Carcassonne is a fortified French town in the Aude department, of which it is the prefecture, in the Region of Occitanie.

Occupied since the Neolithic period, Carcassonne is located in the Aude plain between two major thoroughfares linking the Atlantic to the Mediterranean sea and the Massif Central to the Pyrénées. Its strategic importance was quickly recognized by the Romans who occupied its hilltop until the demise of the Western Roman Empire and was later taken over in the fifth century by the Visigoths who founded the city. Also thriving as a trading post due to its location, it saw many rulers who successively built up its fortifications, until its military significance was greatly reduced by the Treaty of the Pyrenees in 1659.

The city is famous for the Cité de Carcassonne, a medieval fortress restored by the theorist and architect Eugène Viollet-le-Duc in 1853 and added to the UNESCO list of World Heritage Sites in 1997.

Located a short drive from Whistler Village is the Cheakamus River Valley. This valley has special spiritual significance to the local First Nations of the area. The upper part of this valley is home to an old growth, temperate rain forest that has been left undisturbed for thousands of years. A moderate walk up the valley takes you to the sparkling glacier fed waters of Cheakamus Lake.

 

The hike leads you under a canopy of Ancient Cedars and towering Douglas Fir trees. This spectacular forest is carpeted with green moss and dense stands of Devils Club making this is an excellent place for photography. This is a must do hike for anyone who enjoys hiking in nature.

A Igreja de San Donato, situada no centro histórico de Génova, representa um exemplar notável da arquitetura românica genovesa, datada dos séculos XI e XII. A fachada distingue-se pelo uso da bicromia, com a alternância de faixas de pedra calcária clara e ardósia escura, um padrão característico da Ligúria medieval. O portal principal, com um profundo vão afunilado, exibe arquivoltas de volta perfeita que assentam em colunas com capitéis de inspiração coríntia, demonstrando influências clássicas. Acima da arquitrave, uma inscrição ( "Indulgentia Plenaria") sublinha a relevância litúrgica do templo. A estrutura reflete a prosperidade mercantil de Génova, com elementos decorativos que contrastam com a robustez das paredes. A sobreposição de edifícios circundantes ilustra a continuidade urbana da cidade, onde diferentes camadas históricas coexistem. O interior da igreja, com uma nave única e capelas laterais, alberga pinturas renascentistas, incluindo uma Adoração dos Magos de Joos van Cleve.

 

The Church of San Donato, located in the historic center of Genoa, is a remarkable example of Genoese Romanesque architecture, dating from the 11th and 12th centuries. The façade is distinguished by its use of two colors, with alternating bands of light limestone and dark slate, a pattern characteristic of medieval Liguria. The main portal, with a deep funnel-shaped opening, features round archivolts resting on columns with Corinthian-inspired capitals, demonstrating classical influences. Above the architrave, an inscription (“Indulgentia Plenaria”) emphasizes the liturgical significance of the temple. The structure reflects Genoa's mercantile prosperity, with decorative elements that contrast with the robustness of the walls. The overlapping of surrounding buildings illustrates the urban continuity of the city, where different historical layers coexist. The interior of the church, with a single nave and side chapels, houses Renaissance paintings, including an Adoration of the Magi by Joos van Cleve.

Wentbridge is a small village in the City of Wakefield district of West Yorkshire, England. It lies around 3 miles (5 km) southeast of its nearest town of size, Pontefract, close to the A1 road.

 

The village contains one of the largest viaducts in Europe, its significance sanctioned by the Museum of Modern Art. Wentbridge is one of a number of locations that have connections to the legend of Robin Hood.

 

Wentbridge sits in the heart of the Went Valley, on the northernmost edge of the medieval vale of Barnsdale, seen by many medievalists as the official home of Robin Hood. During the Middle Ages the village of Wentbridge was itself sometimes referred to by the name of Barnsdale because it was the main settlement in the Forest of Barnsdale, and it was possible to look down upon the village from the Saylis. The county boundary follows the A1 from the River Went to Barnsdale Bar, which is the southernmost point of North Yorkshire. Close by to the southwest is the Roman Ridge, a Roman road which closely follows the course of the modern-day A639. To the north is Darrington. Earlier historians have usually assumed that this district was heavily wooded. However, aerial photography and excavation have shown that the region has always been a largely pastoral landscape dotted with occasional settlements.

 

The village of Wentbridge straddles the River Went, from which it takes its name, along a north–south axis and sits less than a mile from the county boundary with North Yorkshire to the east. The village is so named because it used to be the site of the Great North Road's bridge over the River Went. Entrance to the village was down a steep valley which would have been a problem before motorised transport and eventually became a bottleneck. Wentbridge House was one of the properties near the river and on the Great North Road. It still exists today and is called Wentbridge House Hotel.

  

Robin Hood's Well is on the east of the southbound carriageway of the A1, just south of Barnsdale Bar.

In close proximity to the village of Wentbridge there are, or were, some notable landmarks which relate to Robin Hood. The earliest-known Robin Hood place-name reference - in Yorkshire or anywhere else - occurs in a deed of 1322 from the two cartularies of Monk Bretton Priory, near the town of Barnsley. The cartulary deed refers in Latin to a landmark named 'the Stone of Robert Hode' (Robin Hood's Stone), which was located in the Barnsdale area. According to J. W. Walker this was on the eastern side of the Great North Road, a mile south of Barnsdale Bar. On the opposite side of the road once stood Robin Hood's Well, which has since been relocated six miles north-west of Doncaster, on the south-bound side of the Great North Road.

 

The Anglo-Saxon Battle of Winwaed is believed to have taken place between Wentbridge and Ackworth where what is now the A639 (a main Roman road) crosses the River Went. The battle was a pivotal event that decided the religious destiny of the English. The most powerful pagan king in seventh-century England, Penda, was defeated by the Christian Oswiu in 655, effectively ending Anglo-Saxon paganism.

 

Archaeologists believe that a mound in Wentbridge was the location of an Anglo-Saxon fortification.

 

English Heritage has placed a blue plaque on the bridge that crosses the River Went, recognising Wentbridge's (and Barnsdale's) strong claim to be the original home of Robin Hood. Wentbridge is mentioned in what may be the earliest surviving manuscript of a Robin Hood ballad, "Robin Hood and the Potter": "'Y mete hem bot at Went breg,' s(e)yde Lytyll John" ('I met him but at Wentbridge', said Little John). Though Wentbridge is not specifically named in the medieval ballad entitled "A Gest of Robyn Hode", the ballad does appear to make a cryptic reference to the locality by depicting a friendly knight explaining to Robin that he ‘went at a brydge’ where there was 'a wraste-lyng' (wrestling).

 

The Gest of Robyn Hode makes specific references to 'the Saylis' and 'the Sayles', and a landmark by that name was certainly located near Wentbridge. The outlaw himself mentions the site in the First Fytte of the Gest.

 

The 19th-century antiquary Joseph Hunter (a Yorkshireman by birth) identified its likely site: a small tenancy, of one-tenth of a knight's fee (i.e. a knight's annual income), located on high ground 500 yards (457.2 metres) to the east of the village of Wentbridge in the manor of Pontefract. The high ground which overlooks the area – 120 feet (36.576 metres) above the flat terrain - was then known as Sayles Plantation. From this location it was possible to see across the whole of the Went Valley and observe the traffic that passed along the Great North Road, thus demonstrating its significance as a lookout-point in the Gest. The Saylis is recorded as having contributed towards the aid that was granted to King Edward III in 1346-47 for the knighting of his son, the Black Prince. Such evidence of continuity makes it virtually certain that the Saylis or Sayles which was so well known to the Robin Hood of the "Gest" survived into modern times as the 'Sayles Plantation' near Wentbridge. The historians Richard Barrie Dobson and John Taylor indicate that this location provides a specific clue to Robin Hood's Wentbridge heritage.

 

An infamous outlaw known as 'The Prince of Thieves" once inhabited Wentbridge. A medieval chronicler speaks of an outlaw named Swein-son-of-Sicga who robbed Abbot Benedict of Selby and "constantly prowled around Yorkshire's woods with his band on perpetual raids". J. Green indicates that Hugh fitzBaldric, the late-eleventh-century Sheriff of Nottinghamshire and Yorkshire, held responsibility for bringing Swein-son-of-Sicga to justice. Historians indicate that the deeds of Yorkshire's outlaws, men such as Swein-son-of-Siccga, and their battles against the Sheriff of Nottingham, gave birth to the legend of Robin Hood.

Tulips are a captivating subject, not only for their beauty but also for their rich history and cultural significance. Originating from a band stretching from Southern Europe to Central Asia, tulips were cultivated in Persia as early as the 10th century and became a symbol of the Ottoman Empire by the 15th century. The name 'tulip' is believed to be derived from a Persian word for turban, possibly due to its resemblance to the flower. In the 17th century, tulips sparked a period known as 'tulip mania' in the Netherlands, where they were highly sought after and even caused a financial frenzy. Today, tulips are celebrated for their vibrant colors and variety, with around 75 species and numerous hybrids known as botanical tulips. They are spring-blooming perennials that retreat underground during summer, only to emerge triumphantly with the first signs of spring. The Royal Horticultural Society provides detailed guidance on growing tulips, from choosing the right bulbs to planting and care, ensuring that these beloved flowers continue to thrive in gardens and bring joy to those who grow them.

 

These flowers are at the Collector Earl's Garden at Arundel Castle, West Sussex, England, which is a stunning example of landscape architecture, blending historical significance with natural beauty. Created as a tribute to Thomas Howard, the 14th Earl of Arundel, known for his passion for the arts and his collection of fine paintings, this garden is a masterpiece of design. Visitors can marvel at the green oak pavilions and the Oberon's Palace with its floating crown, both inspired by the drawings of the famous architect Inigo Jones. The garden also features water fountains and rills that reflect the nearby River Arun, adding a serene water element to the experience. The restoration of this garden from a car park back to its former glory is a testament to the enduring value of preserving historical landscapes for future generations to enjoy.

 

The grand building in the background is Arundel Cathedral, officially known as the Cathedral Church of Our Lady and St. Philip Howard, is a striking example of French Gothic architecture and a place of significant historical and spiritual importance. This cathedral was originally dedicated in 1873 and became the seat of the Bishop of Arundel and Brighton in 1965. The cathedral owes much to the Howard family, the Dukes of Norfolk, who have been prominent figures in English Catholic history. The building's design, by Joseph Hansom, is noted for its grandeur and elegance, reflecting the styles popular in the 1300s and 1400s, a period when the Howard family rose to prominence. Today, the cathedral not only serves as a place of worship but also as a community hub, hosting various events and services, including live-streamed masses for wider participation.

Astoria, Oregon

 

Designed as the ultimate heavy weather vessel, the Pilot Boat Peacock crossed the most dangerous river bar on the planet, the Columbia River Bar, more than 35,000 times during her 30-plus year career.

 

The Peacock was decommissioned and replaced by an integrated pilot boat/helicopter transportation system in 1999. Because of her historical significance, however, the Peacock was given to the Columbia River Maritime Museum by the Columbia River Bar Pilots Association for preservation and display.

 

The Columbia River Maritime Museum initiated a campaign to restore and exhibit the Peacock on the Museum campus, celebrating her important role in providing safe transportation of bar pilots to and from ships as they entered and exited the mouth of the Columbia River.

 

Weighing 220,000 pounds, the Peacock sits on eight steel pilings driven to bedrock more than 40 feet below ground. Two giant cranes — capable of lifting over 300 tons each — brought the Peacock out of the river and carried her to the permanent display structure at the east end of the Museum campus. Placement on the structure's support cradles was engineered to accuracy within one-sixteenth of an inch.

 

Pilot Boat Peacock:

 

The Pilot Boat Peacock was custom-built for the Columbia River Bar Pilots in Germany in 1964, and is based on a North Sea rescue boat design.

 

Delivered for service in 1967, she is 90 feet long, 33 feet tall, and is self-righting. The stern of the boat is hinged to allow the launch and recovery of a 23-foot "daughter boat" used in heavy weather to make the actual transfer of the pilots between the ship and pilot boat.

 

The Peacock's maximum speed was 26 miles per hour. She carried a crew of three in addition to up to 12 bar pilots.

 

www.crmm.org/maritimemuseum_collection_peacock.html

 

This image is best viewed in Large screen.

 

Thank-you for your visit, and any faves or comments are always greatly appreciated.

