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A series of AI-generated pictures of the extremely rare Donkiger (Asinus altaica) in the wild.
To be continued.
Pictures made with Midjourney.
I'm always happy to accept invites to groups as long as I can see their content. Should I see "this group is not available to you", my photos won't be made available to that group. Thanks for your understanding.
My understanding is that when Trim Castle Hotel was constructed it was necessary to replace a wall partly owned by the church so as compensation the builders undertook to provide the ’stations of the cross’ shown in my photographs.
Because of uneven ground and the location of some trees it can be difficult to properly photograph all of the stations without introducing some distortion. This is, in fact, my third attempt.
If you are not Christian and even then the ’Stations Of The Cross’ may be a bit of a mystery to you.
I should mention that when I was young there were fourteen stations … 7 on each side of the church. When I first photographed the stations in Trim I was more than confused to discover that there were fifteen with the additional one being the Resurrection of Jesus. Further investigation resulted in the following explanation - “Some modern liturgists say the traditional Stations of the Cross are incomplete without a final scene depicting the empty tomb and/or the resurrection of Jesus, because Jesus' rising from the dead was an integral part of his salvific work on Earth. Advocates of the traditional form of the Stations ending with the body of Jesus being placed in the tomb say the Stations are intended as a meditation on the atoning death of Jesus, and not as a complete picture of his life, death, and resurrection”.
Stations of the Cross or the Way of the Cross, also known as Way of Sorrows or Via Crucis, refers to a series of images depicting Jesus Christ on the day of his crucifixion and accompanying prayers. The stations grew out of imitations of Via Dolorosa in Jerusalem which is believed to be the actual path Jesus walked to Mount Calvary. The object of the stations is to help the Christian faithful to make a spiritual pilgrimage through contemplation of the Passion of Christ. It has become one of the most popular devotions and the stations can be found in the churches of many Western Christian denominations, including Anglican, Catholic, Lutheran, Methodist and Western Orthodox parishes.
Commonly, a series of 14 images will be arranged in numbered order along a path and the faithful travel from image to image, in order, stopping at each "station to say the selected prayers and reflections. This will be done individually or in a procession most commonly during Lent, especially on Good Friday, in a spirit of reparation for the sufferings and insults that Jesus endured during his passion.
The style, form, and placement of the stations vary widely. The typical stations are small plaques with reliefs or paintings placed around a church nave. Modern minimalist stations can be simple crosses with a numeral in the centre. Occasionally the faithful might say the stations of the cross without there being any image, such as when the pope leads the stations of the cross around the Colosseum in Rome on Good Friday. The older stations can be an outdoor series of chapels in a landscape, known as a Calvary, and are sites of pilgrimage in their own right. Examples include Sacro Monte Calvario in Italy, Kalwaria Zebrzydowska in Poland, Žemaičių Kalvarija in Lithuania.
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I don't sell my dolls. Thank you for your understanding !!!
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Series: Marmoset
A family of white-tufted marmoset or white-tufted-ear marmoset.
This young is feasting on a Guava (Goiaba).
These are wild monkeys (not tamed or caged) they live by the river nearby my mum's place. I'm pleased to see so many wild species coming back to the major cities in Brazil.
Local Names: sagui-de-tufo-branco, sagui-do-nordeste, mico-estrela, sagui-comum, massau, mico, saguim, sauí, sauim, soim, sonhim, tamari, xauim.
Location: Siderville - Volta Redonda - Rio de Janeiro - Brazil - BR - South America - SA
Equipment: Nikon D3100+300Lens
Photoshop Camera Raw Filter
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Always Learning... Critiques are very welcome.
Leipziger Buchmesse 2015
2015-03-13 (Friday)
2015_004
2015#131
____ (___) ____ as ____ from Blue Exorcist
Thank you for any group invites which I will gladly accept. However, if I can't check the content of such groups ("This group is not available to you") I'd rather not add any of my photos. Thanks for your understanding.
Full understanding for Pu er tea
Xishuang Banna (西双版納) as a famous pu-erh tea production area
Xishuang Banna is situated on the Southern end of Yunnan and it is located at the borders of Myanmar, Vietnam and Laos. The name of “Xishuang Banna” is originated from Thai language. The ancient route of Tea and Horse started from the Southern end of Xishuang Banna, a town called Yiwu (易武), and it continued up to the North. Tea was once stocked and gathered at a town called pu-erh (普洱) which is the hub for pu-erh tea trading and logistics. This is why the minorities’ tea was named as pu-erh.
ripe puer tea
Pu’er ripe tea is fermented in heaps, under the action of enzymes, producing many new nutrients which are beneficial to you health,.
raw puer tea
Raw puer tea is suitable for long storage. Classic raw pu’er tea tastes bitter, especially at first, has has a sweet and fragrant aftertaste.
Yiwu Zhengshan tea cake
Yiwu Zhengshan Pu Er tea cake is produced from tea leaves harvested from Yi Wu Zheng Shan,in southeast Yunnan province. The word Zheng means original, and only tea leaves harvested from Yi Wu town (only a few sq km in size) can be considered as such. The infusion yields a strong liquor that is slightly bitter but finishes with a sweet aftertaste. Aged in the Shou, cooked style, this pu-erh has already settled into a rich and versatile flavor profile.
Sheryl hz.aliexpress.com/store/1852188
Email, heteapuerh@gmail.com
kmhetea@yahoo.com
Skype, heteapuerh@sheryl
Contact, sheryl Lynnlee
Leipzig Book Fair 2013
Leipziger Buchmesse 2013
2013_034 2013#036
Cosplayers
-Lenalee- (Selina) 540129 as Poison Ivy from Batman
Photos posted are 1024x768 pixels in size. Higher resolution (3000x2000) for models only, sorry.
Thank you for any group invites which I will gladly accept. However, if I can't check the content of such groups ("This group is not available to you") I'd rather not add any of my photos. Thank you for your understanding.
Researchers at the Northwestern University Center of Cancer Nanotechnology Excellence are studying the ways in which cancer cells migrate from existing tumors to create new, metastatic tumors in different regions of the body. By creating micrometer scaled adhesive islands on gold surfaces, they have allowed individual metastatic cells to take on shapes, such as the star depicted above. These shapes provide cues to cancer cells, which respond in the above image by concentrating their motility machinery at the star’s tips. This assay lends itself to large scale screening of cell populations—a problem that has stymied past efforts to find a drug that targets metastatic motility.
This image is part of the Nanotechnology Image Library collection.
Credit: Bartosz Grzybowski, Ph.D., National Cancer Institute, National Institutes of Health
The Ajanta Caves (Ajiṇṭhā leni; Marathi: अजिंठा लेणी) in Aurangabad district of Maharashtra, India are about 30 rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 or 650 CE. The caves include paintings and sculptures described by the government Archaeological Survey of India as "the finest surviving examples of Indian art, particularly painting", which are masterpieces of Buddhist religious art, with figures of the Buddha and depictions of the Jataka tales. The caves were built in two phases starting around the 2nd century BCE, with the second group of caves built around 400–650 CE according to older accounts, or all in a brief period of 460 to 480 according to the recent proposals of Walter M. Spink. The site is a protected monument in the care of the Archaeological Survey of India, and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site.
The caves are located in the Indian state of Maharashtra, near Jalgaon and just outside the village of Ajinṭhā 20°31′56″N 75°44′44″E), about 59 kilometres from Jalgaon railway station on the Delhi – Mumbai line and Howrah-Nagpur-Mumbai line of the Central Railway zone, and 104 kilometres from the city of Aurangabad. They are 100 kilometres from the Ellora Caves, which contain Hindu and Jain temples as well as Buddhist caves, the last dating from a period similar to Ajanta. The Ajanta caves are cut into the side of a cliff that is on the south side of a U-shaped gorge on the small river Waghur, and although they are now along and above a modern pathway running across the cliff they were originally reached by individual stairs or ladders from the side of the river 35 to 110 feet below.
The area was previously heavily forested, and after the site ceased to be used the caves were covered by jungle until accidentally rediscovered in 1819 by a British officer on a hunting party. They are Buddhist monastic buildings, apparently representing a number of distinct "monasteries" or colleges. The caves are numbered 1 to 28 according to their place along the path, beginning at the entrance. Several are unfinished and some barely begun and others are small shrines, included in the traditional numbering as e.g. "9A"; "Cave 15A" was still hidden under rubble when the numbering was done. Further round the gorge are a number of waterfalls, which when the river is high are audible from outside the caves.
The caves form the largest corpus of early Indian wall-painting; other survivals from the area of modern India are very few, though they are related to 5th-century paintings at Sigiriya in Sri Lanka. The elaborate architectural carving in many caves is also very rare, and the style of the many figure sculptures is highly local, found only at a few nearby contemporary sites, although the Ajanta tradition can be related to the later Hindu Ellora Caves and other sites.
HISTORY
Like the other ancient Buddhist monasteries, Ajanta had a large emphasis on teaching, and was divided into several different caves for living, education and worship, under a central direction. Monks were probably assigned to specific caves for living. The layout reflects this organizational structure, with most of the caves only connected through the exterior. The 7th-century travelling Chinese scholar Xuanzang informs us that Dignaga, a celebrated Buddhist philosopher and controversialist, author of well-known books on logic, lived at Ajanta in the 5th century. In its prime the settlement would have accommodated several hundred teachers and pupils. Many monks who had finished their first training may have returned to Ajanta during the monsoon season from an itinerant lifestyle.
