by CMF

URL's is the Yahoo! cafeteria; the little blue stage in the center is where Arnold Schwarznegger spoke this afternoon.

Night view of Dharamshala Cricket Stadium, May 15th, 2011

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CHRISTY-FLORIST94503374網誌一覽Background背景stage婚嫁EVENT場所裝飾POSTER婚慶Idea 宴會婚禮場地禮堂BANNER結婚FoamBoard大型噴畫style場合PARTY擺酒宴會DECO香港HK婚宴構思統籌晚會GARPHIC網頁|TRACKBACK_URL_FOR THIS POSTS佈置網誌一覽蘼鮮花批發及專業婚禮場地佈置設計公司Since1989WHATSAPP//TEL94503374地址香港九龍尖沙咀漆咸道南45至51號其士大廈尖東堡商場地庫B65舖 masterwin@ymail.com

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7th MAY, LONDON – The London Pyramid Group meet to discuss URL Dispatch and look at how Pyramid matches URLs to views using simple pattern matching. Then having a look at some basic traversal and resource trees. See future London Pyramid Group meetups at: skillsmatter.com/user-group/ajax-ria/ldn-pyr

CHRISTY-FLORIST94503374網誌一覽Background背景stage婚嫁EVENT場所裝飾POSTER婚慶Idea 宴會婚禮場地禮堂BANNER結婚FoamBoard大型噴畫style場合PARTY擺酒宴會DECO香港HK婚宴構思統籌晚會GARPHIC網頁|TRACKBACK_URL_FOR THIS POSTS佈置網誌一覽蘼鮮花批發及專業婚禮場地佈置設計公司Since1989WHATSAPP//TEL94503374地址香港九龍尖沙咀漆咸道南45至51號其士大廈尖東堡商場地庫B65舖 masterwin@ymail.com

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http//www.weshare.hk/94503374decoration

http//christyflorist.tumblr.com/

http//eventdecoration.pixnet.net/blog

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//printing-style.blogspot.hk/

CHRISTY-FLORIST94503374網誌一覽Background背景stage婚嫁EVENT場所裝飾POSTER婚慶Idea 宴會婚禮場地禮堂BANNER結婚FoamBoard大型噴畫style場合PARTY擺酒宴會DECO香港HK婚宴構思統籌晚會GARPHIC網頁|TRACKBACK_URL_FOR THIS POSTS佈置網誌一覽蘼鮮花批發及專業婚禮場地佈置設計公司Since1989WHATSAPP//TEL94503374地址香港九龍尖沙咀漆咸道南45至51號其士大廈尖東堡商場地庫B65舖 masterwin@ymail.com

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www.youtube.com/watch?v=e0lR1RKfTcw

www.flickr.com/photos/wedding-decoration

eventdecoration.pixnet.net/blog/

//printing-style.blogspot.hk/

[URL including ]

FT Due Diligence Live 2023: Connecting leaders in finance & investing, 17 October 2023, London.

Avignon 2003

El TEC de la U :)

23/01/10

CHRISTY-FLORIST94503374網誌一覽Background背景stage婚嫁EVENT場所裝飾POSTER婚慶Idea 宴會婚禮場地禮堂BANNER結婚FoamBoard大型噴畫style場合PARTY擺酒宴會DECO香港HK婚宴構思統籌晚會GARPHIC網頁|TRACKBACK_URL_FOR THIS POSTS佈置網誌一覽蘼鮮花批發及專業婚禮場地佈置設計公司Since1989WHATSAPP//TEL94503374地址香港九龍尖沙咀漆咸道南45至51號其士大廈尖東堡商場地庫B65舖 masterwin@ymail.com

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http//christyflorist.tumblr.com/

http//eventdecoration.pixnet.net/blog

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//youtu.be/W1AXoqcKAZA //

youtu.be/VNilzfUuWwQ?t=1m49s

www.youtube.com/watch?v=e0lR1RKfTcw

www.flickr.com/photos/wedding-decoration

eventdecoration.pixnet.net/blog/

//printing-style.blogspot.hk/

Thomas Sully

American, Horncastle, Lincolnshire 1783–1872 Philadelphia, Pennsylvania

9 x 11 1/2 in. (22.9 x 29.2 cm)

medium: Ink, wash, on paper

Metropolitan Museum of Art, New York, NY 53.182.22 recto 1953

Rogers Fund, 1953

www.metmuseum.org/art/collection/search/16365

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When you choose the "small" size of the original photo...right click (contolr click for Macs) on the download link...and choose "Open in New Window". This will open the small size image in a new window and give you the "static" URL for that image in the address bar.

Uniform Resource Locator

Yup. This is how you do URLs.

Flickr's Community Managers working at URLs, Yahoo!'s cafeteria, in Sunnyvale.

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Acquired in 1925, this head was initially identified as a portrait of the Empress Lucilla (lived AD 149-182), wife of the Emperor Lucius Verus, who co-ruled with Marcus Aurelius from AD 161-169. More recently, scholars have identified the portrait as a representation of the Empress Faustina Minor (lived c. AD 130-176/177), wife of Marcus Aurelius (r. 161-180) and mother of Lucilla. The two women, relatively close in age, share a number of portrait features: heavy-lidded eyes, with incised irises and pupils; small mouth; and a distinctive hairstyle, parted in the center and pulled back in waves to a braided knot at the base of the neck.