 

Sonja

  

© all rights reserved

 

If you want to stand between Bamboo please take your time... and enjoy it large on black

 

Bamboos are the largest members of the grass family. In bamboo the plant stem are hollow. Bamboos are also the fastest growing plants in the world. They are capable of growing up to 60 centimeters 24 inch or more per day due to a unique rhizome-dependent system. However, this astounding growth rate is highly dependent on local soil and climatic conditions. Bamboos are of notable economic and cultural significance in Asia where they are used extensively in everyday life as building materials, as a food source and as a highly versatile raw product. There are more than 70 genera divided into about 1,000 species. They are found in diverse climates, from cold mountains to hot tropical regions. Bamboo is the fastest-growing plant on Earth; it has been measured surging skyward as fast as 121 cm 48 inch in a 24-hour period. The shoots new bamboo culms that come out of the ground of bamboo are edible. They are used in numerous Asian dishes. Bamboo is the main food of the Giant Panda; it makes up 99% of the Panda's diet. Pandas will move to other bamboo forests when they have consumed all edible bamboos of an area, or when the bamboos of an area are dying. But there are no Panda's in Laos. Bamboo can be used for many other things like: medicine, house construction, textiles, musical instruments, art and paper. Most species flower infrequently. In fact, many bamboos only flower at intervals as long as 60 or 120 years then the bamboo dies. This mechanism, as well as the evolutionary cause behind it, is still largely a mystery. In China and India, bamboo blossom was traditionally seen as a curse or an indication of a starvation coming.

 

I always love the wander inside a Bamboo forest. Forest? or should I call it a grass field. It's dark and no other plants are allowed to grow here. It's an extraordinary plant. After the blossom of the Bamboo, the flowers produce fruit, which the Chinese called "bamboo rice". Then, the bamboo forest will die. Since a bamboo forest usually grows from a single bamboo, the death of bamboos occurs in a large area. This mechanism, as well as the evolutionary cause behind it, is still largely a mystery.

 

Bamboe is eigenlijk geen boom maar is een plantensoort die behoort tot de grootste van de grasfamilie. De naam bamboe is afkomstig uit het Maleis en in vrijwel alle talen bekend als bambu, bamboo enz. Ze zijn van binnen hol en worden op geregelde afstanden onderbroken door knopen waar de bladeren aanhechten. De grootste bamboe is de reuzenbamboe die tot 35 meter hoog wordt en tot 30 cm brede stengels heeft. De plant wordt in uiteenlopende klimaten aangetroffen, van koude berggebieden tot hete, tropische streken. Hij verspreidt zich hoofdzakelijk via zijn wortels, die zich ondergronds ver kunnen verspreiden om hier en daar nieuwe halmen boven de grond te laten komen. Bamboe is één van de snelst groeiende planten: binnen één seizoen kan hij tot volle wasdom komen. De snelst groeiende plant ter wereld is een bepaalde bamboesoort waarvan reeds groeisnelheden van één meter per dag zijn waargenomen. Dit is drie keer zo snel als de snelst groeiende boom. De bamboeplant bloeit zelden, soms zelfs eens in de honderd jaar. Als een plant bloeit, dan bloeit hij in een groot gebied, soms zelfs zo groot als een continent of groter. Hoe al die planten weten dat ze tegelijk moeten bloeien stelt biologen nog steeds voor een raadsel. Na de bloei vindt massale achteruitgang en afsterving van bamboe plaats. Bamboe is de voornaamste voedselbron van de reuzenpanda die het moeilijk kan krijgen als in zijn leefgebied een belangrijke bamboesoort gaat bloeien. De jonge bamboescheuten zijn eetbaar en worden veel in de Aziatische keuken gebruikt. Als bouwmateriaal wordt bamboe veel gebruikt, onder andere voor: meubelen, steigers, wapening in beton, vishengels, muziekinstrumenten zoals panfluit, bamboefluit en parket.

 

 

26 x 17 cm collage

Combined trees

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en.easternlightning.org/videos/significance-of-prayer-hym...

I

 

Prayer is one of the ways how man cooperates with God, to call upon His Spirit and to be touched by God. The more you pray, the more you'll be touched, enlightened and strong-minded. People as such can be made perfect soon. The more you pray, the more you'll be touched, enlightened and strong-minded. People as such can be made perfect soon.

 

II

 

So those who never pray are dead without spirit. They can't be touched by God, can't follow God's work. People who never pray lose normal spiritual life, have broken ties with God; He will not approve them. People who never pray lose normal spiritual life, have broken ties with God; He will not approve them.

 

III

 

The more you pray, the more you'll be touched, enlightened and strong-minded. People as such can be made perfect soon. The more you pray, the more you'll be touched, enlightened and strong-minded. People as such can be made perfect soon. People as such can be made perfect soon. People as such can be made perfect soon.

Eastern Lightning | The Church of Almighty God came into being because of the work of the returned Lord Jesus—the end-time Christ, “Almighty God”—in China, and it isn’t established by any person. Christ is the truth, the way, and the life. After reading God’s word, you will see that God has appeared.

Terms of se : en.easternlightning.org/disclaimer.html

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Whilst generally recognised as a monolith with a significance back into prehistory, ancient surface marks on La Peña Gorda are not immediately obvious. It's almost as if the stone is so staggering and 'finished' that there is very little that man could add without appearing small. I found one sheltered panel that may have had the tanned grease-marks of fingers repeatedly touching over what may just be the remains of some very blurred rock art, and a ledge with a basin that looks to have been adapted by man. There are several areas of polished rock from frequent passage (which have no date) but other than that, the outcrop is pure and naturally spiritual. The one area of great interest is perhaps the long rise of steps up the steep site to the summit.

 

The steps do not follow parallel historical convention, and at times sprinkle over the surface without a constant rhythm or logic. We managed to climb up about half way, but in the heat of the sun a slip would certainly have put an end to our planned explorations, so we pulled back from following the steps to the top.

 

The steps are not obvious and need to be found and there are no associated modern ropes or rails. For people who are not free climbers, the word 'freaky' or the phrase 'out there' might be employed to describe the sensation of climbing.

 

The steps are of a style seen on a far smaller but equally vivid outcrop that still sits at the upper centre of an important local village/town to the south, and it seems obvious to at least propose that the act of making a step and looking after a step over time may have had significance. Here each oval step may have a story or an individual behind the attention and the symbolic of playing a part in helping a community to 'climb' in life.

 

The top of the monolith is certainly dangerous for casual activity and not adapted for human or agricultural project, so the act of climbing the rock may have had a ritual or ceremonial function. Rites of passage, solstice and offerings to the 'sun' all adapted to just such an indubitable landscape marker.

 

At risk of repetition, the reason to consider the steps as markers from individuals: from a category of prehistoric artefacts that may also include cups and rings, is because each step is of a style and the positioning of the steps are not systematic - at times scattering past ideas of simple function suggesting an element of episodic significance.

 

The steps can be contrasted with those at the la Roca de Los Moros (Ayera)

 

If these are prehistoric steps in origin then they must be some of the most vivid and well preserved, making their recognition and preservation a pleasure for all.

 

AJM 13.08.20

From Wikipedia, the free encyclopedia

+++++++++++++++++++++++++++++++++

Rencontres d'Arles

The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.

 

The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.

 

The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.

 

The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.

 

In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.

Contents

 

Art directors

A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975

 

1970 - 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette

1973 - 1976: Lucien Clergue

1977: Bernard Perrine

1978: Jacques Manachem

1979 - 1982: Alain Desvergnes (fr)

1983 - 1985: Lucien Clergue

1986 - 1987: François Hébel

1988 - 1989: Claude Hudelot (fr)

1990: Agnès de Gouvion Saint-Cyr

1991 - 1993: Louis Mesplé (fr)

1994: Lucien Clergue

1995 - 1998, délégué général: Bernard Millet (fr)

1995, artistic director: Michel Nuridsany (fr)

1996, artistic director: Joan Fontcuberta

1997, artistic director: Christian Caujolle (fr)

1998, artistic director: Giovanna Calvenzi

1999 - 2001: Gilles Mora (fr)

2002 - 2014: François Hébel

Since 2015: Sam Stourdzé (fr)

 

The festival

A photography exhibition, Rencontres d'Arles, 2010

Events

 

Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town’s historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix’s fashion show for the festival’s closing (2008); and Patti Smith’s concert for the Vu agency’s 20th anniversary (2006).

Nights at the Roman Theatre

 

At night, work by a photographer or a photography expert is projected in the town’s open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin’s “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.

The Night of the Year

 

The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival’s favourite works by artists and photographers as well as carte blanche exhibitions by institutions.

Cosmos-Arles Books

 

Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.

 

Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art’s fundamentally hybrid forms.

Symposia and panel discussions

 

Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).

The Rencontres d’Arles awards

 

Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival’s professional week: the Discovery Award (€25,000), Author’s Book Award (€8,000) and History Book Award (€8,000).

Luma Rencontres Dummy Book Award

 

In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.

 

The winner’s book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.

Photo Folio Review & Gallery

 

Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival’s opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.

Photography classes

 

The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography’s aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.

Rentrée en Images

 

“Rentrée en Images” has been a key part of the festival’s educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival’s programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.

Budget

 

Public funding accounted for 40% of the 2015 festival’s €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].

Executive Committee

 

Hubert Védrine, president

Hervé Schiavetti, vice-president

Jean-François Dubos, vice-president

Marin Karmitz, treasurer

Françoise Nyssen, secretary

Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members

 

The Rencontres d'Arles award winners

2002

 

Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams

Discovery Award: Peter Granser

No Limit award: Jacqueline Hassink

Dialogue of the humanity award: Tom Wood

Photographer of the year award: Roger Ballen

Help to the project: Pascal Aimar, Chris Shaw

Author’s Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)

Help to publishing: Une histoire sans nom by Anne-Lise Broyer

 

2003

 

Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel

Discovery Award: Zijah Gafic

No Limit award: Thomas Demand

Dialogue of the humanity award: Fazal Sheikh

Photographer of the year award: Anders Petersen

Help to the project: Jitka Hanzlova

Author’s Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)

Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993-1998) by Xing Danwen

 

2004

 

Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata

Discovery Award: Yasu Suzuka

No Limit award: Jonathan de Villiers

Dialogue of the humanity award: Edward Burtynsky

Help to the project: John Stathatos

Author’s Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)

 

2005

 

Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili

Discovery Award: Miroslav Tichy

No Limit award: Mathieu Bernard-Reymond

Dialogue of the humanity award: Simon Norfolk

Help to the project: Anna Malagrida

Author’s Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)

 

2006

 

Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe

Discovery Award: Alessandra Sanguinetti

No Limit award: Randa Mirza

Dialogue of the humanity award: Wang Qingsong

Help to the project: Walid Raad

Author’s Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)

 

2007

 

[1]

 

Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker

Discovery Award: Laura Henno

Author’s Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)

Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)

 

2008

 

[2]

 

Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani

Discovery Award: Pieter Hugo

Author’s Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)

Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)

 

2009

 

[3]

 

Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff

Discovery Award: Rimaldas Viksraitis

Author’s Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)

Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)

 

2010

 

[4] [5]

 

Discovery Award: Taryn Simon

LUMA award: Trisha Donnelly

Author’s Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)

Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)

 

2011

 

[6] [7]

 

Discovery Award: Mikhael Subotzky and Patrick Waterhouse[8]

Author’s Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[8]

Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[8]

 

2012

 

[9] [10] [11]

 

Discovery Award: Jonathan Torgovnik

Author’s Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)

Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)

 

2013

 

Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré

Author’s Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal[disambiguation needed], 2013)[12]

Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)

 

2014

 

Discovery Award: Zhang Kechun

Author’s Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)

Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)

 

2015

 

Discovery Award: Pauline Fargue

Author’s Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)

Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)

Dummy Book Award: The Jungle Book by Yann Gross

Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)

 

2016

 

Discovery Award: Sarah Waiswa

Author’s Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)

Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)

Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)

Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber

Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)

 

2017

 

[13]

 

Discovery Award: Carlos Ayesta and Guillaume Bression

Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)

Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)

Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)

Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)

Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko

Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)

 

Exhibitions

1970

 

Gjon Mili, Edward Weston, ...

1971

 

Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …

1972

 

Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …

1973

 

Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …

1974

 

Brassaï, Ansel Adams, Georges A. Tice, …

1975

 

Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …

1976

 

Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …

1977

 

Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …

1978

 

Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …

1979

 

David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …

1980

 

Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …

1981

 

Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …

1982

 

Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …

1983

 

Robert Rauschenberg, Bruce Davidson, …

1984

 

Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …

1985

 

David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …

1986

 

Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …

1987

 

Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.

1988

 

La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.

1989

 

Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.

1990

 

Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …

1991

 

Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …

1992

 

Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …

1993

 

Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …

1994

 

Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …

 

1995

 

Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …

1996

 

Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …

1997

 

Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …

1998

 

David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …

1999

 

Lee Friedlander, Walker Evans, …

2000

 

Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …

2001

 

Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …

2002

 

Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …

2003

 

Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …

2004

 

Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …

2005

 

Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …

2006

 

La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …

2007

 

The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …

2008

 

Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …

2009

 

Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]

2010

 

Robert Mapplethorpe[17] Lea Golda Holterman[18]

2011

 

Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...