The caves are generally agreed to have been made in two distinct periods, separated by several centuries.
CAVES OF THE FIRST (SATAVAHANA) PERIOD
The earliest group of caves consists of caves 9, 10, 12, 13 and 15A. According to Walter Spink, they were made during the period 100 BCE to 100 CE, probably under the patronage of the Satavahana dynasty (230 BCE – c. 220 CE) who ruled the region. Other datings prefer the period 300 BCE to 100 BCE, though the grouping of the earlier caves is generally agreed. More early caves may have vanished through later excavations. Of these, caves 9 and 10 are stupa halls of chaitya-griha form, and caves 12, 13, and 15A are vihāras (see the architecture section below for descriptions of these types). The first phase is still often called the Hinayāna phase, as it originated when, using traditional terminology, the Hinayāna or Lesser Vehicle tradition of Buddhism was dominant, when the Buddha was revered symbolically. However the use of the term Hinayana for this period of Buddhism is now deprecated by historians; equally the caves of the second period are now mostly dated too early to be properly called Mahayana, and do not yet show the full expanded cast of supernatural beings characteristic of that phase of Buddhist art. The first Satavahana period caves lacked figurative sculpture, emphasizing the stupa instead, and in the caves of the second period the overwhelming majority of images represent the Buddha alone, or narrative scenes of his lives.
Spink believes that some time after the Satavahana period caves were made the site was abandoned for a considerable period until the mid-5th century, probably because the region had turned mainly Hindu
CAVES OF THE LATER OR VAKATAKA PERIOD
The second phase began in the 5th century. For a long time it was thought that the later caves were made over a long period from the 4th to the 7th centuries CE, but in recent decades a series of studies by the leading expert on the caves, Walter M. Spink, have argued that most of the work took place over the very brief period from 460 to 480 CE, during the reign of Emperor Harishena of the Vakataka dynasty. This view has been criticized by some scholars, but is now broadly accepted by most authors of general books on Indian art, for example Huntington and Harle.
The second phase is still often called the Mahāyāna or Greater Vehicle phase, but scholars now tend to avoid this nomenclature because of the problems that have surfaced regarding our understanding of Mahāyāna.
Some 20 cave temples were simultaneously created, for the most part viharas with a sanctuary at the back. The most elaborate caves were produced in this period, which included some "modernization" of earlier caves. Spink claims that it is possible to establish dating for this period with a very high level of precision; a fuller account of his chronology is given below. Although debate continues, Spink's ideas are increasingly widely accepted, at least in their broad conclusions. The Archaeological Survey of India website still presents the traditional dating: "The second phase of paintings started around 5th – 6th centuries A.D. and continued for the next two centuries". Caves of the second period are 1–8, 11, 14–29, some possibly extensions of earlier caves. Caves 19, 26, and 29 are chaitya-grihas, the rest viharas.
According to Spink, the Ajanta Caves appear to have been abandoned by wealthy patrons shortly after the fall of Harishena, in about 480 CE. They were then gradually abandoned and forgotten. During the intervening centuries, the jungle grew back and the caves were hidden, unvisited and undisturbed, although the local population were aware of at least some of them.
REDISCOVERY
On 28 April 1819, a British officer for the Madras Presidency, John Smith, of the 28th Cavalry, while hunting tiger, accidentally discovered the entrance to Cave No. 10 deep within the tangled undergrowth. There were local people already using the caves for prayers with a small fire, when he arrived. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other larger animals, Captain Smith vandalized the wall by scratching his name and the date, April 1819. Since he stood on a five-foot high pile of rubble collected over the years, the inscription is well above the eye-level gaze of an adult today. A paper on the caves by William Erskine was read to the Bombay Literary Society in 1822. Within a few decades, the caves became famous for their exotic setting, impressive architecture, and above all their exceptional, all but unique paintings. A number of large projects to copy the paintings were made in the century after rediscovery, covered below. In 1848 the Royal Asiatic Society established the "Bombay Cave Temple Commission" to clear, tidy and record the most important rock-cut sites in the Bombay Presidency, with John Wilson, as president. In 1861 this became the nucleus of the new Archaeological Survey of India. Until the Nizam of Hyderabad built the modern path between the caves, among other efforts to make the site easy to visit, a trip to Ajanta was a considerable adventure, and contemporary accounts dwell with relish on the dangers from falls off narrow ledges, animals and the Bhil people, who were armed with bows and arrows and had a fearsome reputation.
Today, fairly easily combined with Ellora in a single trip, the caves are the most popular tourist destination in Mahrashtra, and are often crowded at holiday times, increasing the threat to the caves, especially the paintings. In 2012, the Maharashtra Tourism Development Corporation announced plans to add to the ASI visitor centre at the entrance complete replicas of caves 1, 2, 16 & 17 to reduce crowding in the originals, and enable visitors to receive a better visual idea of the paintings, which are dimly-lit and hard to read in the caves. Figures for the year to March 2010 showed a total of 390,000 visitors to the site, divided into 362,000 domestic and 27,000 foreign. The trends over the previous few years show a considerable growth in domestic visitors, but a decline in foreign ones; the year to 2010 was the first in which foreign visitors to Ellora exceeded those to Ajanta.
PAINTINGS
Mural paintings survive from both the earlier and later groups of caves. Several fragments of murals preserved from the earlier caves (Caves 9 and 11) are effectively unique survivals of court-led painting in India from this period, and "show that by Sātavāhana times, if not earlier, the Indian painter had mastered an easy and fluent naturalistic style, dealing with large groups of people in a manner comparable to the reliefs of the Sāñcī toraņa crossbars".
Four of the later caves have large and relatively well-preserved mural paintings which "have come to represent Indian mural painting to the non-specialist", and fall into two stylistic groups, with the most famous in Caves 16 and 17, and apparently later paintings in Caves 1 and 2. The latter group were thought to be a century or more later than the others, but the revised chronology proposed by Spink would place them much closer to the earlier group, perhaps contemporary with it in a more progressive style, or one reflecting a team from a different region. The paintings are in "dry fresco", painted on top of a dry plaster surface rather than into wet plaster.
All the paintings appear to be the work of painters at least as used to decorating palaces as temples, and show a familiarity with and interest in details of the life of a wealthy court. We know from literary sources that painting was widely practised and appreciated in the courts of the Gupta period. Unlike much Indian painting, compositions are not laid out in horizontal compartments like a frieze, but show large scenes spreading in all directions from a single figure or group at the centre. The ceilings are also painted with sophisticated and elaborate decorative motifs, many derived from sculpture. The paintings in cave 1, which according to Spink was commissioned by Harisena himself, concentrate on those Jataka tales which show previous lives of the Buddha as a king, rather than as an animal or human commoner, and so show settings from contemporary palace life.
In general the later caves seem to have been painted on finished areas as excavating work continued elsewhere in the cave, as shown in caves 2 and 16 in particular. According to Spink's account of the chronology of the caves, the abandonment of work in 478 after a brief busy period accounts for the absence of painting in caves such as 4 and 17, the later being plastered in preparation for paintings that were never done.
COPIES
The paintings have deteriorated significantly since they were rediscovered, and a number of 19th-century copies and drawings are important for a complete understanding of the works. However, the earliest projects to copy the paintings were plagued by bad fortune. In 1846, Major Robert Gill, an Army officer from Madras presidency and a painter, was appointed by the Royal Asiatic Society to replicate the frescoes on the cave walls to exhibit these paintings in England. Gill worked on his painting at the site from 1844 to 1863 (though he continued to be based there until his death in 1875, writing books and photographing) and made 27 copies of large sections of murals, but all but four were destroyed in a fire at the Crystal Palace in London in 1866, where they were on display.
Another attempt was made in 1872 when the Bombay Presidency commissioned John Griffiths, then principal of the Bombay School of Art, to work with his students to make new copies, again for shipping to England. They worked on this for thirteen years and some 300 canvases were produced, many of which were displayed at the Imperial Institute on Exhibition Road in London, one of the forerunners of the Victoria and Albert Museum. But in 1885 another fire destroyed over a hundred paintings that were in storage. The V&A still has 166 paintings surviving from both sets, though none have been on permanent display since 1955. The largest are some 3 × 6 metres. A conservation project was undertaken on about half of them in 2006, also involving the University of Northumbria. Griffith and his students had unfortunately painted many of the paintings with "cheap varnish" in order to make them easier to see, which has added to the deterioration of the originals, as has, according to Spink and others, recent cleaning by the ASI.
A further set of copies were made between 1909 and 1911 by Christiana Herringham (Lady Herringham) and a group of students from the Calcutta School of Art that included the future Indian Modernist painter Nandalal Bose. The copies were published in full colour as the first publication of London's fledgling India Society. More than the earlier copies, these aimed to fill in holes and damage to recreate the original condition rather than record the state of the paintings as she was seeing them. According to one writer, unlike the paintings created by her predecessors Griffiths and Gill, whose copies were influenced by British Victorian styles of painting, those of the Herringham expedition preferred an 'Indian Renascence' aesthetic of the type pioneered by Abanindranath Tagore.