Italy, Roman

marble

Overall: 25.4 cm (10 in.)

Did you know...

Scholars have disagreed about this portrait's identity—probably an empress, either Faustina Minor or Lucilla.

Purchase from the J. H. Wade Fund

clevelandart.org/art/1925.161

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يتيح لك قصرلي تقصير الروابط الى روابط اقصر منها لتكون منا سبة للنشر على المواقع الاجتماعلة

Mesopotamia, Iraq, Lagash (Tello)

dolerite

Overall: 21 x 17.8 x 20.4 cm (8 1/4 x 7 x 8 1/16 in.)

Did you know...

This head was originally on the body of <a href="https://www.clevelandart.org/art/1963.154">1963.154, </a>however they were separated in 1974 when it was realized they did not belong together.

Purchase from the J. H. Wade Fund

clevelandart.org/art/1963.680

Shiva tenderly places an arm around his wife, the goddess Uma (also called Parvati), in a gesture that is familiarly human. Both rest their weight on one hip, their bodies complementing one another. Shiva’s front hand gestures in reassurance, while Uma’s would have held flowers offered by priests and devotees.

Depending on their wealth, temples might have dozens of processional sculptures in various forms to be paraded around for different occasions. This image of a loving couple would be suitable for celebrating a marriage ceremony. Like the bride and bridegroom, the sculpture itself would have been adorned with beautiful jewelry: necklaces, crowns, diadems, ear ornaments, and rings, donated by royalty, wealthy landowners, and merchants.

Widely admired today for their craftsmanship, this festival bronzes was produced in southern India, mostly in the state of Tamil Nadu, during the Chola dynasty (9th–13th century). The Chola kings and their people spoke Tamil; the language continues to be used in southern India. Part of a rich and still living tradition of casting solid metal sculpture in South India, this image was made using the lost-wax casting technique. First, a model of the final sculpture is created from a mixture of wax and resin. Every detail that is seen in the cast metal sculpture is captured in this wax-resin model. The model is then encapsulated in a mold, leaving an opening at its base. The mold is heated, which solidifies the mold material, while the wax within is melted and poured out. The mold is then inverted, metal is melted in a crucible, and the molten metal is poured into the void left by the melted wax. Once cooled, the mold is broken, revealing the cast metal sculpture.

H: 16 7/8 x W: 11 5/8 x D: 6 1/2 in. (42.9 x 29.5 x 16.5 cm)

medium: copper alloy

given to Walters Art Museum, 2005.

art.thewalters.org/detail/1422

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Parshva stands in a yogic posture of meditation, bearing the hardship of the elements, unmoved. When stormwaters threatened his life, serpents shielded him so that he could complete his meditations and reach liberation. One cobra stretched his seven-hooded canopy over his head like an umbrella, while a serpent king and his wife praise him. The abstract gold lines on the blue background represent the waters that rose to the level of his shoulders. In this painting, the image of Parshva wears a white lower garment, which indicates that this manuscript was made for the prominent branch of Jainism that allows monks and nuns to wear white robes.

Western India, Gujarat, late 15th-early 16th century

Gum tempera, ink, and gold on paper

Overall: 12.5 x 25.7 cm (4 15/16 x 10 1/8 in.)

Edward L. Whittemore Fund

clevelandart.org/art/1932.119.46.b

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Painted in a style closely related to Chinese painting, two of the eighty-four mahasiddhas (“great perfected ones”) float in a landscape of craggy rocks and stylized trees. In tantric Buddhist traditions, the mahasiddhas are regarded as great adepts who have achieved spiritual powers and enlightenment, sometimes through unconventional means.

In the upper portion of the painting is Shavaripa, who had been a hunter until the bodhisattva Avalokiteshvara showed him and his wife a vision of themselves in hell—their karmic fate, should they continue to kill animals. Shavaripa renounced hunting, and after meditating for twelve years he attained enlightenment, thereafter remaining on earth to teach the path to spiritual liberation. Here, Shavaripa is depicted twice: in the middle of the painting, he carries a slain animal while his wife follows with a quiver of arrows, and at the top of the painting, he appears to levitate against a backdrop of peacock feathers, a reference to another name by which he is known, “Wearer of the Peacock Plume.”

The lower portion of the painting depicts Dharikapa, a king who abdicated his throne to become a disciple of the mahasiddha Luipa. Having renounced all possessions, Dharikapa offered himself in slavery to Luipa in order to cover the fee paid to one’s guru. In time, Luipa sold Dharikapa to a temple dancer named Dharima. After he had served her for twelve years, one day Dharima witnessed Dharikapa sitting on a levitating throne and teaching the tantric path to enlightenment. Begging his forgiveness for his enslavement, she asked to become his disciple. Dharikapa is represented in voluminous robes, holding the vajra-scepter and the bell, while a woman, probably Dharima, stands behind him holding a skull bowl.

Buddhist

H of image: 25 1/2 × W: 15 in. (64.8 × 38.1 cm)

Framed H: 46 3/8 × W: 25 3/8 in. (117.79 × 64.45 cm)

medium: tempera on cloth

culture: Buddhist

given to Walters Art Museum, 2015.

art.thewalters.org/detail/3014