2012

 

Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]

2013

 

Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.

2014

 

Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.

2015

 

Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.

References

 

O'Hagan, Sean (11 July 2011). "Tower blocks and tomes dominate the Rencontres d'Arles". The Guardian. Retrieved 17 November 2014.

www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...

www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...

O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.

O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.

"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.

"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.

"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.

"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.

Présentation de Robert Mapplethorpe sur le site rencontres-arles.com

"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.

Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com

Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com

Signe des temps: Arles 2012, un festival courageux (Photographie.com)

Fiche d'Alfredo Jaar sur rencontres-arles.com

Fiche de John Stezaker sur rencontres-arles.com

Fiche de Wolfgang Tillmans sur rencontres-arles.com

Fiche de Viviane Sassen sur rencontres-arles.com

Fiche de Pieter Hugo sur rencontres-arles.com

Fiche de Xavier Barral sur rencontres-arles.com

Fiche de Antoine Gonin sur rencontres-arles.com

The beauty and cultural significance of turquoise in Iran are beautifully embodied in the Pearls of Turquoise collection. Inspired by pearls in the ocean, this gorgeous color, evoking the vivid blue-green waters, is presented in the most straightforward way imaginable.

 

Photo ＆ ad - fatholahi

mua ＆ hair - mehrana rashid.

Winter 2024.

No real significance that I know of. I just liked the way it looked.

 

In 2017 I had some problems with Firefox and Yahoo, and as a result lost all access to my email and flickr account. Because I still do photography, and I still like flickr, I started a second free account, and started uploading photos. After two months of frustration, thanks to this flickr account, I managed to get everything back. I've been meaning to upload those images here for a while, but just haven't got around to it, until now. I will be adding them slowly over time, and will not put them into any groups they are already in.

 

Here is the link to my other account, if you are curious: www.flickr.com/photos/151317533@N05/

   

Inside Humayun's Tomb

 

This tomb, built in 1570, is of particular cultural significance as it was the first garden-tomb in the Indian subcontinent. It inspired several major architectural innovations, culminating in the construction of the Taj Mahal.

 

Taken on 28.11.2020

 

EXIF Data :

 

Nikon D850

50.0 mm f/1.8

ƒ/8.0

50.0 mm

1/25

100

 

Check the Heritage Album

 

| Instagram | Natgeo | gettyimages | EyeEm I

  

Unesco Site

  

Outstanding Universal Value

 

Brief Synthesis

 

Humayun’s Tomb, Delhi is the first of the grand dynastic mausoleums that were to become synonyms of Mughal architecture with the architectural style reaching its zenith 80 years later at the later Taj Mahal. Humayun’s Tomb stands within a complex of 27.04 ha. that includes other contemporary, 16th century Mughal garden-tombs such as Nila Gumbad, Isa Khan, Bu Halima, Afsarwala, Barber’s Tomb and the complex where the craftsmen employed for the Building of Humayun’s Tomb stayed, the Arab Serai.

 

Humayun’s Tomb was built in the 1560’s, with the patronage of Humayun’s son, the great Emperor Akbar. Persian and Indian craftsmen worked together to build the garden-tomb, far grander than any tomb built before in the Islamic world. Humayun’s garden-tomb is an example of the charbagh (a four quadrant garden with the four rivers of Quranic paradise represented), with pools joined by channels. The garden is entered from lofty gateways on the south and from the west with pavilions located in the centre of the eastern and northern walls.

 

The mausoleum itself stands on a high, wide terraced platform with two bay deep vaulted cells on all four sides. It has an irregular octagon plan with four long sides and chamfered edges. It is surmounted by a 42.5 m high double dome clad with marble flanked by pillared kiosks (chhatris) and the domes of the central chhatris are adorned with glazed ceramic tiles. The middle of each side is deeply recessed by large arched vaults with a series of smaller ones set into the facade.

 

The interior is a large octagonal chamber with vaulted roof compartments interconnected by galleries or corridors. This octagonal plan is repeated on the second storey. The structure is of dressed stone clad in red sandstone with white and black inlaid marble borders.

 

Humayun’s garden-tomb is also called the ‘dormitory of the Mughals’ as in the cells are buried over 150 Mughal family members.

 

The tomb stands in an extremely significant archaeological setting, centred at the Shrine of the 14th century Sufi Saint, Hazrat Nizamuddin Auliya. Since it is considered auspicious to be buried near a saint’s grave, seven centuries of tomb building has led to the area becoming the densest ensemble of medieval Islamic buildings in India.

 

#travel

#Travelblog

#Travelblogger

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#traveltheworld #traveling #travelholic #traveltheglobe #travelwithme

#nature

#naturephotography #naturelovers

#incredibleindia @incredibleindia

#indiapictures #discoverindiamagazine

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#Architecture

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#Delhigram

#Delhi

 

OK, I was in the US Navy

 

Bells have a centuries-long tradition of varied use in the navies and merchant fleets of the world. Signaling, keeping time, and sounding alarms are important in a ship’s routine and readiness. Their functional and ceremonial uses have made them a symbol of considerable significance to navies of the world. There has been a centuries-long tradition of varied use for bells in the Royal Navy, United States Navy, Royal Australian Navy, and in the Royal New Zealand Navy. They have been and still are used for several purposes, e.g. signalling, keeping time, and providing a way of an alarm. The ship’s bell is a special symbol and highly used in ceremonies, one tradition of baby Christenings. Although much of its purpose is obsolete it still plays a significant ceremonial role in today’s Royal Navy.One of the earliest recorded mentions of the shipboard bell was on the British ship Grace Dieu about 1485. Some ten years later an inventory of the English ship Regent reveals that this ship carried two “wache bells”. The bell’s position on the ship may vary. When a ship visits in port it is often seen on a ship bell stand at the quartermaster’s position.

Timekeeping

Before the advent of the chronometer time at sea was measured by the trickle of sand through a half – hour glass. One of the ship’s boys had the duty of watching the glass and turning it when the sand had run out. When he turned the glass, he struck the bell as a signal that he had performed this vital function. From this ringing of the bell as the glass was turned evolved the tradition of striking the bell once at the end of the first half hour of a four hour watch, twice after the first hour, etc., until eight bells marked the end of the four hour watch. The process was repeated for the succeeding watches. This age-old practice of sounding the bell on the hour and half hour has its place in the nuclear and missile oriented United States Navy at the dawn of the Twenty-First Century, regulating daily routine, just as it did on our historic vessels under sail in the late Eighteenth Century and watch system is still used in the Royal Navy and Royal New Zealand Navy today. The whole ships’ functioning is centred around watch systems. The Watch and bells system hasn’t changed much at all over hundreds of years in the Royal Navy. The watch system is maintained, however, the bells system is rarely used. The ship maintains the traditional bell with the ships name and used for ceremonies but hardly used during the daily functioning of the ship.

Bells as a way of timekeeping[1]

Before the introduction of a reliable clock to naval vessels, the passage of time was marked by striking a bell with paired clapper blows very time a half-hour sandglass was turned. The sea-day was divided into watches of four hour duration. Except for the dog watches of which there were two 1600-1800 & 1800-2000.

 

Hence, starting at0800 – 8 bells

0800 Eight bells

0830 one bell

0900 two bells – in the forenoon up to 12pm

0930 three bells

1000 four bells

1030 five bells

1100 six bells

1130 seven bells

1200 eight bells

 

The time would then resume to one bell at 1230 and so on. For example, 1530 would be seven bells in the afternoon. The striking of eight bells signalled the changing of the watch. A naval tradition has it that the youngest member of the ship’s company on New Year’s Eve strikes the bell sixteen times; hence “ring out the old, ring in the new”

Safety and Communication

The sounding of a ship’s bell found a natural application as a warning signal to other vessels in poor visibility and fog. In 1676 one Henry Teonage serving as a chaplain in the British Mediterranean Fleet recorded , “so great a fog that we were fain to ring our bells, beat drums, and fire muskets often to keep us from falling foul one upon another”. Ringing a ship’s bell in fog became customary. In 1858, British Naval Regulations made it mandatory in that function. Today, maritime law requires all ships to carry an efficient bell.

American ships of the Revolutionary War period and our early national years adopted many of the practices and traditions of the British Royal Navy, including the use of bells. In 1798, Paul Revere cast a bell weighing 242 pounds for the frigate USS Constitution, also known today by its nickname “Old Ironsides”. It is of interest to note that the use of a ship’s bell contributed to the richest single prize captured by the American Navy during the War of Independence. While a Continental Squadron under Commodore Whipple lay-to, wrapped in Newfoundland fog in a July morning in 1779, the sound of ships’ bells and an occasional signal gun could be heard a short distance off. When the fog lifted the Americans discovered that they had fallen in with the richly-laden enemy Jamaica Fleet. Ten ships were captured as prizes, which – together with their cargo – were valued at more than a million dollars.

Alarms

The bell is an essential link in a ship’s emergency alarm system. In the event of a fire, the bell is rung rapidly for at least five seconds, followed by one, two or three rings to indicate the location of a fire – Forward, amidships, or aft respectively.

Navy Ceremonies and Events

The bell is used to signal the presence of important persons. When the ship’s captain, a flag officer, or other important person arrives or departs, watch standers make an announcement to the ship and ring the bell. This tradition extends to major naval command transitions, often held aboard vessels associated with the command.

Bells in religious ceremonies

The bell’s connection to religious origins continues. Originating in the British Royal Navy, it is a custom to baptize a child under the ship’s bell; sometimes the bell is used as a christening bowl, filled with water for the ceremony. Once the baptism is completed, the child’s name may be inscribed inside the bell. The bell remains with the ship while in service and with the Department of the Navy after decommissioning. In this way, an invisible tie is created between the country, the ship and its citizens. Bells have been loaned or provided to churches as memorials to those vessels; this practice has been discontinued in favor of displaying bells with namesake states or municipalities, with museums, and with naval commands and newer namesake vessels.

Maintenance and Upkeep

Traditionally, the bell is maintained by the ship’s cook, while the ship’s whistle is maintained by the ship’s bugler. In actual practice, the bell is maintained by a person of the ship’s division charged with the upkeep of that part of the ship where the bell is located. In such a case a deck seaman or quartermaster striker or signalman striker may have the bell-shining duty.

Disposition and continuing Navy use

In addition to its shipboard roles, the bell serves a ceremonial and memorial function after the ship has served its Navy career. U.S. Navy bells are part of the many artifacts removed from decommissioned vessels preserved by the Naval Historical Center. They may be provided on loan to new namesake ships; naval commands with an historical mission or functional connection; and to museums and other institutions that are interpreting specific historical themes and displays of naval history. Bells remain the permanent property of the US Government and the Department of the Navy. These serve to inspire and to remind our naval forces and personnel of their honor, courage, and commitment to the defense of our nation.

Bells remain a powerful and tangible reminder of the history, heritage, and accomplishments of the naval service.

For more than a century, the ship’s bell of HMS Lutine has hung in the Maritime Lloyds of London building and the Lutine bell has been synonymous with Lloyd’s.

Rung traditionally to herald important announcements to underwriters and brokers in the Room – one stroke for bad news and two for good – it is recognised throughout the world as the symbol of an organisation whose fortunes are linked inextricably with natural and man-made catastrophes. The bell was carried originally on board the French frigate La Lutine which surrendered to the British in 1793. Six years later, as HMS Lutine, carrying a cargo of gold and silver bullion, she sank off the Dutch coast. The cargo, valued then at around one million pounds, was insured by Lloyd’s underwriters who paid the claim in full.

Ship’s Bells

There has been a centuries-long tradition of varied use for bells in the Royal Navy. They have been and still are used for several purposes, e.g. signalling, keeping time, and providing a way of an alarm. The ship’s bell is a special symbol and highly used in ceremonies, one tradition of baby Christenings. Although much of its purpose is obsolete it still plays a significant ceremonial role in today’s Royal Navy. The bell’s position on the ship may vary. When a ship visits in port it is often seen on a ship bell stand at the quartermaster’s position.

Origins

Although bronze cast bells have been used throughout the ages one of the earliest recorded mentions of the shipboard bell was on the period warship Grace Dieu about 1485. Some ten years later an inventory of the period warship “Regent” reveals that this ship carried two “wache bells”.

 

Warning Bells

Henry Teonage, 1676, a serving Chaplain in the British Mediterranean Fleet recorded:

 

SO GREAT A FOG THAT WE WERE FAIN TO RING OUR BELLS, BEAT DRUMS, AND FIRE MUSKETS OFTEN TO KEEP US FROM FALLING FOUL ONE UPON ANOTHER

 

Ringing a ship’s bell in fog became customary. In 1858, Royal Naval Regulations made it mandatory to ring the ships bell during fog. Today, maritime law requires all ships to carry an efficient bell.