Early photographic surveys were made by Robert Gill, who learnt to use a camera from about 1856, and whose photos, including some using stereoscopy, were used in books by him and Fergusson (many are available online from the British Library), then Victor Goloubew in 1911 and E.L. Vassey, who took the photos in the four volume study of the caves by Ghulam Yazdani (published 1930–1955).
ARCHITECTURE
The monasteries mostly consist of vihara halls for prayer and living, which are typically rectangular with small square dormitory cells cut into the walls, and by the second period a shrine or sanctuary at the rear centred on a large statue of the Buddha, also carved from the living rock. This change reflects the movement from Hinayana to Mahāyāna Buddhism. The other type of main hall is the narrower and higher chaitya hall with a stupa as the focus at the far end, and a narrow aisle around the walls, behind a range of pillars placed close together. Other plainer rooms were for sleeping and other activities. Some of the caves have elaborate carved entrances, some with large windows over the door to admit light. There is often a colonnaded porch or verandah, with another space inside the doors running the width of the cave.
The central square space of the interior of the viharas is defined by square columns forming a more or less square open area. Outside this are long rectangular aisles on each side, forming a kind of cloister. Along the side and rear walls are a number of small cells entered by a narrow doorway; these are roughly square, and have small niches on their back walls. Originally they had wooden doors. The centre of the rear wall has a larger shrine-room behind, containing a large Buddha statue. The viharas of the earlier period are much simpler, and lack shrines. Spink in fact places the change to a design with a shrine to the middle of the second period, with many caves being adapted to add a shrine in mid-excavation, or after the original phase.
The plan of Cave 1 shows one of the largest viharas, but is fairly typical of the later group. Many others, such as Cave 16, lack the vestibule to the shrine, which leads straight off the main hall. Cave 6 is two viharas, one above the other, connected by internal stairs, with sanctuaries on both levels.
The four completed chaitya halls are caves 9 and 10 from the early period, and caves 19 and 26 from the later period of construction. All follow the typical form found elsewhere, with high ceilings and a central "nave" leading to the stupa, which is near the back, but allows walking behind it, as walking around stupas was (and remains) a common element of Buddhist worship (pradakshina). The later two have high ribbed roofs, which reflect timber forms, and the earlier two are thought to have used actual timber ribs, which have now perished. The two later halls have a rather unusual arrangement (also found in Cave 10 at Ellora) where the stupa is fronted by a large relief sculpture of the Buddha, standing in Cave 19 and seated in Cave 26. Cave 29 is a late and very incomplete chaitya hall.
The form of columns in the work of the first period is very plain and un-embellished, with both chaitya halls using simple octagonal columns, which were painted with figures. In the second period columns were far more varied and inventive, often changing profile over their height, and with elaborate carved capitals, often spreading wide. Many columns are carved over all their surface, some fluted and others carved with decoration all over, as in cave 1.
The flood basalt rock of the cliff, part of the Deccan Traps formed by successive volcanic eruptions at the end of the Cretaceous, is layered horizontally, and somewhat variable in quality, so the excavators had to amend their plans in places, and in places there have been collapses in the intervening centuries, as with the lost portico to cave 1. Excavation began by cutting a narrow tunnel at roof level, which was expanded downwards and outwards; the half-built vihara cave 24 shows the method. Spink believes that for the first caves of the second period the excavators had to relearn skills and techniques that had been lost in the centuries since the first period, which were then transmitted to be used at later rock-cut sites in the region, such as Ellora, and the Elephanta, Bagh, Badami and Aurangabad Caves.
The caves from the first period seem to have been paid for by a number of different patrons, with several inscriptions recording the donation of particular portions of a single cave, but according to Spink the later caves were each commissioned as a complete unit by a single patron from the local rulers or their court elites. After the death of Harisena smaller donors got their chance to add small "shrinelets" between the caves or add statues to existing caves, and some two hundred of these "intrusive" additions were made in sculpture, with a further number of intrusive paintings, up to three hundred in cave 10 alone.
A grand gateway to the site, at the apex of the gorge's horsehoe between caves 15 and 16, was approached from the river, and is decorated with elephants on either side and a nāga, or protective snake deity.
ICONOGRAPHY OF THE CAVES
In the pre-Christian era, the Buddha was represented symbolically, in the form of the stupa. Thus, halls were made with stupas to venerate the Buddha. In later periods the images of the Buddha started to be made in coins, relic caskets, relief or loose sculptural forms, etc. However, it took a while for the human representation of the Buddha to appear in Buddhist art. One of the earliest evidences of the Buddha's human representations are found at Buddhist archaeological sites, such as Goli, Nagarjunakonda, and Amaravati. The monasteries of those sites were built in less durable media, such as wood, brick, and stone. As far as the genre of rock-cut architecture is concerned it took many centuries for the Buddha image to be depicted. Nobody knows for sure at which rock-cut cave site the first image of the Buddha was depicted. Current research indicates that Buddha images in a portable form, made of wood or stone, were introduced, for the first time, at Kanheri, to be followed soon at Ajanta Cave 8 (Dhavalikar, Jadhav, Spink, Singh). While the Kanheri example dates to 4th or 5th century CE, the Ajanta example has been dated to c. 462–478 CE (Spink). None of the rock-cut monasteries prior to these dates, and other than these examples, show any Buddha image although hundreds of rock-cut caves were made throughout India during the first few centuries CE. And, in those caves, it is the stupa that is the object of veneration, not the image. Images of the Buddha are not found in Buddhist sailagrhas (rock-cut complexes) until the times of the Kanheri (4th–5th century CE) and Ajanta examples (c. 462–478 CE).
The caves of the second period, now all dated to the 5th century, were typically described as "Mahayana", but do not show the features associated with later Mahayana Buddhism. Although the beginnings of Mahāyāna teachings go back to the 1st century there is little art and archaeological evidence to suggest that it became a mainstream cult for several centuries. In Mahayana it is not Gautama Buddha but the Bodhisattva who is important, including "deity" Bodhisattva like Manjushri and Tara, as well as aspects of the Buddha such as Aksobhya, and Amitabha. Except for a few Bodhisattva, these are not depicted at Ajanta, where the Buddha remains the dominant figure. Even the Bodhisattva images of Ajanta are never central objects of worship, but are always shown as attendants of the Buddha in the shrine. If a Bodhisattva is shown in isolation, as in the Astabhaya scenes, these were done in the very last years of activities at Ajanta, and are mostly 'intrusive' in nature, meaning that they were not planned by the original patrons, and were added by new donors after the original patrons had suddenly abandoned the region in the wake of Emperor Harisena's death.
The contrast between iconic and aniconic representations, that is, the stupa on one hand and the image of the Buddha on the other, is now being seen as a construct of the modern scholar rather than a reality of the past. The second phase of Ajanta shows that the stupa and image coincided together. If the entire corpus of the art of Ajanta including sculpture, iconography, architecture, epigraphy, and painting are analysed afresh it will become clear that there was no duality between the symbolic and human forms of the Buddha, as far as the 5th-century phase of Ajanta is concerned. That is why most current scholars tend to avoid the terms 'Hinayana' and 'Mahayana' in the context of Ajanta. They now prefer to call the second phase by the ruling dynasty, as the Vākāţaka phase.
CAVES
CAVE 1
Cave 1 was built on the eastern end of the horse-shoe shaped scarp, and is now the first cave the visitor encounters. This would when first made have been a less prominent position, right at the end of the row. According to Spink, it is one of the latest caves to have been excavated, when the best sites had been taken, and was never fully inaugurated for worship by the dedication of the Buddha image in the central shrine. This is shown by the absence of sooty deposits from butter lamps on the base of the shrine image, and the lack of damage to the paintings that would have been happened if the garland-hooks around the shrine had been in use for any period of time. Although there is no epigraphic evidence, Spink believes that the Vākāţaka Emperor Harishena was the benefactor of the work, and this is reflected in the emphasis on imagery of royalty in the cave, with those Jakata tales being selected that tell of those previous lives of the Buddha in which he was royal.
The cliff has a more steep slope here than at other caves, so to achieve a tall grand facade it was necessary to cut far back into the slope, giving a large courtyard in front of the facade. There was originally a columned portico in front of the present facade, which can be seen "half-intact in the 1880s" in pictures of the site, but this fell down completely and the remains, despite containing fine carving, were carelessly thrown down the slope into the river, from where they have been lost, presumably carried away in monsoon torrents.
This cave has one of the most elaborate carved façades, with relief sculptures on entablature and ridges, and most surfaces embellished with decorative carving. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain, especially on the ceiling. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors.
Each wall of the hall inside is nearly 12 m long and 6.1 m high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls. There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the right walls, though due to rock fault there are none at the ends of the rear aisle. The walls are covered with paintings in a fair state of preservation, though the full scheme was never completed. The scenes depicted are mostly didactic, devotional, and ornamental, with scenes from the Jataka stories of the Buddha's former existences as a bodhisattva), the life of the Gautama Buddha, and those of his veneration. The two most famous individual painted images at Ajanta are the two over-life size figures of the protective bodhisattvas Padmapani and Vajrapani on either side of the entrance to the Buddha shrine on the wall of the rear aisle (see illustrations above). According to Spink, the original dating of the paintings to about 625 arose largely or entirely because James Fegusson, a 19th-century architectural historian, had decided that a scene showing an ambassador being received, with figures in Persian dress, represented a recorded embassy to Persia (from a Hindu monarch at that) around that date.
