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Në datën 8 Korrik te vitit 2008 Berati u rregjistrua në Listën e UNESCO-s nga Komiteti i Trashegimisë Botërore në Konferenën e rradhës të mbajtur në Kanada. Berati u vlerësua si një shembull i rrallë i arkitekturës tipike Osmane. Berati, sipas Unesco-s është dëshmimtar i bashkëjetesës së komuniteteve të ndryshme fetare dhe kulturore përgjatë shekujve. Në kriterin 3 të arsyes së nënshkrimit të Beratit në Unesco shprehimisht thuhet se Berati dhe Gjirokastra janë një dëshmi e shquar e diversitetit të shoqërive urbane në Ballkan, dhe të jetgjatësisë së mënyrave të jetës të cilat sot pothuajse janë zhdukur. Kriteri 4 thotë se dy qytetet e Beratit dhe Gjirokastrës janë dëshmi e jashtëzakonshme për llojet e ndryshme të monumenteve dhe banesave popullore urbane gjatë periudhës Klasike Osmane, në vazhdimësi me kulturat Mesjetare që e paraprinë atë. Ky është një vlerësim mjaft i rëndësishëm për qytetin e Beratit i cili renditet kështu midis 600 vendeve të botës që janë në UNESCO si rrjedhojë e Trashëgimisë së tyre Universale.
Pic Andrew Teebay. Liverpool FC v Manchester United FC........ Dirk Kuyt celebrates his Hatrick goal at the Kop end with Lucas.........
In this intimate holy gathering, the Madonna supports the Christ Child's little foot and meets our gaze with a melancholic expression, as if aware that her son will one day sacrifice himself for humankind. The Christ Child fixatedly looks into the viewer's space with his right hand raised in a gesture of blessing. He is adored by his young cousin, John the Baptist, from the lower left. Also at the left is the Madonna's husband and Christ's earthly father, Saint Joseph. To the right is one of Christ's later followers, Saint Mary Magdalen, holding a gold and silver vessel containing the ointment she is said to have used to anoint Christ’s body after the Crucifixion. The figures are set against a green curtain which functions as a cloth of honor—denoting Christ and Mary's roles as King and Queen of Heaven—as well as a barrier between the figures and the distant landscape. The parapet in the foreground acts as an additional barrier between the viewer and the holy figures. A “cartellino” (small piece of paper) is illusionistically painted on the parapet and bears the signature of Marco Palmezzano, the leading painter in the north Italian region of Emilia-Romagna during the late 1400s and early 1500s. The Walters’ panel is a typical work of Palmezzano’s, with its rigidly posed figures bathed in a strong light that provides a heightened sense of three-dimensionality. For a painting at the Walters’ by one of Palmezzano’s assistants, see 37.505.
Painted surface H: 36 x W: 28 7/16 x D excluding cradle: 3/8 in. (91.5 x 72.3 x 1 cm)
medium: oil on wood panel
Walters Art Museum, 1931, by bequest.
Morocco, Azemmur, 18th-19th century
embroidery: silk on linen tabby ground
Overall: 11.4 x 24.1 cm (4 1/2 x 9 1/2 in.)
Gift of J. H. Wade
christy-florist婚禮場地佈置WEDDING&EVENT-Decorations@裝飾POSTER婚慶Ideas宴會婚禮場地禮堂BANNER結婚FoamBoard大型噴畫style場地場合擺酒宴會DECO香港HK婚宴構思統籌晚會GARPHIC網頁|繄蘼鮮花批發花店TRACKBACK_URL_FOR THIS POSTS佈置網誌一覽CHRISTY-FLORIST_VENUS_EVENT_DECORATIONS繄蘼鮮花批發及專業婚禮場地佈置設計公司Since1989WHATSAPP//TEL94503374 敬請預約
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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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Common in the Indian Ocean region, wooden sandals changed meaning across place and time. This pair’s base elevates the foot as the toes grip an antelope-shaped peg (<em>msuruaki</em>). Crisp geometric sole designs suggest they were rarely worn. East African elites and merchants once had exclusive rights to wooden shoes, wearing elaborate ones only for portraits. Formerly enslaved people living along the coast wore simpler ones from the 1840s onward, adopting elite footwear to assert their liberation. However, slave traders like the Zanzibari “Tippu Tip” (c. 1832–1905) likely brought <em>mitalawanda </em>to Central Africa; stylistic elements of this pair hail from that region.
Africa, Central Africa, Democratic Republic of Congo, unidentified carver
Wood and glass beads
Overall: 12.5 x 4.5 cm (4 15/16 x 1 3/4 in.)
Did you know...
This distinctive footwear traveled from Southeast Asia and the Middle East to Africa, first to the Swahili Coast and then further inland to parts of Central Africa. The deity Krishna wears similar shoes (<em>paduka</em>) in an eighteenth-century Indian miniature painting (2003.344).
Educational Purchase Fund
The ancient Egyptians believed that the dung beetle, the Scarabaeus sacer, was one of the manifestations of the sun god. Representations of these beetles were used as amulets, and for ritual or administrative purposes.
This scarab has a bottom design that displays King Amenhotep seated on his throne. He is dressed in a long pleated kilt, wears the so-called "Blue crown" with Uraeus-serpent and crown sash. The king holds with his left hand the crook in front of his chest, and with his right an ankh-sign (meaning "life"). The block throne has a small back. In front of him is a column with a left reading inscription, containing his throne name and title, and behind him the hieroglyphs for "protection" and "life." The layout is well organized, but it is notable that the royal figure does not fill the whole space, and that the Uraeus on the forehead of the king is unusually large. The highest point of the scarab's back is the pronotum (dorsal plate of the prothorax). Pronotum and elytron (wing cases) have deeply incised, fine borderlines, single separation lines, V-shaped marks for the humeral callosities (shoulder thickenings), and small side-depressions. The partition lines between pronotum and elytron meet V-shaped. The rectangular head is flanked by triangular eyes. The trapezoidal side plates have curved outer edges and borderlines, and the clypeus (front plate) has four frontal serrations and two central base notches. The raised, slender extremities have natural form; the background between the legs is deeply hollowed out. The low oval base is symmetrical.
The scarab is longitudinally pierced, was originally mounted or threaded, and functioned as an amulet. It secures the existence ("life"), protection, divinity (title: "Perfect god"), and royal authority (cartouche, seated king with scepter) for the king, and provides a private owner with his patronage and protection.
Egyptian
H: 3/4 x W: 1 5/16 x L: 1 7/8 in. (1.9 x 3.3 x 4.7 cm)
medium: steatite with green glaze and residue of white underglaze
culture: Egyptian
dynasty: 18th Dynasty
reign: Thutmosis IV-Amenophis III (1397-1350 BC)
Walters Art Museum, 1931, by bequest.
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