Timekeeping practice of the bell

The measurement of time at sea before the advent of the chronometer time was measured by the Half-hour glass. The ship’s boys had the duty of watching the glass and turning it when the sand had run out. Each time this occurred the ships bell was struck providing time for the crew. From midnight, for the first half hour the bell was struck once, when another half hour past the bell was struck twice, for the third turning, three strikes of the bell, until eight bells was struck and the cycle was repeated. Each eight cycles became a ‘Watch” The watch end was at eight bells and the new watch starts.

The watch system is still used in the Royal Navy today. The whole ships’ functioning is centred around watch systems. The Watch and bells system hasn’t changed much at all over hundreds of years in the Royal Navy. The watch system is maintained, however, the bells system is rarely used. The ship maintains the traditional bell with the ships name and used for ceremonies but hardly used during the daily functioning of the ship.

Ship Routine 1790’s

The following ships routine is based on the writings of ‘Jack Nastyface’. He was a sailor of the time and later in his life published a book titled, “Nautical Economy of Forecastle Recollections of Events during the last war” in 1836. It was never reprinted and now a very rare book. It is believed he served onboard HMS Revenge in which he certainly provides a very accurate, descriptive event during the Battle of Trafalgar. A crew were divided into two watches, starboard and larboard. When one was on deck the other was down below. As an example:

24 Hour Clock In practice one dong increment is made every half hour. E.g. the first one bell is made at the end of the first half hour of the watch. Two bells at the end of the first hour. Three bells at the end of one and one half hour of the watch so forth.)

 

navymuseum.co.nz/explore/by-themes/customs-and-traditions...

The significance of the Nataraj (Nataraja) sculpture is said to be that Shiva is shown as the source of all movement within the cosmos, represented by the arch of flames. The purpose of the dance is to release men from illusion of the idea of the "self" and of the physical world. The cosmic dance was performed in Chidambaram in South India, called the center of the universe by some Hindus. The gestures of the dance represent Shiva's five activities, creation (symbolized by the drum), protection (by the "fear not" hand gesture), destruction (by the fire), embodiment (by the foot planted on the ground), and release (by the foot held aloft).

 

As Nataraj (Sanskrit: Lord of Dance) Shiva represents apocalypse and creation as he dances away the illusory world of Maya transforming it into power and enlightenment. (Source: www.lotussculpture.com/nataraj1.htm).

  

The Word of God | “ The Two Incarnations Complete the Significance of the Incarnation”

 

The Word of God | “The Two Incarnations Complete the Significance of the Incarnation”

Almighty God says, “From the creation of the world down to the present, the Spirit of God has set this great work in motion, and has moreover done different work in different ages and in different nations. The people of each age see a different disposition of His, which is naturally revealed through the different work that He does. He is God, filled with mercy and lovingkindness; He is the sin offering for man and man’s shepherd; but He is also man’s judgment, chastisement, and curse. He could lead man to live on earth for two thousand years, and He could also redeem the corrupted mankind from sin. Today, He is also able to conquer mankind, who do not know Him, and prostrate them under His dominion, so that all submit to Him fully. In the end, He will burn away all that is unclean and unrighteous within men throughout the universe, to show them that He is not only a merciful and loving God, not only a God of wisdom and wonders, not only a holy God, but, even more, a God who judges man.”

Recommended for You：gospel videos

 

The Significance of One

 

Who am I that

Love should have woven me a mate

That sees me yet loves me,

Despite knowing me?

His eyes so foreign but

His heart my home.

How is it that his

Imperfections are perfect

Because they are his

...and mine.

How did I become

Precious to him

When I was nothing

To many, even family?

Friends at first, nay

More sibling until

An accidental day

When His significance became

Paramount.

How did he merge from friend

to mate and the companion

Of all my adult years?

Before I knew him, I was marred

Of heart and mind.

Before he knew me,

He had his griefs.

Neither were looking for an other,

For trusts had been soiled before

And each kept it close and precious

And were pleased at being friends alone,

Learning that one wouldn’t, couldn’t

Harm the other in any measure...

And the seedlings of trust were sown.

Until I knew he was the one.

Three decades and he still is.

He did not become my life

For that is worship.

I was not lonely,

But he completed my being.

My life became a better place to live.

We have failed each other at times,

Outlived family pronouncements of failure,

 

But mostly have forgiven much,

For one is not more right

Than the other at the last.

How blessed to find that one

No matter whence it comes.

And this is from God...

 

C.Hill

Dec 2015

 

**************************************************

- Costa da Caparica, Lisbon, Portugal -

Cardiff Castle is one of Wales’ leading heritage attractions and a site of international significance. Located at the heart of the capital, within beautiful parklands, the Castle’s walls and fairytale towers conceal 2,000 years of history.

The Roman fort at Cardiff was probably established at the end of the 50s AD, on a strategic site that afforded easy access to the sea. Archaeological excavations made during the 1970s indicate that this was only the first of four forts, each a different size, that occupied the present site. Remains of the Roman wall can be seen today.

After the Norman conquest, the Castle’s keep was built, re-using the site of the Roman fort. The site was divided into inner and outer wards, separated by a huge stone wall. The first keep on the motte was erected by Robert Fitzhamon, the Norman Lord of Gloucester, and along with many of these early defences was probably built of wood. More medieval fortifications and dwellings followed.

The Castle passed through the hands of many noble families until in 1766, it passed by marriage to the Bute family. The 2nd Marquess of Bute was responsible for turning Cardiff into the world’s greatest coal exporting port. The Castle and Bute fortune passed to his son John, the 3rd Marquess of Bute, who by the 1860s was reputed to be the richest man in the world.

From 1866 the 3rd Marquess employed the genius architect William Burges to transform the Castle lodgings. Within gothic towers he created lavish and opulent interiors, rich with murals, stained glass, marble, gilding and elaborate wood carvings. Each breathtaking room has its own special theme, including Mediterranean gardens and Italian and Arabian decoration.

The 3rd Marquess died when he was only 53 in 1900. He had transformed the Castle into a Welsh Victorian Camelot – now regarded as being of international significance. Despite huge death duties on the estate, the 4th Marquess completed many of his father’s restoration projects including the reconstruction of the Roman wall. The Bute family continued to stay at the Castle throughout the 1920s and 1930s, although they had sold off many of their business interests in South Wales. Following the death of the 4th Marquess of Bute, the family decided to give the Castle and much of its parkland, known as Bute Park, to the city of Cardiff.

O Chafariz do Largo de Camões é uma obra monumental do século XVI, situada no centro histórico de Ponte de Lima. Foi construído por iniciativa popular, com autorização régia, para trazer água potável à vila, que só dispunha de uma fonte. O chafariz tem um estilo renascentista, com influências manuelinas, sendo atribuído ao mestre limiano João Lopes, o Moço. O chafariz é composto por um pedestal de quatro degraus circulares, um tanque circular com um bloco quadrangular ao centro, uma coluna decorada com folhas de acanto e duas taças sobrepostas com bicas em forma de caretas. No topo, há um pináculo com relevos e uma esfera armilar metálica. Junto ao chafariz, há uma inscrição num bloco granítico que estabelece as coimas para quem o sujasse.

 

The Largo de Camões Fountain is a monumental 16th century work located in the historic center of Ponte de Lima. It was built by popular initiative, with royal authorization, to bring drinking water to the town, which only had one fountain. The fountain is in the Renaissance style, with Manueline influences, and is attributed to the Limiano master João Lopes, o Moço. The fountain consists of a pedestal with four circular steps, a circular tank with a quadrangular block in the center, a column decorated with acanthus leaves and two overlapping bowls with spouts in the shape of faces. At the top is a pinnacle with reliefs and a metal armillary sphere. Next to the fountain, there's an inscription on a granite block that establishes the fines for dirtying it.

Thanks to all who comment or favorite; it is always appreciated!

 

I took this photograph of the Washington Monument illuminated against the night sky. Standing 555 feet tall, this iconic obelisk pays tribute to George Washington, the first President of the United States. Situated on the National Mall in Washington, D.C., the monument's impressive presence is even more striking when lit at night. The golden illumination highlights its grandeur and historical significance, attracting visitors worldwide.

 

The Washington Monument was finished in 1884, and its construction encountered various challenges, including funding issues and the Civil War. Today, it stands as a symbol of national pride and resilience. Each time I visit, I am reminded of the rich history and the immense effort that went into creating this masterpiece.

 

Thank you for taking a look! If you enjoy this photo, remember to favorite it and follow for more! Have you been to the Washington Monument? Share your experiences below!

el.kingdomsalvation.org/videos/significance-of-the-appear...

 

Χριστιανικά τραγούδια | Η Σημασία της Εμφάνισης του Θεού | Ο Χριστός των εσχάτων ημερών εμφανίστηκε Chi Χορός

 

Ύμνος των λόγων του Θεού

 

Η εμφάνιση του Θεού αφορά την προσωπική Του άφιξη επί γης για να πραγματοποιήσει το έργο Του.

 

Με την δική Του ταυτότητα και διάθεση και με την δική Του μέθοδο,

 

Κατέρχεται μεταξύ των ανθρώπων για να εκκινήσει μια εποχή και να κλείσει μια άλλη.

 

Μια τέτοια εμφάνιση δεν είναι οιωνός ή εικόνα.

 

Δεν είναι είδος τελετής.

 

Δεν είναι θαύμα. Δεν είναι μέγα όραμα.

 

Ακόμα λιγότερο ένα είδος θρησκευτικής διαδικασίας.

 

Είναι αληθινό και υπαρκτό γεγονός, απτό και παρατηρήσιμο,

 

ένα γεγονός απτό και παρατηρήσιμο.

 

Τέτοια εμφάνιση δεν είναι για χάρη της ακολουθίας μιας διαδικασίας

 

ή για χάρη βραχυπρόθεσμου εγχειρήματος,

 

είναι μάλλον για χάρη ενός σταδίου του έργου του σχεδίου διαχείρισης του Θεού.

 

Η εμφάνιση του Θεού είναι πάντα ουσιαστική

 

και πάντα συνδεδεμένη με το σχέδιο διαχείρισης Του,

 

συνδεδεμένη με το σχέδιο διαχείρισης Του.

 

Η "εμφάνιση" είναι εντελώς ανόμοια

 

με την "εμφάνιση" όπου ο Θεός καθοδηγεί τον άνθρωπο,

 

τον οδηγεί ή τον διαφωτίζει, τον οδηγεί ή τον διαφωτίζει.

 

Ο Θεός επιτελεί ένα μέρος μεγαλειώδους έργου κάθε φορά που αποκαλύπτεται.

 

Το έργο αυτό διαφέρει από το έργο κάθε άλλης εποχής,

 

αφάνταστο για τον άνθρωπο, ποτέ βιωμένο από τον άνθρωπο, ποτέ βιωμένο από τον άνθρωπο.

 

Είναι το έργο που αρχίζει τη νέα εποχή και ολοκληρώνει την παλαιά,

 

νέο και βελτιωμένο έργο για την Σωτηρία της ανθρωπότητας,

 

και έργο που φέρνει την ανθρωπότητα στη νέα εποχή.

 

Είναι η σημασία της εμφάνισης του Θεού.

 

από το βιβλίο «Ο Λόγος Ενσαρκώνεται»

σύσταση：

Ύμνοι

 

Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού

Όροι Χρήσης： el.kingdomsalvation.org/disclaimer.html

"He is Risen indeed" Halleluia!

The ancient Christian greeting for Easter Day. Happy Easter to all my Flickr followers.

 

This should be "The empty tomb", but an Empty cross is also full of significance, as Jesus rose from the dead.

The candle signifies "The Light of the World"

 

Hawkshead Parish Church, side chapel, converted in Waterlogue.

IMG_0316_Lr9-4 W'logue_Lr9

Cairns Botanical Gardens in Edge Hill, Cairns, Queensland, Australia.

 

It was originally part of Flecker Botanical Gardens which lies on the other side of Collins Avenue.

 

It was added to the Queensland Heritage Register in 2007 due to it:

•Demonstrating the evolution or pattern of Queensland's history.

•Demonstrating the principal characteristics of a particular class of cultural places.

•Important because of its aesthetic significance.

•Has a special association with the life or work of a particular person, group or organisation of importance in Queensland's history.