CAVE 2
Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation.
Cave 2 has a porch quite different from Cave one. Even the façade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The front porch consists of cells supported by pillared vestibules on both ends. The cells on the previously "wasted areas" were needed to meet the greater housing requirements in later years. Porch-end cells became a trend in all later Vakataka excavations. The simple single cells on porch-ends were converted into CPVs or were planned to provide more room, symmetry, and beauty.
The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha's life in former existences as Bodhisattva. Just as the stories illustrated in cave 1 emphasize kingship, those in cave 2 show many "noble and powerful" women in prominent roles, leading to suggestions that the patron was an unknown woman. The porch's rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior.
The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. The colonnades have rock-beams above and below them. The capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative, and semi-divine forms.
Paintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. The painted narratives of the Jataka tales are depicted only on the walls, which demanded the special attention of the devotee. They are didactic in nature, meant to inform the community about the Buddha's teachings and life through successive rebirths. Their placement on the walls required the devotee to walk through the aisles and 'read' the narratives depicted in various episodes. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research since the site's rediscovery in 1819. Dieter Schlingloff's identifications have updated our knowledge on the subject.
CAVE 4
The Archeological Survey of India board outside the caves gives the following detail about cave 4: "This is the largest monastery planned on a grandiose scale but was never finished. An inscription on the pedestal of the buddha's image mentions that it was a gift from a person named Mathura and paleographically belongs to 6th century A.D. It consists of a verandah, a hypostylar hall, sanctum with an antechamber and a series of unfinished cells. The rear wall of the verandah contains the panel of Litany of Avalokiteśvara".
The sanctuary houses a colossal image of the Buddha in preaching pose flanked by bodhisattvas and celestial nymphs hovering above.
CAVES 9-10
Caves 9 and 10 are the two chaitya halls from the first period of construction, though both were also undergoing an uncompleted reworking at the end of the second period. Cave 10 was perhaps originally of the 1st century BCE, and cave 9 about a hundred years later. The small "shrinelets" called caves 9A to 9D and 10A also date from the second period, and were commissioned by individuals.
The paintings in cave 10 include some surviving from the early period, many from an incomplete programme of modernization in the second period, and a very large number of smaller late intrusive images, nearly all Buddhas and many with donor inscriptions from individuals. These mostly avoided over-painting the "official" programme and after the best positions were used up are tucked away in less prominent positions not yet painted; the total of these (including those now lost) was probably over 300, and the hands of many different artists are visible.
OTHER CAVES
Cave 3 is merely a start of an excavation; according to Spink it was begun right at the end of the final period of work and soon abandoned. Caves 5 and 6 are viharas, the latter on two floors, that were late works of which only the lower floor of cave 6 was ever finished. The upper floor of cave 6 has many private votive sculptures, and a shrine Buddha, but is otherwise unfinished. Cave 7 has a grand facade with two porticos but, perhaps because of faults in the rock, which posed problems in many caves, was never taken very deep into the cliff, and consists only of the two porticos and a shrine room with antechamber, with no central hall. Some cells were fitted in.
Cave 8 was long thought to date to the first period of construction, but Spink sees it as perhaps the earliest cave from the second period, its shrine an "afterthought". The statue may have been loose rather than carved from the living rock, as it has now vanished. The cave was painted, but only traces remain.
SPINK´S DETAILED CHRONOLOGY
Walter M. Spink has over recent decades developed a very precise and circumstantial chronology for the second period of work on the site, which unlike earlier scholars, he places entirely in the 5th century. This is based on evidence such as the inscriptions and artistic style, combined with the many uncompleted elements of the caves. He believes the earlier group of caves, which like other scholars he dates only approximately, to the period "between 100 BCE – 100 CE", were at some later point completely abandoned and remained so "for over three centuries", as the local population had turned mainly Hindu. This changed with the accession of the Emperor Harishena of the Vakataka Dynasty, who reigned from 460 to his death in 477. Harisena extended the Central Indian Vakataka Empire to include a stretch of the east coast of India; the Gupta Empire ruled northern India at the same period, and the Pallava dynasty much of the south.
According to Spink, Harisena encouraged a group of associates, including his prime minister Varahadeva and Upendragupta, the sub-king in whose territory Ajanta was, to dig out new caves, which were individually commissioned, some containing inscriptions recording the donation. This activity began in 462 but was mostly suspended in 468 because of threats from the neighbouring Asmaka kings. Work continued on only caves 1, Harisena's own commission, and 17–20, commissioned by Upendragupta. In 472 the situation was such that work was suspended completely, in a period that Spink calls "the Hiatus", which lasted until about 475, by which time the Asmakas had replaced Upendragupta as the local rulers.
Work was then resumed, but again disrupted by Harisena's death in 477, soon after which major excavation ceased, except at cave 26, which the Asmakas were sponsoring themselves. The Asmakas launched a revolt against Harisena's son, which brought about the end of the Vakataka Dynasty. In the years 478–480 major excavation by important patrons was replaced by a rash of "intrusions" – statues added to existing caves, and small shrines dotted about where there was space between them. These were commissioned by less powerful individuals, some monks, who had not previously been able to make additions to the large excavations of the rulers and courtiers. They were added to the facades, the return sides of the entrances, and to walls inside the caves. According to Spink, "After 480, not a single image was ever made again at the site", and as Hinduism again dominated the region, the site was again abandoned, this time for over a millennium.
Spink does not use "circa" in his dates, but says that "one should allow a margin of error of one year or perhaps even two in all cases".
IMPACT ON MODERN INDIAN PAINTINGS
The Ajanta paintings, or more likely the general style they come from, influenced painting in Tibet and Sri Lanka.
The rediscovery of ancient Indian paintings at Ajanta provided Indian artists examples from ancient India to follow. Nandlal Bose experimented with techniques to follow the ancient style which allowed him to develop his unique style. Abanindranath Tagore also used the Ajanta paintings for inspiration.
WIKIPEDIA
The Iñupiat Heritage Center (IHC) brings people together to promote and perpetuate Iñupiat history, language and culture. This dynamic interaction between the Iñupiat and their environment fosters the awareness, understanding and appreciation of the Iñupiat way of life from generation to generation.
Michael D Stotts - The Iñupiat Heritage Center Manager giving tour.
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***Publishing Photostories clicked in the most exotic places on earth in 15 countries that I visited in last 6 months. For all stories of 70+ Countries go to my oficial website sundeepkullu.com ™©®
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RAWANDA KIGALI TOUR
PHOTOSTORIES from SunDeepKullu.Com World Travel Fine Art Photography Sept 2012
Having Spent interesting day in Kigali in RAWANDA where I arrived today morning via Entebbe in UGANDA the city of Hills is really great to discover and very distinct from other Africa countries.
Know Kigali Rawanda the best of best -
Rwanda is a relatively stable East African country, and easily accessible from Kenya and Uganda. It is relatively easy, safe and simple to travel around. It is landlocked, surrounded by Uganda to the north, Tanzania to the east, Burundi to the south, and the Democratic Republic of the Congo to the west.
Rwanda is not only the land of a thousand hills, but also a country rich in flora and fauna and stunning natural beauty in its scenic rolling and breathtaking green savannah. The country hosts some rare species of animals like the silverback mountain Gorillas as well as unique birds and insects in the tropical forest of Nyungwe.
Understand
It's been over a decade since the civil war and genocide of 1994 that devastated this tiny country, and it's come a long way. Shake off your memories of war and expect a warm and friendly welcome to a beautiful country.
Rwanda has 3 national parks:
Akagera National Park
Volcanoes National Park – home to the mountain gorillas, this park spreads into Uganda and Democratic Republic of the Congo
Nyungwe National Park
If you are traveling overland, it is no longer possible to obtain a visa at the border. However, visa application can easily be made at www.migration.gov.rw/singleform.php. You will within a few days receive a entry visa acceptance by email. Bringing this acceptance letter, the visa will be issued at the border. The US$60 visa fee is paid at the border.
I'm not a plastic bag!
Thin plastic bags are prohibited in Rwanda. Luggage will be searched at the border and even at police checkpoints throughout the country to make sure you are not carrying plastic bags. Prior to the ban, one-time use plastic bags plagued city streets and threatened the delicate environment. Today, Rwandan cities are almost litter-free and some of the cleanest in Africa!
See
National Museum of Butare in Butare –
Lake Kivu in Western Rwanda – a large lake bordering the DRC, it's a nice place to relax for a week or so
The Genocide Memorial in Kigali – fantastic insight into one of the world's greatest tragedies
The Nyamata Genocide Memorial is a worthwhile complement to the Gisozi Memorial Centre in Kigali. Located in the town of Nyamata, 40 minutes south of Kigali on a newly paved road, the memorial is in a church where over 5000 people were killed during the 1994 genocide. Visitors take a short tour and see the evidence of the genocide that remains there today - victims' clothing piled on benches, the roof pockmarked with bullet holes, and the open crypts behind the church that hold the remains of over 40,000 people from the area. An extremely moving look into one of the places where the genocide was carried out.
