepal’s cultural history and some rare objects are among its treasures. Most of the objects are cast bronzes and gilt copper repoussé work, traditional crafts for which Patan is famous."
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© D.Godliman
1.75" tall. Basically, I made mirror-image repousse wrens and soldered them together. Not stamped, no molds. Much, much harder than I thought it would be!
Acanthus leaf detail on the pummel of the Liberty torch up close and personal. Hammered “repousse” from 1/16” 0.0625” thick copper attached with rivets to an internal wrought iron armature.
Impeccable craftsmanship by brilliant artisans and masters of their craft.
A once proud symbol of a once proud and noble country.
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Canon A1
50 mm lens
Kodak Ektrachrom
Cumdach (book shrine) of the Cathach, 1062–94 and late 14th century with later additions and repairs, bronze, gilt silver, wood, crystal, and glass, 19 x 25 x 5.25 cm (National Museum of Ireland)
The utterly beautiful Statue of Liberty, Liberty Island, New York - I took this in October 2004 on my first visit to see New York City...visiting Lady Liberty was a real thrill and it was a perfect sunny, clear blue sky day - she looked magnificent!
THE STATUE OF LIBERTY
Liberty Enlightening the World (French: La liberté éclairant le monde), known more commonly as the Statue of Liberty (Statue de la Liberté), is a large statue that was presented to the United States by France in 1886. It stands at Liberty Island, New York in New York Harbor as a welcome to all visitors, immigrants, and returning Americans. The copper-clad statue, dedicated on October 28, 1886, commemorates the centennial of the United States and is a gesture of friendship from France to America. Frédéric Auguste Bartholdi sculpted the statue, and Alexandre Gustave Eiffel (designer of the Eiffel Tower) engineered the internal structure. Eugène Viollet-le-Duc was responsible for the choice of copper in the statue's construction and adoption of the repoussé technique.
The statue is of a female figure standing upright, dressed in a robe and a seven point spiked rays representing a nimbus (halo), holding a stone tablet close to her body in her left hand and a flaming torch high in her right hand. The tablet bears the words "JULY IV MDCCLXXVI" (July 4, 1776), commemorating the date of the United States Declaration of Independence.
The statue is made of a sheeting of pure copper, hung on a framework of steel (originally puddled iron) with the exception of the flame of the torch, which is coated in gold leaf. It stands atop a rectangular stonework pedestal with a foundation in the shape of an irregular eleven-pointed star. The statue is 151' 1" (46.5 m) tall, with the pedestal and foundation adding another 154 feet (46.9 m).
Worldwide, the Statue of Liberty is one of the most recognizable icons of the United States, and, more generally, represents liberty and escape from oppression. The Statue of Liberty was, from 1886 until the jet age, often one of the first glimpses of the United States for millions of immigrants after ocean voyages from Europe. The Statue of Liberty's obviously classical appearance (Roman stola, sandals, facial expression) derives from Libertas, ancient Rome's goddess of freedom from slavery, oppression, and tyranny. Broken shackles lie at her feet. The seven spikes in the crown represent the Seven Seas and seven continents. Her torch signifies enlightenment. The tablet in her hand shows the date of the nation's birth, July 4, 1776.
Since 1903, the statue, also known as "Lady Liberty," has been associated with Emma Lazarus's poem “The New Colossus” and has been a symbol of welcome to arriving immigrants. The interior of the pedestal contains a bronze plaque inscribed with the poem, which reads:
“Not like the brazen giant of Greek fame,
With conquering limbs astride from land to land;
Here at our sea-washed, sunset gates shall stand
A mighty woman with a torch, whose flame
Is the imprisoned lightning, and her name
Mother of Exiles. From her beacon-hand
Glows world-wide welcome; her mild eyes command
The air-bridged harbor that twin cities frame.
"Keep ancient lands, your storied pomp!" cries she
With silent lips. "Give me your tired, your poor,
Your huddled masses yearning to breathe free,
The wretched refuse of your teeming shore.
Send these, the homeless, tempest-tost to me,
I lift my lamp beside the golden door!"
There are 354 steps inside the statue and its pedestal. There are 25 windows in the crown which comprise the jewels beneath the seven rays of the diadem. The tablet which the Statue holds in her left hand reads, in Roman numerals, "July 4, 1776" the day of America's independence from Britain. The Statue of Liberty was engineered to withstand heavy winds. Winds of 50 miles per hour cause the Statue to sway 3 inches (7.62 cm) and the torch to sway 5 inches (12.7 cm). This allows the Statue to move rather than break in high [wind load] conditions.
Source: Wikipedia