 

Information Source:

en.wikipedia.org/wiki/Flecker_Botanical_Gardens

 

© all rights reserved by B℮n

 

Please take your time... to View it large on black

 

Ranking among the most important caves in the world, the Škocjan Caves represent the most significant underground phenomena in both the Karst region and Slovenia. Due to their exceptional significance, the Škocjan Caves were entered on UNESCO’s list of natural and cultural world heritage sites in 1986. International scientific circles have thus acknowledged the importance of the Caves as one of the natural treasures of planet Earth. From time immemorial, people have been attracted to the gorge where the Reka River disappears underground as well as the mysterious cave entrances. The Reka River sinks under a rocky wall; on the top of it lies the village of Škocjan after which the Caves are named. Archaeological research has shown that people lived in the caves and the surrounding area in prehistoric times – from the Mesolithic, the Neolithic, the Bronze and Iron Ages through Antiquity and the Middle Ages to the present; altogether for more than 5,000 years. The Škocjan Caves have a highly multi-branched system of cave passages totalling 6.2 kilometres. The Caves have 11 speleological structures that are interconnected by means of the Reka River or collapse dolines. The shifting of the sinkholes in contact with the underground caves caused the formation of numerous collapsed dolines. The sinkhole fascinate every visitor with their depth of 163 meters as well as great floral and faunal diversity. The best view of both sinkholes, with their natural bridge and the cave that separate them, is from Miklov skedenj, named after the local explorer Franc Cerkvenik.

 

We just returned from a great summer holiday. I've made many photos, We travel from Germany, Switzerland, Austria eventually to Slovenia. Here we visit the amazing Škocjan Caves where photography is not allowed. But not for me of-course ;-) I kept my LX3 hidden well, but the light is minimum in the giant cave which makes it hard to make any decent photo. This photo was taken on my knee at 1/8s, F2.0 and ISO800. Visitors standing in the mysterious underground cave near the exit.

 

De Grotten van Skocjan, Skocjanske jame, liggen in het zuidwesten van Slovenië niet ver van Postojna. Het druipsteengrottenstelsel van Skocjan is ca. 6 km lang en ligt langs rivier de Reka, die hier op een diepte van 200 m door de Grotten van Skocjan stroomt. Rivier de Reka stroomt over een lengte van 38 km ondergronds door meerdere grotten in het Sloveens karstgebied. De Grotten van Skocjan vormen de grootste ondergrondse canyon ter wereld. Vanaf het bezoekerscentrum maakt men onder leiding van een gids een wandeling naar de ingang van de Grotten van Skocjan. Warme kleding en wandelschoenen zijn nodig voor de ondergrondse tocht van zo'n 2 tot 3 uur langs o.a. de Stille Grot en de Grote Zaal. In de Müllerzaal stort de Reka zich van verschillende hoogtes met woest geraas naar beneden, men loopt over een in de wand van de grot uitgehakt smal pad, over een 50 m boven de woest stromende Reka gelegen bruggetje, langs donderende watervallen en door de Martel's Chamber, de grootste grot ter wereld. De bezoeker wordt gefascineerd door de diepte van een zinkgat van maar liefst 163 meter. De Rimstone Pools' Hall is een grot met druipsteenformaties in de vorm van elfenbankjes. Eenmaal buiten ziet men de Reka met donderend geraas de Grotten van Skocjan uitstromen. In de Grotten van Skocjan is fotograferen niet toegestaan. Maar ja dat heb ik maling aan natuurlijk. De Grotten van Skocjan werden in 1986 Werelderfgoed en staan ingeschreven op de Werelderfgoedlijst van UNESCO als: Skocjan Caves.

Tai Chi Dance |gospel song video | "The Significance of the Appearance of God"

www.holyspiritspeaks.org/videos/the-significance-of-the-a...

The new kingdom hymn “The Significance of the Appearance of God” is performed through Tai Chi Dance, which is special and fluent. It gently tells you the true significance of God’s work and word in His two incarnations. With green grass and blue sky as background, the dance perfectly corresponds to a soft, melodious ensemble of Zheng and Xiao, the discourse between classical musical instruments. The smooth melody, like heavenly music, takes you away from the noisy world to the Creator to enjoy His words of life in the new age!

The appearance of God refers to His personal arrival on earth to do His work.

With His own identity and disposition, and in His own method,

He descends among man to initiate an age and end an age.

Such appearance is not a sign or a picture.

It’s not a form of ceremony.

It’s not a miracle. It’s not a grand vision.

It’s even less a kind of religious process.

It’s a real and actual fact that can be touched and beheld,

a fact that can be touched and beheld.

Such appearance is not for the sake of following a process,

or for the sake of a short-term undertaking;

it’s, rather, for the sake of a stage of work in the management plan of God.

The appearance of God is always meaningful,

and is always connected to His management plan,

connected to His management plan.

This “appearance” is totally not the same

as the “appearance” of God’s leading man,

guiding man or enlightening man, guiding man or enlightening man.

God does a stage of great work each time He reveals Himself.

This work is different from that of any other age,

unimaginable to man, never experienced by man, never experienced by man.

It’s a work that starts a new age and concludes the old age,

a new and improved work for the salvation

and a work of bringing mankind into the new age.

It’s the significance of the appearance of God.

from “The Appearance of God Has Brought a New Age” in The Word Appears in the Flesh

recommended to you:Christ's Kingdom Is Realized Among Men

 

Image Source: The Church of Almighty God

Terms of Use: en.godfootsteps.org/disclaimer.html

Pfalzgrafenstein Castle is a small, medieval fortress located on an island in the middle of the Rhine River near Kaub, Germany. Built in the 14th century by King Ludwig IV, its unique hexagonal design and tower served primarily as a toll station for ships traveling along the river. Unlike other castles, Pfalzgrafenstein was never destroyed, making it one of the best-preserved fortresses in the region. Its strategic location and historical significance make it a prominent landmark along the Rhine.

 

The castle in the background is called Burg Gutenfels (Gutenfels Castle). Built around 1220, it overlooks the Rhine River and, along with Pfalzgrafenstein Castle, played a key role in controlling river traffic and collecting tolls during the Middle Ages.

The significance of the day escapes me but these veteran flag-bearers with all due pomp followed a military band and preceded a small group of dignitaries to the station war memorial where the Marseillaise was played to the surprise of our group of travellers at least.

Dortmund

 

The Landwehr colony is a mining settlement in the Bövinghausen district of Dortmund that belongs to the Zollern colliery.

 

The Zollern colliery was built as a model mine for the Gelsenkirchener Bergwerks-AG (GBAG), and the Landwehr colony was built in parallel as a model settlement in the immediate vicinity. Like most of the mine complex, the buildings were designed in the historicist style and underline the ensemble character of the entire complex, which as such is registered as a monument in the city of Dortmund's list of monuments.

 

The first building in 1898 was a two-family house for Steiger on Grubenweg, which leads to the factory gate. In 1900 the director's villa was built for the manager on Rhader Weg. By 1904, additional apartment buildings followed on these two streets, totaling eight civil servants' houses with 29 apartments. The individual design was complex; Curved gables, bay windows and decorative framework. This part of the settlement was planned and carried out by Paul Knobbe, the GBAG architect, and by machine inspector Wenzel Köller.

 

In the second part of the settlement, on the eponymous Landwehrbach, are the 23 workers' houses planned by Knobbe alone with a total of 87 apartments. According to the idea of the garden city, there are five different types of houses for mostly four families. The houses are placed on one side of the street, have small front gardens and old plane trees. The properties are much larger and offered kitchen gardens and stables for self-sufficiency.

 

Because of the small number of residents and the immediate proximity of the Bövinghausen settlement, no separate infrastructure in the form of churches, schools or shops was planned.

________________________________________________

 

Dortmund is the largest city in the Ruhr area. It has a population of 593,000 inhabitants, making it the eighth largest city in Germany. Dortmund was founded around 882. Throughout the 13th to 14th centuries, it was the "chief city" of the Rhine, Westphalia, and the Netherlands Circle of the Hanseatic League. During the Thirty Years' War, the city was destroyed and decreased in significance until the onset of industrialization. The city then became one of Germany's most important coal, steel and beer centres. The town expanded into a city, with the population rising from 57,742 in 1875 to 379,950 in 1905. Sprawling residential areas like the North, East, Union and Kreuz district sprang up in less than 10 years. Dortmund consequently was one of the most heavily bombed cities in Germany during World War II. The devastating bombing raids of 12 March 1945 destroyed 98% of buildings in the inner city center. These bombing raids, with more than 1,110 aircraft, hold the record to a single target in World War II. Post-war, most of the ancient buildings were not restored, and large parts of the city area were completely rebuilt in the style of the 1950s. A few historic buildings as the main churches Reinoldikirche and Marienkirche were restored or rebuilt, and extensive parks and gardens were laid out. The simple but successful postwar rebuilding has resulted in a very mixed and unique cityscape.

________________________________________________

 

After visiting the Ruhr area three years ago, I did a revisit, since there was still so much to see. In less than six days I visited six cities, two museums, and I did some extensive car spotting by bicycle. I have hundreds of car spots to share and took photos of the historic or interesting buildings.

 

The Ruhr area ('Ruhrgebiet') is named after the river that borders it to the south and is the largest urban area in Germany with over five million people. It is mostly known as a densely-populated industrial area. By 1850 there were almost 300 coal mines in operation in the Ruhr area. The coal was exported or processed in coking ovens into coke, used in blast furnaces, producing iron and steel. Because of the industrial significance, it had been a target from the start of the war, yet "the organized defences and the large amount of industrial pollutants produced a semi-permanent smog or industrial haze that hampered accurate bombing". During World War II, the industry and cities in the Ruhr area were heavily bombed. The combination of the lack of historic city centres, which were burned to ashes, (air) pollution, and urban decay has given the area and the cities a bad reputation.

 

Source: Wikipedia

A life size statue of Jesse Owens stands outside the stadium named in his honor at The Ohio State University in Columbus, Ohio. The Jesse Owens Memorial Stadium opened in 2001 and hosts the university's track and field events, lacrosse, and soccer games. The 10,000 seat facility is anchored by the faux Olympic cauldrons at either end of the main grandstand, paying homage to Owens' historic Olympic significance.

 

Kodak Porta-160 base

Abstract

To understand the evolutionary significance of geographic variation, one must identify the factors that generate phenotypic differences among populations. I examined the causes of geographic variation in and evolutionary history of number of trunk vertebrae in slender salamanders. Batrachoseps (Caudata: Plethodontidae). Number of trunk vertebrae varies at many taxonomic levels within Batrachoseps. Parallel clines in number occur along an environmental gradient in three lineages in the Coast Ranges of California. These parallel clines may signal either adaptation or a shared phenotypically plastic response to the environmental gradient. By raising eggs from 10 populations representing four species of Batrachoseps, I demonstrated that number of trunk vertebrae can be altered by the developmental temperature; however, the degree of plasticity is insufficient to account for geographic variation. Thus, the geographic variation results largely from genetic variation. Number of trunk vertebrae covaries with body size and shape in diverse vertebrate taxa, including Batrachoseps. I hypothesize that selection for different degrees of elongation, possibly related to fossoriality, has led to the extensive evolution of number of trunk vertebrae in Batrachoseps. Analysis of intrapopulational variation revealed sexual dimorphism in both body shape and number of trunk vertebrae, but no correlation between these variables in either sex. Females are more elongate than males, a pattern that has been attributed to fecundity selection in other taxa. Patterns of covariation among different classes of vertebrae suggest that some intrapopulational variation in number results from changes in vertebral identity rather than changes in segmentation.

Elizabeth L. Jockusch

Evolution

 

MORE INFORMATION

 

Images in this gallery were captured by:

 

Mark Smith M.S. Geoscientist mark@macroscopicsolutions.com

 

Daniel Saftner B.S. Geoscientist and Returned Peace Corps Volunteer daniel@macroscopicsolutions.com

 

Annette Evans Ph.D. Student at the University of Connecticut annette@macroscopicsolutions.com

Development details on FilmDev

If you look closely at stained glass, you can see all sorts of themes: religion, flowers, art, music and even fruit. When considering the theme of fruit, in ecclesiastical stained glass, a bunch of grapes may signify the sacrament of Holy Communion. Grapes and vines can also represent the church itself. Pomegranates have diverse cultural-religious significance, as a symbol of life and fertility owing to their many seeds but also as a symbol of power (imperial orb), blood and death. Pomegranates already symbolised fertility, beauty and eternal life, in Greek and Persian mythology. The apple of course is the forbidden fruit in the Book of Genesis that Adam and Eve ate from the forbidden tree in the Garden of Eden. With Art Nouveau being the predominant architectural and design influence between 1880 and the start of the Great war in 1914, there was a great interest in portraying both stylised flowers and fruit in stained glass.

 

This year the FFF+ Group have decided to have a weekly challenge called “Snap Happy”. A different theme chosen by a member of the group each week, and the image is to be posted on the Monday of the week.

 

This week the theme, “fruit” was chosen by Gary, Gazman_AU.