The Ntarama Genocide Memorial, just 20 minutes away from the Nyamata memorial, is also worth visiting. Like the Nyamata memorial, this site was a church before the genocide, and was nationalized to serve as a memorial after thousands of people were killed within its walls. The church itself is similar to Nyamata, with victims' clothing and remains visible to offer proof of what happened there, but Ntarama also has a peaceful memorial garden and wall of names in the back of its compound. Ask the resident guide for a tour in English or French, and remember to give them a donation for the site afterwards; it gets almost no support from the government. To get there, take the highway from Kigali to Nyamata and follow the signs for the Ntarama memorial, before you reach Nyamata.
Do
Parc National des Volcans, home of the mountain gorillas, and the setting for Gorillas in the Mist author Dian Fossey's research. If you can afford it it's an excellent experience... even possible as a daytrip from Kigali. Enquire at the Rwandan Office for Tourism and National Parks (ORTPN), Boulevard de la Révolution n° 1, Kigali, +(250) 576514 or 573396, reservation@rwandatourism.com, [4]. It cost 500 US dollars per person. Besides that you will have to take an official taxi which costs you another 50 USD. Prices are rising constantly, and you should really consider if you want them to get away with these rip-off prices, because as long as there are people who pay them, they will continue to rise them.
Respect
Rwanda is a very conservative society; most people dress modestly, especially women. Wearing shorts or tight skirts and skimpy tops is likely to get you stared at twice as much as normal.
It is unusual for a couple to make public displays of affection, even though many men walk hand in hand with male friends. Also, Rwandans will generally never eat or drink in public, apart from at restaurants. Rwandan women are rarely seen smoking in public or out in bars unaccompanied.
Rwandans are very private, reserved people and loud public confrontations (shouting matches) or obvious displays of emotion (such as crying) are also frowned upon. If you feel you are being overcharged by a trader, quietly persisting with the negotiation (or your complaint!) is likely to produce results much faster than an angry outburst!
It is also impolite to make eye contact with an elder.
Please understand that Rwanda is still recovering from a civil war and genocide in which over 800,000 people, perhaps a million, were killed. Many Rwandese lost relatives and friends. Remember to be sensitive to this sad fact when dealing with Rwandese. Most people today are trying to forget the tribal divisions and would rather be referred to as Rwandese than Hutu or Tutsi. It is considered impolite to ask someone about their ethnic origin.
There is not much political discourse in Rwanda, unlike in many neighboring countries such as Uganda and Kenya where people talk freely about the government and political issues, people in Rwanda will be uncomfortable if asked their views or even if seated at a table where national politics is discussed.
Kigali in Rawanda houses several memorials, museums, and centers dedicated to the Rwandan Genocide, including the Kigali Genocide Memorial Centre. Other museums include the National Museum of Rwanda and Kandt House Museum of Natural History.
Urugwiro is the official residence of the President of Rwanda. It constitutes an entire village within the Kacyiru distrct of Kigali.
The city now has international class hotels, some played a role in history:
The Mille Collines in the Kiyovu area. This hotel became a refugee centre during the genocide, as famously depicted in the film Hotel Rwanda (although the hotel shown in the film is in fact in South Africa). It is also the setting for the famous novel Un dimanche à la piscine à Kigali, by Quebecer Gil Courtemanche, and its movie adaptation Un dimanche à Kigali.
The Kigali Serena Hotel, formerly known as the InterContinental Kigali. Formerly a Belgian-owned hotel known as the Diplomates, the hotel was briefly portrayed in the second half of Hotel Rwanda. It was later bought by the InterContinental Hotels group and remodeled in 2003.
Interesting places around Kigali
The Virunga National Park (French: Parc National des Virunga), formerly named Albert National Park, is a 7800 square km National Park that stretches from the Virunga Mountains in the South, to the Rwenzori Mountains in the North, in the eastern Democratic Republic of the Congo, bordering Volcanoes National Park in Rwanda and Rwenzori Mountains National Park and Queen Elisabeth National Park in Uganda. The park was established in 1925 as Africa's first national park. It was classified as a World Heritage Site in 1979. In recent years the park has become known for its mountain gorillas, although poaching and the Congo Civil War have seriously damaged its wildlife population.
The Lava Lake of the Nyiragongo Volcano, one of the spectacular sights of Virunga NP
Virunga NP Mountain Gorillas
Bukima Camp is situated in the foothills of the Mikeno Mountain, the home of the Congolese Mountain Gorillas
Rwenzori Mountains
Silverback of the Rugendo family at Bukima patrol Post
The cabanes are situated at the edge of the crater in sight of the lava lake, the sight of which has an astounding effect on visitors
Lake Kivu is one of three known exploding lakes
sundeepkullu2.see.me/onelife2012.
SunDeep ™ Bhardwaj Kullu World Photography ™ | SDBWP™ | 70+Countries | 555+Places-Destinations | 6 Continents | 2222+ Fine Art Photostories | 16 Years World Travel | 5 years World Tour May 2007-till date-continued | 10 years Incredible India tour from year 1997-2007 May | Multiple years exploring the unexplored Himachal Pradesh Himalayas India | Exhibitions & Fine art Gallery HCV | Landscapes People & Portraits | Fine Art Photography | World Travel Photostories Coffee Table Books eBooks iBooks |
Thanks and regards sundeepkullu.com Sundeep™ Bhardwaj World Photography SDBWP™
WORLD IS MY STUDIO
Still on my World tour entering 6th year of World travel to 70+Countries 555+Destinations across 6 Continents and multiple years of Travel Photography I am busy designing my first Travel Photostories Book named "111 MIRACULOUS WONDERS OF WORLD YOU MUST SEE WHEN YOU ALIVE" and corresponding "111 WOW" iPhone Application soon by the end of this year 2012
SunDeep ™ Bhardwaj World Photography ™ | SDBWP™ | 7 years Amazing World Tour May 2007-till date-continued to 2014 if possible | 10 years Incredible India tour from year 1997-2007 May including Unforgettable Himachal Tour since Childhood |
Photostories on iPhone iPad iPod PC Blackberry Nokia Samsung or any Smart Phone here www.flickr.com/photos/wittysam
Mobile Blog : sundeepkullu.wordpress.com
Flickr Interesting Thumbnail View : www.flickr.com/search/?q=wittysam&s=int&ss=2&...;
Recently Explored 16 Destinations ( In first half of 2012)
*INDIA- Mayad Valley, Lahaul , Rohtang Pass, Manikaran, Jispa, Sissu, Gondla, Deepak Taal, Baralachha Pass, Zing Zing Bar, Deepak Taal , Suraj Taal, Kasol, Kullu-Manali, Bhunter, Keyong
*AUSTRALIA-Melbourne-Great Ocean Road-Twelve Apostles this week
*BELGIUM Brussels
*DENMARK-Copenhagen, VIETNAM Hanoi-Halong Bay
*MALAYSIA-Kuala Lumpur-Kanting Falls-Batu Caves-Petronas Twin Towers
*CANADA-Quebec-Ontario-Montreal
*SOUTH AFRICA Johnnesburg-The Cradle of Mankind-Stolkfontien Caves and Lion & Rino Park
*INDIA-Kashmir-Gulmarg-Srinagar-HIMACHAL-Kullu-Manali-Shimla-Lahaul-Spiti -Dharamshala-Kinnaur-Udaipur-Leh-Laddakh-*KERALA-Athirappily & Vazhachal Falls
*GERMANY-BAVERIA-Black Forest-Oberbayern-Garmich Patenkirchen-Eibsee Lake-Zugspitze
*UK-SCOTLAND Glencoe-Fort William-Castle around Scotland-Lochness-ENGLAND-London-Manchester-Glasgow
*ITALY-Rome-UNESCO Heritage Sites around Rome
*VATICAN CITY-Samallest Country in the World
*CHINA-Shanghai-Zhejiang-Hangzhou-The West Lake-Chongquing-Mount Emei Scenic Area, including Leshan Giant Buddha Scenic Area-Sichuan Giant Panda Sanctuaries-Lushan-Buddha JAPAN Horyuji Temple 1300 years old Japan's most sacred place & UNESCO site
*UAE-Al Ain-Abu Dhabi-Dubai-Burj Al Arab-Al Khaleefa Tallest building in the World,
*SWEDEN-Stocholm-National Parks
*NORWAY-Oslo
*RAWANDA-Kigali
These are reduced sized pictures.Orignal pictures shot in 5,616 × 3,744 (21.1 megapixels) using Canon EOS 5D Mark II FULL FRAME DSLR CAMERA or 3872 x 2592 (10.2 million effective pixels) using NIKON D60 DSLR or 4,288 × 2,848 (12.3 effective megapixels) USING NIKON D90 DSLR's.For full size images contact me.