 

I thought a collage of some of the examples of fruit themed windows I have photographed in Churches and private houses over the years might be suitable.

 

Top row far left, second and third from left: Detail of the King David window of St John’s Church of England, Heidelberg, designed and manufactured by William Montgomery.

 

Top row right: Detail of the Suffer the Little Children window of Holy Trinity Church of England, Balaclava, attributed to I. A. Gibbs and Howard, London.

 

Middle row left: Detail of a dressing room window of “The Gables”, Malvern, painter and manufacturer unknown.

 

Middle row second from left: Detail of a shop window, corner Brunswick and Bell Streets, Collingwood, painter and manufacturer unknown.

 

Middle row third from left: Detail of a window from the former Sassafras Methodist Church, Sassafras, manufactured by Brooks Robinson and Company.

 

Middle row second from right: Detail of the “Lay of the Last Minstrel” window, “Warwilla” (formerly “Redholme”), St Kilda Road, painted and manufactured by William Montgomery.

 

Middle row right: Detail of the King David window of St John’s Church of England, Heidelberg, designed and manufactured by William Montgomery.

 

Bottom row far left: Detail of an entrance hall window of “The Gables”, Malvern, painter and manufacturer unknown.

 

Bottom row second from left: Detail of the Virgin Mary window of St Ambrose’s Catholic Church, Brunswick, manufactured by Brooks Robinson and Company.

 

Bottom row third from left: Detail of a dining room window of “The Gables”, Malvern, painter and manufacturer unknown.

 

Bottom row second from right: Detail of the “Lay of the Last Minstrel” window, “Warwilla” (formerly “Redholme”), St Kilda Road, painted and manufactured by William Montgomery.

 

Bottom row far left: Detail of an entrance hall window of “The Gables”, Malvern, painter and manufacturer unknown.

 

Built to the specifications of architect George Reilly Cox, Saint John\'s Church of England in Burgundy Street Heidelberg, is a fine example of simple Early English Gothic architecture. The building was completed by April 1851. Comprising of a gabled nave, without aisles, a narthex below the west tower and a sanctuary and vestry at the east end, Saint John\'s Church of England is simple, unpretentious and elegant in its design. The nave and chancel are constructed of handmade bricks laid on a bluestone rubble plinth. The church features lancet windows in Early English Gothic style. It has a square tower surmounted by four pinnacles and crenulations. The roof is slated and contains small gable vents, and the roof drains to galvanised steel quad section eaves gutters. The gable parapets are fitted with galvanised sheet steel cappings. The formal opening of Saint John\'s Church of England took place on the 26th of October 1861. The church was dedicated by Bishop Perry the first Bishop of Melbourne on the 30th of September 1861 and named the Church of Saint John the Evangelist. The roof was completely replaced around 1856 with slate after the original shingles had deteriorated. The interior was plastered and the exterior brickwork was covered with cement. Another renovation took place in 1965 at the cost of $56,000.00. The vestry, choir room, chapel and new entrance porch were added at the original back of the church. Interestingly, the congregation today no longer use the 1965 entrance and have reverted to the original entrance. The choir room now serves as a Sunday school for the children of the congregation, whilst the newer chapel is not generally used at all.

 

William Montgomery (1850 - 1927) was an artist who specialised in stained glass painting and design. He was born in England in 1850, and studied at the School of Art in Newcastle-on-Tyne. In his final year William was awarded one of only three National Art Scholarships that year to study at South Kensington School of Art (now the Royal College of Art). He was employed by the leading London stained glass firm, Clayton and Bell, before joining Franz Mayer and Company in Munich, Germany. Over the next seven years he not only designed windows he also trained others in the English style of glass painting. William arrived in Melbourne, Australia, in 1886 during the Boom Period provided by the Gold Rush. Melbourne was at the time one of the wealthiest cities in the world, and was in the throes of a building boom. He quickly set up his studio at 164 Flinders Street in the heart of Melbourne, bringing with him the latest in European style and design and achieving instant success amongst wealthy patrons. He worked equally for Catholic and Protestant denominations, his windows being found in many churches as well as in mansions, houses and other commercial buildings around the city. This extended to the country beyond as his reputation grew. A painter as well as stained glass window designer William was a founding member of the Victorian Art Society in Albert Street, Eastern Hill. William became President of its Council in 1912, a position he held until 1916. He was a trustee of the National Gallery of Victoria. His commissions included; stained glass windows at Christ Church, Hawthorn: St. John\'s, Heidelberg, St. Ignatius\', Richmond: Christ Church, St Kilda: Geelong Grammar School: the Bathurst Cathedral and private houses "Tay Creggan", Hawthorn (now Strathcona Baptist Girls Grammar), and "Earlsbrae Hall", Essendon (now Lowther Hall Anglican Grammar School). The success of William Montgomery made Melbourne the leading centre of stained glass in the Southern Hemisphere. William Montgomery died in 1927.

 

The first Church of England built on the triangular site in Balaclava bordered by Brighton Road and Dickens Street was opened by Bishop Perry on January 29, 1871. It was a timber building accommodating about three hundred people. It stood where the Parish Hall now stands. Its designer was the architect Francis Maloney White (1819-1888) who lived nearby in William Street. In 1882 the architects Reed and Barnes, soon to become Reed, Henderson and Smart, were commissioned to design a new church. The first service took place on December 6, 1883. Due to the Parish\'s efforts to reduce the large debt that had been incurred in the construction of the church and the vicarage, the building of the spire was delayed. Regrettably this was never to be built. However, it gives Holy Trinity the feeling of an English country parish church.

 

The firm of I. A. Gibbs and Howard was established in England in the 1870s. Isaac Alexander Gibbs (1849 - 1899) was the youngest son of Isaac Alexander Gibbs (senior) and brother of the stained glass artists Alexander and Charles Alexander Gibbs. His partnership with William Wallace Howard (born 1856) was established before 1879 in London. The firm continued after the death of Gibbs under Howard until about 1915.

 

Built in 1902 for local property developer Lawrence Alfred Birchnell and his wife Annie, “The Gables” is considered to be one of the most prominent houses in the Gascoigne Estate. The house was designed by Melbourne architect firm Ussher and Kemp in what was the prevailing style of the time, Queen Anne, which is also known as Federation style (named so after Australian Federation in 1901). Ussher and Kemp were renowned for their beautiful and complex Queen Anne houses and they designed at least six other houses in Finch Street alone. “The Gables” remained a private residence for many years. When Lawrence Birchnell sold it, the house was converted into a rooming house. It remained so throughout the tumultuous 1920s until 1930 when it was sold again. The new owners converted “The Gables” into a reception hall for hire for private functions. The first wedding reception was a breakfast held in the formal dining room in 1930, followed by dancing to Melbourne’s first jukebox in the upstairs rooms. Notorious Melbourne gangster Joseph Theodore Leslie “Squizzy” Taylor was reputed to have thrown a twenty-first birthday party for his girlfriend of the day in the main ballroom (what had originally been the house\'s billiards room). “The Gables” became very famous for its grand birthday parties throughout the 1930s and 1940s. With its easy proximity to the Caulfield Race Course, “The Gables” ran an underground speakeasy and gambling room upstairs and sold beer from the back door during Melbourne’s restrictive era of alcohol not sold after six o\'clock at night. Throughout its history, “The Gables” has been a Melbourne icon, celebrating generation after generation of Melbourne’s wedding receptions, parties and balls. Lovingly restored, the atmosphere and charm of “The Gables” have been retained for the future generations.

 

The former Sassafras Methodist Church, perched on the upper side of the hill, overlooking the Sassafras township had its foundation stone laid on the 18th of October 1902. A plaque records: Sassafra Church - the original of - this block was laid - by - Mrs D Stones - on October 18th 1902 - John Storrie. A Gothic Carpenter church, it is made of wood and is of simple design with simple stained glass windows. The church ceased in the 1970s and was eventually sold. For many years it was “Brother John’s”, a restaurant and wedding venue. Today it is “Dine Divine” a café that specialises in light luncheons and Devonshire cream teas, the latter being quite delicious.

 

Surrounded by modern office and apartment blocks the grand red brick mansion “Warwillah”, built on the corner of Beatrice Street and St Kilda Road, is one of the few remaining examples of a time Melbourne’s St Kilda Road was still a grand boulevard of elegant residences. In March 1875 the government announced that the land on the western side of St Kilda Road would be alienated from parkland and that the land would be sold for residential purposes. Following the subdivision, a gentleman of means named Rudolph D. Benjamin purchased the land on which he planned to build an elegant residence as befitting his station. Designed by well known Melbourne architect John Beswicke, “Redholme” was a sixteen-roomed brick mansion built on Mr. Benjamin’s block in 1896 by the builder James Downie. Although not in the Benjamin family, “Redholme” survived the death taxes that came after the Great War and the Great Depression of 1929. It was still a privately owned home in its entirety in 1939 when it was owned by Mr. and Mrs. C. J. Reddish. Sadly, after the Second World War, “Redholme” changed ownership, usage and even name. From the early 1950s, the red brick building became the “Warwilla Guest House”. The name “Warwilla” is what the house has been known as ever since. “Warwilla” is an unusual mansion as it is an early example of a transition from Modern Gothic to Queen Anne design. The red brick tuckpointed facade is asymmetrical with picturesque massing, but the larger half-timbered gable and cantilevered banked window on the south side is balanced by the octagonal corner tower and ‘candle snuffer’ roof on the north. The Modern Gothic is suggested by the depressed pointed arches to main openings, and engaged colonettes at the porch entrance, whilst the half-timbered gable, octagonal tower with ‘candle snuffer’ roof and Art Nouveau stained glass windows are very much stylistic elements of Queen Anne architecture. These elements were to remain popular for at least another decade. The tall banded brick chimneys (done in the style of Henry Kemp) dominate the terracotta tile roof, as do the decorative finials which include a dragon.

 

In 1869 the foundation stone was laid for Saint Ambrose\'s Church at 287 Sydney Road, Brunswick. The land for the church was donated by Mr. Michael Dawson, a resident of the neighbourhood. In 1873 the church was completed at a cost of £6,000.00. Parishioners Sebastian Danielli and his wife Harriet Bagatti, who had arrived in Brunswick in 1859 after being married in Milan the previous year, suggested the name Saint Ambrose\'s as the name for the church because St Ambrose was a much loved bishop in Milan in the 4th Century. All their children were born in Brunswick and baptised at Saint Ambrose’s. In 1888 Brunswick was proclaimed a town and it had a population of 14,792. In 1890, Saint Ambrose\'s became a parish in its own right, being made independent from the Coburg parish. With the need for a larger church, the present church was extended in 1899 when the transepts, with the sanctuary and the two chapels, the porch and the baptistry were added. The memorial stone was laid near the door of the northern transepts on 19 February, 1899. The parish church building is of a late Gothic style and is one of the finer churches of Melbourne, built in bluestone, with a timber supported ceiling, a 19th century organ and high quality stained glass windows.

 

Brooks, Robinson and Company first opened their doors on Elizabeth Street in Melbourne in 1854 as importers of window and table glass and also specialised in interior decorating supplies. Once established the company moved into glazing and were commonly contracted to do shopfronts around inner Melbourne. In the 1880s they commenced producing stained glass on a small scale. Their first big opportunity occurred in the 1890s when they were engaged to install Melbourne\'s St Paul\'s Cathedral\'s stained-glass windows. Their notoriety grew and as a result their stained glass studio flourished, particularly after the closure of their main competitor, Ferguson and Urie. They dominated the stained glass market in Melbourne in the early 20th Century, and many Australian glass artists of worked in their studio. Their work may be found in the Princess Theatre on Melbourne\'s Spring Street, in St John\'s Church in Toorak, and throughout churches in Melbourne. Brooks, Robinson and Company was taken over by Email Pty Ltd in 1963, and as a result they closed their stained glass studio.

This is a three shot panorama overlooking (I believe it's called) Sacred Cove in Rancho Palos Verdes at sunset. Best viewed large

PLEASE, NO invitations or self promotions, THEY WILL BE DELETED. My photos are FREE to use, just give me credit and it would be nice if you let me know, thanks.

 

Dome of the Rock, bears great significance for Jews and Muslims. The Prophet Muhammad's Night Journey to heaven started from the rock at the center of the structure. The rock also bears great significance for Jews as the site of Abraham's attempted sacrifice of his son.

In everyday life, things often pass by unnoticed. But to be honest, it is hard to blame because what one takes for granted quickly loses relevance. Yet, as life runs its usual business, some of these banalities can suddenly draw a lot of attention.

 

So under duress, you start dealing with them. While looking from all sides, the many previously hidden details become of interest to the formerly inattentive eyes. It quickly becomes apparent that there is a lot to discover on this expedition.