Contacts:-
Primary :
wittysam@gmail.com ( E-mail/Skype/Whatsapp/Google+/LinkedIn/Fring/Yoono/Twitter/Gmail/Insta gram/http://sundeepkullu.com & Photography & Videography and Quote for Assignments related)
World Roaming +974 55344547 (Facebook Mobile/Viber/Facetime/WhatsApp)
India New Delhi & Himachal Roaming +91 8527745789 (Google Plus)
sb@sundeepkullu.com ( Facebook & Personal Mail )
Secondary :
eurekasun@yahoo.com ( Flickr & Yahoo Messenger )
admin@phototube.co ( phototube.co related )
enquiries@himachalculturalvillage.com ( himachalculturalvillage.com related )
SunDeep Bhardwaj Kullu
MBA-Sales & Mktg.(Symbiosis,Pune)
B.Pub.Admn.(H.P.University,Summer Hills, Shimla)
BHM (GCC-Bangalore)
***Publishing Photostories clicked in the most exotic places on earth in 15 countries that I visited in last 6 months. For all stories of 70+ Countries go to my oficial website sundeepkullu.com ™©®
Slide Shows | Full Screen Mode | Adobe Flash or Mobile
www.flickr.com/photos/wittysam/sets/72157624062762956/
www.flickr.com/photos/wittysam/sets/72157624062638852/show/
Available on Skype / Facetime / Viber / WhatsApp / Facebook / Google Talk / Yahoo Messenger mostly.
Facebook/Facetime/Skype/WhatsApp/Viber/Twitter/ with wittysam@gmail.com , sb@sundeepkullu.com ,
+91 8527745789 India and World roaming
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KINDLY NOTE***The Stock samples of SDBWP SunDeep Bhardwaj World Photography in flickr Photostream cannot be Copied,Distributed,Published or Used in any form,full or in part,or in any kind of media without prior permission from Sundeep Bhardwaj the owner of these images.Utilization in other websites,intenet media,pages,blogs etc without written consent is PROHIBITED.
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x
CINEMA DIGITAL
A Study of 4D Julia sets
Baraka / Baraka from DVD to 4K / Baraka with the monkey
Beatbox360
Enquanto a noite não chega (While we wait for the night â?" first Brazilian film in 4K)/(primeiro filme brasileiro em 4k)
Era la Notte
Flight to the Center of the Milky Way
Growth by aggregation 2
Jet Instabilities in a stratified fluid flow
Keio University Concert
Manny Farber (Tribute to)
Scalable City
The Nonlinear Evolution of the Universe
The Prague train
FILE INOVAÇÃO / FILE INNOVATION
Interface Cérebro-Computador – Eduardo Miranda
Sistema comercial de Reconhecimento Automático - Genius Instituto de Tecnologia
Robô de visão omnidirecional – Jun Okamoto
Loo Table: mesa interativa - André V. Perrotta, Erico Cheung e Luis Stateri dos Santos, da empresa Loodik
Simulador de Ondas e Simulador de Turbilhão - Steger produção de efeitos especiais ltda.
GAMES INSTALAÇÕES / INSTALLATIONS GAMES
Giles Askham – Aquaplayne
Jonah Warren & Steven Sanborn – Transpose
Jonah Warren & Steven Sanborn – Full Body Games
Fabiano Onça e Coméia – Tantalus Quest
Julian Oliver - levelHead
GAMES
Andreas Zecher – Understanding Games
Andrei R. Thomaz – Cubos de Cor
Arvi Teikari – Once In Space
Fabrício Fava – Futebolando
Golf Question Mark – Golf
Introversion.co.uk – Darwinia
Jens Andersson and Ida Rödén – Rorschach
Jonatan Söderström – CleanAsia!
Jonatan Söderström – AdNauseum2
Jorn Ebner – sans femme et sans avieteur
Josh Nimoy – BallDroppings
Josiah Pisciotta – Gish
Marek Walczak and Martin Wattenberg – Thinking Machine 7
Mariana Rillo – Desmanche
Mark Essen - Punishment: The punishing
Mark Essen - RANDY BALMA: MUNICIPAL ABORTIONIST
Playtime – SFZero
QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno - WATERCOULEUR PARK
QueasyGames - Jonathan Mak – Everyday Shooter
R-S-G: Radical Software Group - Kriegspiel - Guy Debord's Game of War
Shalin Shodhan (www.experimentalgameplay.com) – On a Rainy Day
Shalin Shodhan (www.experimentalgameplay.com) – Cytoplasm
Shalin Shodhan (www.experimentalgameplay.com) – Particle Rain
Tales of Tales: Auriea Harvey & Michaël Samyn - The Graveyard
Tanja Vujinovic – Osciloo
ThatGameCompany – Jenova Chen – Clouds
ThatGameCompany – Jenova Chen - flOw
JOGOS BR
JOGOS BR 1
Ayri - Uma Lenda Amazônica - Sylker Teles da Silva / Outline Interactive
Capoeira Experience - Andre Ivankio Hauer Ploszaj / Okio Serviços de Comunicação Multimídia Ltda.
Cim-itério - Wagner Gomes Carvalho / Green Land Studios
Incorporated (Emprego Maluco) - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos
Iracema Aventura – Odair Gaspar / Perceptum Software Ltda.
Nevrose: Sangue e Loucura Sob o Sol do Sertão - Rodrigo Queiroz de Oliveira
/ Gamion Realidade Virtual & Games
Raízes do Mal – Marcos Cruz Alves / Ignis Entretenimento e Informática Ltda.
JOGOS BR 2 – Jogos Completos
Cave Days - Winston George A. Petty / Insolita Studios
Peixis!
(JOGO EM DESENVOLVIMENTO) - Wallace Santos Lages / Ilusis Interactive Graphics
JOGOS BR 2 – Demos Jogáveis
Brasilia Tropicalis - Thiago Salgado Aiache de Moraes / Olympya Games
Conspiração Dumont - Guilherme Mattos Coutinho
Flora - Francisco Oliveira de Queiroz
Fórmula Galaxy – Artur Corrêa / Vencer Consultoria e Projetos Ltda.
Inferno - Alexandre Vrubel / Continuum Entertainment Ltda
Lex Venture - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos
Trem de Doido (DEMO EM DESENVOLVIMENTO) - Marcos André Penna Coutinho
Zumbi, o rei dos Palmeiras - Nicholas Lima de Souza
HIPERSÔNICA / HIPERSONICA
Hipersônica Performance
Andrei Thomaz, Francisco Serpa, Lílian Campesato e Vitor Kisil – Sonocromática
Bernhard Gal – Gal Live
+Zero: Fabrizio Augusto Poltronieri, Jonattas Marcel Poltronieri, Raphael Dall'Anese - +Zero do Brasil
Luiz duVa - Concerto para duo de laptops
Henrique Roscoe (a.k.a. 1mpar) – HOL
Jose Ignacio Hinestrosa e Testsu Kondo – Fricciones
Alexandre Fenerich e Giuliano Obici – Nmenos1
Orqstra de Laptops de São Paulo - EvEnTo 3 Movimentos para Orquestra
Hipersônica Participantes
Agricola de Cologne - soundSTORY - sound as a tool for storytelling
Jen-Kuan Chang – Drishti II
Jen-Kuan Chang – Discordance
Jen-Kuan Chang – Nekkhamma
Jen-Kuan Chang - She, Flush, Vegetable, Lo Mein, and Intolerable Happiness
Jerome Soudan – Mimetic
Matt Lewis e Jeremy Keenan – Animate Objects
Robert Dow - Precipitation within sight
Tetsu Kondo – Dendraw
Tomas Phillips – Drink_Deep
INSTALAÇÕES / INSTALLATIONS
Anaisa Franco – Connected Memories
Andrei Thomaz & Sílvia Laurentiz – 1º Subsolo
Graffiti Research Lab – Various
Hisako K. Yamakawa – Kodama
r3nder.net+i2off.org – is.3s
Jarbas Jacome – Crepúsculo dos Ídolos
Julio Obelleiro & Alberto García – Magnéticos
Julio Obelleiro & Alberto García – The Magic Torch
Mariana Manhães – Liquescer (Jarrinho)
Mariana Manhães – Liquescer (Jarrinho Azul)
Rejane Cantoni e Leonardo Crescenti – PISO
Sheldon Brown – Scalable City
Soraya Braz e Fábio FON – Roaming
Takahiro Matsuo – Phantasm
Ursula Hentschlaeger – Outer Space IP
Ursula Hentschlaeger – Phantasma
Ursula Hentschlaeger – Binary Art Site
SYMPOSIUM
Agnus Valente
Anaisa Franco
Andre Thomaz e Silvia Laurentiz
Christin Bolewski
Giles Askham
Graffiti Research Lab: James Powderly
Hidenori Watanave
Ivan Ivanoff e Jose Jimenez
Jarbas Jácome
João Fernando Igansi Nunes
Marcos Moraes
Mediengruppe Bitnik; Carmen Weisskopf, Domagoj Smoljo, Silvan Leuthold, Sven König [SWI]
Mesa Redonda (LABO) - Cicero Silva, Lev Manovich (teleconferencia) e Noah Wardrip-Fruin
Mesa Redonda [BRA] – (Hipersônica) Renata La Rocca, Gabriela Pereira Carneiro, Ana Paula Nogueira de Carvalho, Clarissa Ribeiro Pereira de Almeida. Mediação: Vivian Caccuri
Mesa Redonda [BRA] - [Ministro da Cultura: Gilberto Gil | Secretário do Audiovisual do Ministério da Cultura: Sílvio Da-Rin | Secretário de Políticas Culturais do Ministério da Cultura: Alfredo Manevy ]
Mesa Redonda [BRA] - Inovação - Lala Deheinzelin, Gian Zelada, Alessandro Dalla, Ivandro Sanches, Eduardo Giacomazzi. Mediação: Joana Ferraz
Mesa Redonda 4k - Jane de Almeida, Sheldon Brownn, Mike Toillion, Todd Margolis, Peter Otto
Nardo Germano
Nori Suzuki
Sandra Albuquerque Reis Fachinello
Satoru Tokuhisa
Sheldon Brown
Soraya Braz e Fabio FON
Suzete Venturelli, Mario Maciel e bolsistas do CNPq/UnB (Johnny Souza, Breno Rocha, João Rosa e Samuel Castro [BRA]
Ursula Hentschlaeger
Valzeli Sampaio
Cinema Documenta FILE São Paulo 2008
Antonello Matarazzo – Interferenze – Itália / Italy
Bruno Natal - Dub Echoes – Brasil / Brazil
Carlo Sansolo - Panoramika Eletronika - Brasil / Brazil
Kevin Logan – Recitation – Londres / London
Kodiak Bachine e Apollo 9 – Nuncupate – Brasil / Brazil
Linda Hilfing Nielsen - Participation 0.0 – Dinamarca
Maren Sextro e Holger Wick - Slices, Pioneers of Electronic Music – Vol.1 – Richie Hawtin Documentary – Alemanha / Germany
Matthew Bate - What The Future Sounded Like – Austrália
Thomas Ziegler, Jason Gross e Russell Charmo - OHM+ the early gurus of electronic music – Eua / USA
Mídia Arte FILE São Paulo 2008
[ fladry + jones ] Robb Fladry and Barry Jones - The War is Over 2007 – EUA / USA
Agricola de Cologne - One Day on Mars – Alemanha / Germany
alan bigelow - "When I Was President" – EUA / USA
Alessandra Ribeiro Parente Paes
Daniel Fernandes Gamez
Glauber Kotaki Rodrigues
Igor Albuquerque Bertolino
Karina Yuko Haneda
Marcio Pedrosa Tirico da Silva Junior – Reativo – Brasil / Brazil
Alessandro Capozzo – Talea – Itália / Italy
Alex Hetherington - Untitled (sexyback, folly artist) – Reino Unido / United Kingdon
Alexandre Campos, Bruno Massara e Lucilene Soares Alves - Novos Olhares sobre a Mobilidade – Brasil / Brazil
Alexandre Cardoso Rodrigues Nunes
Bruno Coimbra Franco
Diego Filipe Braga R. Nascimento
Fábio Rinaldi Batistine
Yumi Dayane Shimada – Abra Sua Gaveta – Brasil / Brazil
ALL: ALCIONE DE GODOY, ADILSON NG, CAMILLO LOUVISE COQUEIRO, MARINA QUEIROZ MAIA, RODOLFO ROSSI JULIANI, VINÍCIUS NAKAMURA DE BRITO – Vita Ex Maxina – Brasil / Brazil
Andreas Zingerle - Extension of Human sight – Áustria
Andrei R. Thomaz - O Tabuleiro dos Jogos que se bifurcam - First Person Movements - Brasil / Brazil
Andrei R. Thomaz e Marina Camargo – Eclipses – Brasil / Brazil
Brit Bunkley – Spin – Spite – Nova Zelândia – New Zeland
calin man – appendXship / Romênia
Carlindo da Conceição Barbosa
Kauê de Oliveira Souza
Guilherme Tetsuo Takei
Renato Michalischen
Ricardo Rodrigues Martins
Tassia Deusdara Manso
Thalyta de Almeida Barbosa / Da Música ao Caos – Brasil / Brazil
Christoph Korn – waldstueck – Alemanha / Germany
Corpos Informáticos: Bia Medeiros, Carla Rocha, Diego Azambuja, Fernando Aquino, Kacau Rodrigues, Márcio Mota, Marta Mencarini, Wanderson França – UAI 69 – Brasil / Brazil
Duda. – do pixel ao pixel – Brasil / Brazil
Daniel Kobayashi
Felipe Crivelli Ayub
Fernando Boschetti
Luiz Felipe M. Coelho
Marcelo Knelsen
Mauro Falavigna
Rafael de A. Campos
Wellington K. Guimarães Bastos - A Casa Dentro da Porta – Brasil / Brazil
David Clark - 88 Constellations for Wittgenstein – Canadá
Thais Paola Galvez
Josias Silva
Diego Abrahão Modesto
Nilson Benis
Vinicius Augusto Naka de Vasconcelos
Wilson Ruano Junior
Marcela Moreira da Silva – Rogério caos – Brasil / Brazil
Diogo Fuhrmann Misiti, Guilherme Pilz, João Henrique - Caleidoscópio Felliniano: 8 ½ - Brasil / Brazil
Agence TOPO: Elene Tremblay, Marcio Lana-Lopez, Maryse Larivière, Marie-Josée Hardy, James Prior - Mes / My contacts – Canadá / Canada
Eliane Weizmann, Fernando Marinho e Leocádio Neto – Storry teller – Brasil / Brazil
Fabian Antunes - Pousada Recanto Abaetuba – Brasil / Brazil
Edgar Franco e Fabio FON - Freakpedia - A verdadeira enciclopédia livre – Brasil / Brazil
Fernando Aquino – UAI Justiça – Brasil / Brazil
Henry Gwiazda - claudia and Paul - a doll's house is...... - there's whispering...... – EUA / USA
Architecture in Metaverse: Hidenori Watanave - "Archidemo" - Architecture in Metaverse – Hapão / Japan
Yto Aranda – Cyber Birds Dance – Chile
Dana Sperry - Sketch for an Intermezzo for the Masses, no. 7 – EUA / USA
Jorn Ebner - (sans femme et sans aviateur) – Reino Unido / United Kingdon
Josephine Anstey, Dave Pape - Office Diva – EUA / USA
Josh Fishburn – Layers – Waiting – EUA / USA
Karla Brunet – Peculiaris – Brasil / Brazil
Kevin Evensen - Veils of Light – EUA / USA
lemeh42 (santini michele and paoloni lorenza) - Study on human form and humanity #01 – Itália / Italy
linda hilfling e erik borra - misspelling generator – Dinamarca / Denmark
Lisa Link - If I Worked for 493 years – EUA / USA
Marcelo Padre – Estro – Brasil / Brazil
Martha Carrer Cruz Gabriel - Locative Painting - Brasil / Brazil
Martin John Callanan - I Wanted to See All of the News From Today – Reino Unido / United Kingdon
Mateus Knelsen, Ana Clara, Felipe Vasconcelos, Rafael Jacobsen, Ronaldo Silva - A pós-modernidade em recortes: Tide Hellmeister e as relações Design e cultura – Brasil / Brazil
Mateus Knelsen, Felipe Szulc, Mileine Assai Ishii, Pamela Cardoso, Tânia Taura - Homo ex machina – Brasil / Brazil
Michael Takeo Magruder - Sequence-n (labyrinth) - Sequence-n (horizon) – Reino Unido / United Kingdon
Michael Takeo Magruder + Drew Baker + David Steele - The Vitruvian World - Reino Unido / United Kingdon
Nina Simões - Rehearsing Reality ( An interactive non-linear docufragmentary) - Reino Unido / United Kingdon
Nurit Bar-Shai - Nothing Happens – EUA / USA
projectsinge: Blanquet Jerome - Monkey_Party – França / France
QUBO GAS - WATERCOULEUR PARK – França / France
rachelmauricio castro – 360 - R.G.B. – tybushwacka – Brasil / Brazil
Rafael Rozendaal - future physics – Netherlands
Regina Célia Pinto - Ninhos & Magia – Brasil / Brazil
Roni Ribeiro – Bípedes – Brasil / Brazil
Rubens Pássaro - ISTO NÃO É PARANÓIA – Brasil / Brazil
Rui Filipe Antunes – xTNZ – Brasil / Brazil
Selcuk ARTUT & Cem OCALAN – NewsPaperBox – Brazil
Tanja Vujinovic - "Without Title" – Switzerland
Hipersônica Screening – FILE São Paulo 2008
1mpar – hol – Brasil / Brazil
Art Zoyd - EYECATCHER 1 - EYECATCHER 2, Man with a movie camera - Movie-Concert for The Fall of the Usher House – França / France
Audiobeamers (FroZenSP and Klinid) - Paesaggi Liquidi II – Alemanha / Germany
Bernhard Loibner – Meltdown – Áustria
Bjørn Erik Haugen – Regress - Norway
Celia Eid e Sébastien Béranger – Gymel – França / France
Studio Brutus/Citrullo International - H2O – Itália / Italy
Daniel Carvalho - OUT_FLOW PART I – Brasil / Brazil
David Muth - You Are The Sony Of My Life – Reino Unido / United Kingdon
Dennis Summers - Phase Shift Vídeos – EUA / USA
Duprass - Liora Belford & Ido Govrin – Free Field – Pink / Noise – Israel
Fernando Velázquez – Nómada – Brasil / Brazil
Frames aka Flames - Performance audiovisual sincronizada: Sociedade pós-moderna, novas tecnologias e espaço urbano - Brasil / Brazil
Frederico Pessoa - butterbox – diving - Brasil / Brazil
Jay Needham - Narrative Half-life – EUA / USA
Soundsthatmatter – trotting – briji – Brasil / Brazil
x
He was walking down the street with kind of a far away look in his eyes.