 

In the meanwhile, the former banality shows how much work and knowledge is behind it. Despite all efforts, there is also still the risk of failure, which can directly result in a shortage. Thus, views start to change: What once was taken for granted now gets a special significance in life.

 

tinyurl.com/42rah45x

 

The egg that is born from the primordial Chaos, the Night Orphic, the primordial germ of life ... Since ancient times, every religion has attributed to the egg the significance of birth or rebirth.

A lot more simply, with my picture, studied, respectful of precise rules, I wish to express my admiration to the great photographer Giuseppe Cavalli, who created his works in the 30s of last century.

 

L’uovo che nasce dal Caos primordiale, la Notte Orfica, il germe primigenio della vita… Dai tempi più antichi ogni religione ha attribuito all’uovo il significato di nascita o di rinascita.

Molto più semplicemete ho voluto realizzare una foto studiata, rispettosa di precise regole per esprimere la mia ammirazione al grande fotografo Giuseppe Cavalli che realizzò le sue opere negli anni ’30 del secolo scorso.

 

The railway line built from Port Pirie to Broken Hill in 1887 was of immense economic significance to Port Pirie and South Australia. It did a great deal to underpin the development of Port Pirie and to help the colony emerge from depression in the late 1880s. The Mannahill Railway Station is one of the few stations east of Peterborough that are identified with the early period of this line. There are no other surviving railway stations in South Australia which were built to this simple but elegant design, although an altered building remains in Murray Bridge.

 

Source: South Australia Heritage Register; Railway Heritage of South Australia, 1992.

These are moments of significance in a girls life. Moments when she feels at her most feminine, moments when she is lost in her wonderful world.

The stairway is broad and broader

 

Fatehpur Sikri, the former capital of the Mughal Empire, is renowned for its architectural marvels and historical significance. One of the most captivating features of this UNESCO World Heritage Site is the steep stairs that lead visitors up to the city's various monuments and palaces.

 

The stairways at Fatehpur Sikri are not for the faint of heart, as they can be quite challenging to navigate, especially for those unaccustomed to such steep inclines. However, the effort is well worth it, as the breathtaking views and the opportunity to immerse oneself in the rich history of the Mughal era make the climb a truly rewarding experience.

 

As visitors ascend the stairs, they are treated to a unique perspective of the city, with the intricate details of the buildings and the intricate patterns of the stonework becoming more apparent with each step. The climb also provides a glimpse into the daily lives of the Mughal elite, who would have traversed these very same steps centuries ago.

 

For those planning a visit to Fatehpur Sikri, it is important to be prepared for the physical demands of the climb. Sturdy footwear, ample hydration, and a willingness to take breaks as needed are all essential for a successful and enjoyable experience. With the right mindset and preparation, the steep stairs of Fatehpur Sikri can be conquered, allowing visitors to fully appreciate the grandeur and significance of this remarkable historical site.

  

_DSC3347 nef 2024

Ukrainians!

And all our friends and allies!

De facto allies. Today, here in Kyiv, in the heart of our country, we are taking a decisive step for the security of the entire community of free nations.

We see who threatens us. Who is ready to kill and maim. Who in order to expand his zone of control does not stop at any savagery.

On February 24, the first full-scale attack on Ukraine was carried out. The first!

Russia would not have stopped at our borders if we had not stopped it. Other states would have been under attack. The Baltic countries, Poland, Moldova and Georgia, Kazakhstan...

Russia claimed to subjugate various nations of Europe and Asia. Claimed six months ago. This criminal ambition is breaking down in Ukraine. It was broken down in the suburbs of Kyiv and Chernihiv. In "Azovstal". In the Sumy region and Kharkiv region. On Zmiinyi Island. It will be broken down in Donbas and in the south of Ukraine when we liberate them. Definitely - in Crimea, in the free Ukrainian Crimea.

The entire territory of our country will be liberated from this enemy - the enemy not only of Ukraine, but also of life itself, humanity, law and truth.

Russia already knows this. It feels our power. It sees that it is here, in Ukraine, that we prove the strength of our values. And that is why it is in a hurry. Organizes this farce with the attempted annexation. Tries to steal something that does not belong to it. Wants to rewrite history and redraw borders with murders, torture, blackmail and lies.

Ukraine will not allow that.

Today I held a meeting of the Staff of the Supreme Commander-in-Chief. The meeting of the National Security and Defense Council has just ended. We have a decision.

First – it is only the path of strengthening Ukraine and ousting the occupiers from our entire territory that restores peace. We will complete this path.

Second – Ukraine was and remains a leader in negotiation efforts. It was our state that always offered Russia to reach an agreement on coexistence on equal, honest, decent and fair terms. It is obvious that this is impossible with this Russian president. He does not know what dignity and honesty are. Therefore, we are ready for a dialogue with Russia, but already with another president of Russia.

And third – we must de jure record everything we have already achieved de facto. It is in Ukraine that the fate of democracy in the confrontation with tyranny is being decided. It is here, with the firmness of our state borders, that we can secure the firmness of the borders of all European states. We can guarantee that no one else will dare to bring war back to our continent.

It is here, in Ukraine, that the values of our Euro-Atlantic community have obtained real vital energy. The strength of the nation that fights for freedom, and the strength of the nations that help in this fight.

We are de facto allies. This has already been achieved. De facto, we have already completed our path to NATO. De facto, we have already proven interoperability with the Alliance’s standards, they are real for Ukraine - real on the battlefield and in all aspects of our interaction.

We trust each other, we help each other and we protect each other. This is what the Alliance is. De facto.

Today, Ukraine is applying to make it de jure. Under a procedure consistent with our significance for the protection of our entire community. Under an accelerated procedure.

We know it's possible. We have seen Finland and Sweden start accession to the Alliance this year without a Membership Action Plan.

This is fair. This is also fair for Ukraine. This is the consolidation at the level of the treaty of what has already been achieved in life and what are our values.

We understand that this requires the consensus of all members of the Alliance. We understand that it is necessary to reach such a consensus. And therefore, while this is happening, we offer to implement our proposals regarding security guarantees for Ukraine and all of Europe in accordance with the Kyiv Security Compact, which was developed and presented to our partners.

Security has no alternatives. But determination is needed to guarantee it.

We are taking our decisive step by signing Ukraine's application for accelerated accession to NATO.

 

Today, the National Security and Defense Council of Ukraine adopted a decision to impose sanctions on significant individuals and legal entities of Russia who did not have the courage to speak out in defense of humanity and international law, or who in one way or another are involved in aggressive steps against Ukraine and the community of democratic nations.

And at the same time, I am addressing the people's deputies of Ukraine: at the next session of the Verkhovna Rada of Ukraine, a draft law on the nationalization of all Russian assets will be considered, which should significantly simplify this procedure. Please endorse this bill without delay.

We are completing the dismantling of Russian influence on Ukraine, Europe and the world.

Glory to Ukraine!

Historical significance is attached to The Look-Out on Cape Foulweather because of its role in the expansion of the Oregon Coast's tourist industry from 1937 to 1963. The business was founded and is run by Wilbur "Buck" and Anna Badley, who ran it as the Foulweather Coffee Shop for a short while before pivoting to a highly successful gift shop after realizing that tourists were more interested in buying mementos than coffee.

“The significance of this calf is, he’s the third calf ever born from artificial insemination (AI), the second born from frozen thawed sperm and the first calf born by AI in North America,” said Parker Pennington, Ph.D., post doctorial associate in Reproductive Sciences at the San Diego Zoo Institute for Conservation Research.“ So, he’s very special to us here at San Diego Zoo Global.” Read more

Various trees of life are recounted in folklore, culture and fiction, often relating to immortality or fertility. They had their origin in religious symbolism.

Ancient Iran

In pre-Islamic Persian mythology, the Gaokerena world tree is a large, sacred Haoma tree which bears all seeds. Ahriman (Ahreman, Angremainyu) created a frog to invade the tree and destroy it, aiming to prevent all trees from growing on the earth. As a reaction, God (Ahura Mazda) created two kar fish staring at the frog to guard the tree. The two fishes are always staring at the frog and stay ready to react to it. Because Ahriman is responsible for all evil including death, while Ahura Mazda is responsible for all good (including life) the concept of world tree in Persian Mythology is very closely related to the concept of Tree of Life.The sacred plant haoma and the drink made from it. The preparation of the drink from the plant by pounding and the drinking of it are central features of Zoroastrian ritual. Haoma is also personified as a divinity. It bestows essential vital qualities—health, fertility, husbands for maidens, even immortality. The source of the earthly haoma plant is a shining white tree that grows on a paradisiacal mountain. Sprigs of this white haoma were brought to earth by divine birds.Haoma is the Avestan form of the Sanskrit soma. The near identity of the two in ritual significance is considered by scholars to point to a salient feature of an Indo-Iranian religion antedating Zoroastrianism.

Another related issue in ancient mythology of Iran is the myth of Mashyа and Mashyane, two trees who were the ancestors of all living beings. This myth can be considered as a prototype for the creation myth where living beings are created by Gods (who have a human form).

Ancient Egypt

Worshipping Osiris, Isis, and Horus

To the Ancient Egyptians, the Tree of Life represented the hierarchical chain of events that brought every thing into existence. The spheres of the Tree of Life demonstrate the order, process, and method of creation.In Egyptian mythology, in the Ennead system of Heliopolis, the first couple, apart from Shu and Tefnut (moisture and dryness) are Geb and Nuit (earth and sky), are Isis and Osiris. They were said to have emerged from the acacia tree of Iusaaset, which the Egyptians considered the tree of life, referring to it as the "tree in which life and death are enclosed." Some acacia trees contain DMT, a psychedelic drug associated with spiritual experiences. The drug is not orally bio-available, however and there is no evidence the Egyptians had techniques for extracting or otherwise harnessing the drug. A much later myth relates how Set and 72 conspirators killed Osiris, putting him in a coffin, and throwing it into the Nile, the coffin becoming embedded in the base of a tamarisk tree.The Egyptians' Holy Sycamore also stood on the threshold of life and death, connecting the two worlds.

Assyria

Assyrian tree of life, from Nimrud panels.The Assyrian Tree of Life was represented by a series of nodes and criss-crossing lines. It was apparently an important religious symbol, often attended to in Assyrian palace reliefs by human or eagle-headed winged genies, or the King, and blessed or fertilized with bucket and cone. Assyriologists have not reached consensus as to the meaning of this symbol. The name "Tree of Life" has been attributed to it by modern scholarship; it is not used in the Assyrian sources. In fact, no textual evidence pertaining to the symbol is known to exist.

Baha'i Faith

The concept of the tree of life appears in the writings of the Baha'i Faith, where it can refer to the Manifestation of God, a great teacher who appears to humanity from age to age. An example of this can be found in the Hidden Words of Bahá'u'lláh:["Have ye forgotten that true and radiant morn, when in those hallowed and blessed surroundings ye were all gathered in My presence beneath the shade of the tree of life, which is planted in the all-glorious paradise? Awestruck ye listened as I gave utterance to these three most holy words: O friends! Prefer not your will to Mine, never desire that which I have not desired for you, and approach Me not with lifeless hearts, defiled with worldly desires and cravings. Would ye but sanctify your souls, ye would at this present hour recall that place and those surroundings, and the truth of My utterance should be made evident unto all of you."Also, in the Tablet of Ahmad [1], of Bahá'u'lláh:"Verily He is the Tree of Life, that bringeth forth the fruits of God, the Exalted, the Powerful, the Great".Bahá'u'lláh refers to his male descendents as branches (Aghsán) and calls women leaves.

A distinction has been made between the tree of life and the tree of the knowledge of good and evil. The latter represents the physical world with its opposites, such as good and evil and light and dark. In a different context from the one above, the tree of life represents the spiritual realm, where this duality does not exist.

Buddhism

The Bo tree, also called Bodhi tree, according to Buddhist tradition, is the pipal (Ficus religiosa) under which the Buddha sat when he attained Enlightenment (Bodhi) at Bodh Gaya (near Gaya, west-central Bihar state, India). A living pipal at Anuradhapura, Ceylon (now Sri Lanka), is said to have grown from a cutting from the Bo tree sent to that city by King Ashoka in the 3rd century BCE.According to Tibetan tradition when Buddha went to the holy Lake Manasorovar along with 500 monks, he took with him the energy of Prayaga Raj. Upon his arrival, he installed the energy of Prayaga Raj near Lake Manasorovar, at a place now known as Prayang. Then he planted the seed of this eternal banyan tree next to Mt. Kailash on a mountain known as the "Palace of Medicine Buddha".

China

In Chinese mythology, a carving of a Tree of Life depicts a phoenix and a dragon; the dragon often represents immortality. A Taoist story tells of a tree that produces a peach every three thousand years. The one who eats the fruit receives immortality.An archaeological discovery in the 1990s was of a sacrificial pit at Sanxingdui in Sichuan, China. Dating from about 1200 BCE, it contained three bronze trees, one of them 4 meters high. At the base was a dragon, and fruit hanging from the lower branches. At the top is a strange bird-like (phoenix) creature with claws. Also found in Sichuan, from the late Han dynasty (c 25 – 220 CE), is another tree of life. The ceramic base is guarded by a horned beast with wings. The leaves of the tree are coins and people. At the apex is a bird with coins and the Sun.

Christianity

In Catholic Christianity, the Tree of Life represents the immaculate state of humanity free from corruption and Original Sin before the Fall. Pope Benedict XVI has said that "the Cross is the true tree of life." Saint Bonaventure taught that the medicinal fruit of the Tree of Life is Christ himself. Saint Albert the Great taught that the Eucharist, the Body and Blood of Christ, is the Fruit of the Tree of Life.[18] Augustine of Hippo said that the tree of life is Christ: "All these things stood for something other than what they were, but all the same they were themselves bodily realities. And when the narrator mentioned them he was not employing figurative language, but giving an explicit account of things which had a forward reference that was figurative. So then the tree of life also was Christ... and indeed God did not wish the man to live in Paradise without the mysteries of spiritual things being presented to him in bodily form. So then in the other trees he was provided with nourishment, in this one with a sacrament... He is rightly called whatever came before him in order to signify him."[19]

 

The tree first appeared in Genesis 2:9 and 3:22-24 as the source of eternal life in the Garden of Eden, from which access is revoked when man is driven from the garden. It then reappears in the last book of the Bible, the Book of Revelation, and most predominantly in the last chapter of that book (Chapter 22) as a part of the new garden of paradise. Access is then no longer forbidden, for those who "wash their robes" (or as the textual variant in the King James Version has it, "they that do his commandments") "have right to the tree of life" (v.14). A similar statement appears in Rev 2:7, where the tree of life is promised as a reward to those who overcome. Revelation 22 begins with a reference to the "pure river of water of life" which proceeds "out of the throne of God". The river seems to feed two trees of life, one "on either side of the river" which "bear twelve manner of fruits" "and the leaves of the tree were for healing of the nations" (v.1-2).[20] Or this may indicate that the tree of life is a vine that grows on both sides of the river, as John 15:1 would hint at.

In Eastern Christianity the tree of life is the love of God.The tree of life appears in the Book of Mormon in a revelation to Lehi (see 1 Nephi 8:10). It is symbolic of the love of God (see 1 Nephi 11:21-23). Its fruit is described as "most precious and most desirable above all other fruits," which "is the greatest of all the gifts of God" (see 1 Nephi 15:36). In another scriptural book, salvation is called "the greatest of all the gifts of God" (see Doctrine and Covenants 6:13). In the same book eternal life is also called the "greatest of all the gifts of God" (see Doctrine and Covenants 14:7). Because of these references, the tree of life and its fruit is sometimes understood to be symbolic of salvation and post-mortal existence in the presence of God and his love.

Europe

11th century Tree of Life sculpture at an ancient Swedish church

In Dictionnaire Mytho-Hermetique (Paris, 1737), Antoine-Joseph Pernety, a famous alchemist, identified the Tree of Life with the Elixir of Life and the Philosopher's Stone.

In Eden in the East (1998), Stephen Oppenheimer suggests that a tree-worshipping culture arose in Indonesia and was diffused by the so-called "Younger Dryas" event of c. 8000 BCE, when the sea level rose. This culture reached China (Szechuan), then India and the Middle East. Finally the Finno-Ugaritic strand of this diffusion spread through Russia to Finland where the Norse myth of Yggdrasil took root.

Georgia

The Borjgali (Georgian: ბორჯღალი) is an ancient Georgian Tree of Life symbol.

Germanic paganism and Norse mythology[

In Germanic paganism, trees played (and, in the form of reconstructive Heathenry and Germanic Neopaganism, continue to play) a prominent role, appearing in various aspects of surviving texts and possibly in the name of gods.

The tree of life appears in Norse religion as Yggdrasil, the world tree, a massive tree (sometimes considered a yew or ash tree) with extensive lore surrounding it. Perhaps related to Yggdrasil, accounts have survived of Germanic Tribes' honouring sacred trees within their societies. Examples include Thor's Oak, sacred groves, the Sacred tree at Uppsala, and the wooden Irminsul pillar. In Norse Mythology, the apples from Iðunn's ash box provide immortality for the gods.

Hinduism

The Eternal Banyan Tree (Akshaya Vata) is located on the bank of the Yamuna inside the courtyard of Allahabad Fort near the confluence of the Yamuna and Ganga Rivers in Allahabad. The eternal and divine nature of this tree has been documented at length in the scriptures.[citation needed]

During the cyclic destruction of creation when the whole earth was enveloped by waters, akshaya vata remained unaffected. It is on the leaves of this tree that Lord Krishna rested in the form of a baby when land was no longer visible. And it is here that the immortal sage, Markandeya, received the cosmic vision of the Lord. It is under this tree that Buddha meditates eternally. Legend also has it that the Bodi tree at Gaya is a manifestation of this tree.

Islam

Carpet Tree of Life

Main article: Quranic tree of life

See also: Sidrat al-Muntaha

The "Tree of Immortality" (Arabic: شجرة الخلود) is the tree of life motif as it appears in the Quran. It is also alluded to in hadiths and tafsir. Unlike the biblical account, the Quran mentions only one tree in Eden, also called the tree of immortality, which Allah specifically forbade to Adam and Eve. Satan, disguised as a serpent, repeatedly told Adam to eat from the tree, and eventually both Adam and Eve did so, thus disobeying Allah.] The hadiths also speak about other trees in heaven.

According to the Ahmadiyya movement, Quranic reference to the tree is symbolic; eating of the forbidden tree signifies that Adam disobeyed God.[

Jewish sources

Main articles: Etz Chaim and Biblical tree of life

Etz Chaim, Hebrew for "tree of life," is a common term used in Judaism. The expression, found in the Book of Proverbs, is figuratively applied to the Torah itself. Etz Chaim is also a common name for yeshivas and synagogues as well as for works of Rabbinic literature. It is also used to describe each of the wooden poles to which the parchment of a Sefer Torah is attached.The tree of life is mentioned in the Book of Genesis; it is distinct from the tree of the knowledge of good and evil. After Adam and Eve disobeyed God by eating fruit from the tree of the knowledge of good and evil, they were driven out of the Garden of Eden. Remaining in the garden, however, was the tree of life. To prevent their access to this tree in the future, Cherubim with a flaming sword were placed at the east of the garden. (Genesis 3:22-24)

In the Book of Proverbs, the tree of life is associated with wisdom: "[Wisdom] is a tree of life to them that lay hold upon her, and happy [is every one] that retaineth her." (Proverbs 3:13-18) In 15:4 the tree of life is associated with calmness: "A soothing tongue is a tree of life; but perverseness therein is a wound to the spirit."

The Book of Enoch, generally considered non-canonical, states that in the time of the great judgment God will give all those whose names are in the Book of Life fruit to eat from the Tree of Life.

Kathara grid

The esoteric bio-spiritual healing system of kathara which is presented on Earth by the official Speaker of the Guardian Alliance – E’Asha Ashayana,explains in detail the function of the code of the kathara grid] as the natural tree of life. Kathara reveals the anatomy of Creation, core structure, the blueprints & interconnectedness of all matter forms and in the center is the replication of the kathara grid everywhere.The kathara grid consists of 12 kathara centers and the relationships between them represent the true meaning of the phrase "As above, so below" and the correspondence between microcosmos and macrocosmos.

Kabbalah. Judaic Kabbalah Tree of Life 10 Sephirot, through which the Ein Sof unknowable Divine manifests Creation. The configuration relates to manJewish mysticism depicts the Tree of Life in the form of ten interconnected nodes, as the central symbol of the Kabbalah. It comprises the ten Sephirot powers in the Divine realm. The panentheistic and anthropomorphic emphasis of this emanationist theology interpreted the Torah, Jewish observance, and the purpose of Creation as the symbolic esoteric drama of unification in the Sephirot, restoring harmony to Creation. From the time of the Renaissance onwards, Jewish Kabbalah became incorporated as an important tradition in non-Jewish Western culture, first through its adoption by Christian Cabala, and continuing in Western esotericism occult Hermetic Qabalah. These adapted the Judaic Kabbalah Tree of Life syncretically by associating it with other religious traditions, esoteric theologies, and magical practices.

Mesoamerican

The concept of world trees is a prevalent motif in pre-Columbian Mesoamerican cosmologies and iconography. World trees embodied the four cardinal directions, which represented also the fourfold nature of a central world tree, a symbolic axis mundi connecting the planes of the Underworld and the sky with that of the terrestrial world.Depictions of world trees, both in their directional and central aspects, are found in the art and mythological traditions of cultures such as the Maya, Aztec, Izapan, Mixtec, Olmec, and others, dating to at least the Mid/Late Formative periods of Mesoamerican chronology. Among the Maya, the central world tree was conceived as or represented by a ceiba tree, and is known variously as a wacah chan or yax imix che, depending on the Mayan language.[32] The trunk of the tree could also be represented by an upright caiman, whose skin evokes the tree's spiny trunk.Directional world trees are also associated with the four Yearbearers in Mesoamerican calendars, and the directional colors and deities. Mesoamerican codices which have this association outlined include the Dresden, Borgia and Fejérváry-Mayer codices.[31] It is supposed that Mesoamerican sites and ceremonial centers frequently had actual trees planted at each of the four cardinal directions, representing the quadripartite concept.World trees are frequently depicted with birds in their branches, and their roots extending into earth or water (sometimes atop a "water-monster," symbolic of the underworld). The central world tree has also been interpreted as a representation of the band of the Milky Way.

Middle East

The Epic of Gilgamesh is a similar quest for immortality. In Mesopotamian mythology, Etana searches for a 'plant of birth' to provide him with a son. This has a solid provenance of antiquity, being found in cylinder seals from Akkad (2390–2249 BCE).The Book of One Thousand and One Nights has a story, 'The Tale of Buluqiya', in which the hero searches for immortality and finds a paradise with jewel-encrusted trees. Nearby is a Fountain of Youth guarded by Al-Khidr. Unable to defeat the guard, Buluqiya has to return empty-handed.

North American

In a myth passed down among the Iroquois, The World on the Turtle's Back, explains the origin of the land in which a tree of life is described. According to the myth, it is found in the heavens, where the first humans lived, until a pregnant woman fell and landed in an endless sea. Saved by a giant turtle from drowning, she formed the world on its back by planting bark taken from the tree.The tree of life motif is present in the traditional Ojibway cosmology and traditions. It is sometimes described as Grandmother Cedar, or Nookomis Giizhig in Anishinaabemowin.In the book Black Elk Speaks, Black Elk, an Oglala Lakota (Sioux) wičháša wakȟáŋ (medicine man and holy man), describes his vision in which after dancing around a dying tree that has never bloomed he is transported to the other world (spirit world) where he meets wise elders, 12 men and 12 women. The elders tell Black Elk that they will bring him to meet "Our Father, the two-legged chief" and bring him to the center of a hoop where he sees the tree in full leaf and bloom and the "chief" standing against the tree. Coming out of his trance he hopes to see that the earthly tree has bloomed, but it is dead

Serer religion

In Serer religion, the tree of life as a religious concept forms the basis of Serer cosmogony. Trees were the first things created on Earth by the supreme being Roog (or Koox among the Cangin). In the competing versions of the Serer creation myth, the Somb (Prosopis africana) and the Saas tree (acacia albida) are both viewed as trees of life. However, the prevailing view is that, the Somb was the first tree on Earth and the progenitor of plant life. The Somb was also used in the Serer tumuli and burial chambers, many of which had survived for more than a thousand years.Thus, Somb is not only the Tree of Life in Serer society, but the symbol of immortality

Urartian Tree of Life

In ancient Urartu, the Tree of Life was a religious symbol and was drawn on walls of fortresses and carved on the armor of warriors. The branches of the tree were equally divided on the right and left sides of the stem, with each branch having one leaf, and one leaf on the apex of the tree. Servants stood on each side of the tree with one of their hands up as if they are taking care of the tree.

Turkic .The Tree of Life, as seen as in flag of Chuvashia, a Turkic state in the Russian FederationThe Tree of Life design on 0,05 Turkish lira (5 kuruş).

The World Tree or Tree of Life is a central symbol in Turkic mythology.[citation needed] It is a common motif in carpets.

It is also used as the main design of a common Turkish lira sub-unit 5 kuruş since 2009.

 

en.wikipedia.org/wiki/Tree_of_life