You could tell that something heavy was occupying his mind.
I knew he'd make an interesting photograph.
'Whatshappenin' I asked him energetically.
That seemed to snap his gaze.
He said he was looking for a job.
Like so many other people in this difficult economy.
'Today's the day' I said as I shot away.
'Today you gonna get that job.'
We talked for a couple minutes...
small talk...
but it was the kinda talk that we both fed on...
it was like two strangers each givin' the other a pep talk.
He needed that mojo elevated...
I needed the interaction with him and my camera...
we both needed the warm up.
We both had some business to do on the streets.
By the time it was over we'd parted with a handshake and a better energy than when we'd started.
The moment was profitable for us both.
I got my picture.
I hope he got his job.
Educational Classroom Poster for teaching elementary math. This one help students understand the concepts and units of Metric Lengths.
Available in letter size and now 11"x17".
I have struggled with understanding, especially in the last couple years since I received my promotion. I struggle more so not in my understanding of things or of others, but in getting others to understand me and my world. It’s hard to explain why I work the hours I do and to get others to understand why yes, it is very difficult in my day to find time just to go to the bathroom or find a minute to eat something. One of my supervisors asked me the other day, “Do you eat? I never see you eat.” I just smiled on the outside and said “Of course I eat, can’t you tell??” but when the laugh faded, inside I was crumbling…
Sure, there’s the psychological side that says “Maybe that’s the way I want my life to be. I built my life to be this way on purpose for _______ reason….”, but I don’t quite buy that. No- correction: I don’t buy that whatsoever.
I wish I had a better means to bring understanding of my world and of my mind to those close to me: what I am going through, what my world is like, what millions of thoughts race through my mind. I wish I had the time to explain, be transparent, and be understood. But I have the feeling I will be chasing that elusive understanding for some time…
Theme: Musings And Ramblings
Year Six Of My 365 Project
© DM Parody 2017 (www.dotcom.gi/photos) These images are protected by copyright. You CANNOT copy or republish any of these photos without written consent of the photographer even if you retain the watermark (if present) and/or credit the photographer. You cannot use on any media including social media either. You CAN post a link to the page where the image appears without reference to the photographer only if not promoting a commercial product or service. Copyright infringements will be followed up, legally if necessary. Thank you for your understanding.
the Ireland Glass Biennale 2023, an exhibition of work from some of the world’s most innovative glass artists, designers and craft practitioners. The Ireland Glass Biennale exhibition will be on show in the Coach House Gallery, Dublin Castle from 28 April to 20 August 2023. Through showcasing the excellence of contemporary glass practice, the Irish Glass Biennale (IGB) aspires to further the public’s understanding of the creative potential of glass and to act as a catalyst for cultural activities which centre around glass.
Humanity's direction shall always be towards a more loving and peaceful life...for younger generations and future generations to be born...
Portrait on London streets, a street worker looks back to me with understanding. This looks of human understanding remain so important for me.
I asked him, almost as I arrived in London, they were having a pause, "may I take a photo of you?" and he answered "Why? I am old" then I pointed to myself and said "And me? I am not still interesting, because of my age? I am older then you."
That is the look, telling me, "yes, take a photo"!
We were not so different after all and he felt also interesting.
I do remember, looking at these photos again, when Judy Carter told us "SEE the others" around you, tell them you see them.
Photo taken less then a month after my arrival in UK.
During my first photo stroll in London centre.
My set "no more a stranger" of photos of people I did not know
Old Vieux Öreg set
Merton begins this transitional section by clearly indicating that while vows are an essential element of religious profession, they are not the only or even the most important dimension of that profession. First in significance is the commitment to ongoing conversion, to “putting on” Christ, to following Christ, to sharing in the mystery of Christ. Then comes incorporation into the religious community, to be understood not just in a juridical context, as a contractual arrangement, but as participation in a supernatural family that is a manifestation of Trinitarian mutual love. “In this society of love,” Merton writes, “what matters is not the assertion of rights and the enforcement of obligations, but mutual trust and love” (157), which should then radiate out from the community to embrace the entire Church. Without this family spirit, religious life is reduced to “organized hypocrisy” (158). Consecration to God by vow is thus “but the third in importance of the three essential elements of religious profession” (158).
Merton then goes on to consider the nature of religious profession in general and of making vows in particular from both canonical and theological perspectives. The validity of profession depends on the fulfillment of various external factors (age, valid novitiate, explicit public declaration, etc.) but most fundamentally on free and full consent. The theological foundation of profession, traced through the successive diverse acts that constitute consent according to Thomistic analysis, is the will to obligate oneself, the free decision of the entire person, involving intelligence, senses and emotions, and the will. Thus to make a vow is not to renounce one’s freedom but to exercise it in an act of worship, the definitive offering of oneself to God. “Only to such a One can we give our liberty without debasing it. Only to such a One can we give our liberty and become yet more free by doing so” (185).
-The life of the vows : initiation into the monastic tradition 6 / by Thomas Merton ; edited with an introduction by Patrick F. O’Connell ; preface by Augustine Roberts.
Well..... Some people will do anything for attention. Especially after many glasses of wine.
Whoever this person is. She fooled Sandra into thinking she was me.
Can you believe that. Getting drunk and foolish and doing some kind of Spring ritual dance of fertility...... I mean. ... What kind of person would do such a thing.
Even though it was very warm yesterday. And people were sunbathing.
Maybe she had one of those hot flashes l read about.
Maybe she forgot she was outside and it was daytime and she thought she was doing her morning yoga.
Maybe she was sleep walking. Yes....... Sleepwalking. .... Everyone sleepwalks. And if you sleep naked... It makes sense. And if she's been working hard maybe she forgot it was daytime and fell asleep while sunbathing and had a dream about some exotic fertility ritual.
Well..... Maybe l misjudged this totally innocent creature of the forest.
I feel so ashamed by not being so sympathetic.......
Sandra's understanding. Maybe she will see things my way.
Tuttles 🙈🙈🙈🙈🐇🐰🐤🐣🐥🌹🌹❤️💋
Wat is d meaning of M.U?
Mutual understanding?.
MALI!
...
Eto un:
wala kau comitment kaya wag ka maayado mag'xpect...
Pwede ka magselos,
pwede ka magtampo,
pero d ka pwede mgalit.
Pwede mkipagd8 sa iba,
pero wag ng maqgpapaalam.
Pwede mo cya lambingin,
pwede yakapin.
At pag nlaman mo my gf/bf na cya...
Pwede ka umiyak,
pwede ka msaktan,
pero di mo cya pwede sumbatan.
Dhl ang M.U ay
isang
"MALABONG USAPAN."
msaya pero msakit!?at wlang katuturan.
Understanding The Moon Phases
Have you ever wondered what causes the moon phases?
Diagram Explanation
The illustration may look a little complex at first, but it's easy to explain.
Sunlight is shown coming in from the right. The earth, of course, is at the center of the diagram. The moon is shown at 8 key stages during its rotation around the earth. The dotted line from the earth to the moon represents your line of sight when looking at the moon. To help you visualize how the moon would appear at that point in the cycle, you can look at the larger moon image. The moon phase name is shown alongside the image.
One important thing to notice is that exactly one half of the moon is always illuminated by the sun. However, at certain times we see both the sunlit portion and the shadowed portion -- and that creates the various moon phase shapes we are all familiar with. Also note that the shadowed part of the moon is invisible to the naked eye; in the diagram above, it is only shown for clarification purposes.
So the basic explanation is that the lunar phases are created by changing angles (relative positions) of the earth, the moon and the sun, as the moon orbits the earth.
Moon Phases Simplified
It's probably easiest to understand the moon cycle in this order: new moon and full moon, first quarter and third quarter, and the phases in between.
As shown in the above diagram, the new moon occurs when the moon is positioned between the earth and sun. The three objects are in approximate alignment (why "approximate" is explained below). The entire illuminated portion of the moon is on the back side of the moon, the half that we cannot see.
At a full moon, the earth, moon, and sun are in approximate alignment, just as the new moon, but the moon is on the opposite side of the earth, so the entire sunlit part of the moon is facing us. The shadowed portion is entirely hidden from view.
The first quarter and third quarter moons (both often called a "half moon"), happen when the moon is at a 90 degree angle with respect to the earth and sun. So we are seeing exactly half of the moon illuminated and half in shadow.
Once you understand those four key moon phases, the phases between should be fairly easy to visualize, as the illuminated portion gradually transitions between them.
An easy way to remember and understand those "between" lunar phase names is by breaking out and defining 4 words: crescent, gibbous, waxing, and waning. The word crescent refers to the phases where the moon is less that half illuminated. The word gibbous refers to phases where the moon is more than half illuminated. Waxing essentially means "growing" or expanding in illumination, and waning means "shrinking" or decreasing in illumination.
Thus you can simply combine the two words to create the phase name, as follows:
After the new moon, the sunlit portion is increasing, but less than half, so it is waxing crescent. After the first quarter, the sunlit portion is still increasing, but now it is more than half, so it is waxing gibbous. After the full moon (maximum illumination), the light continually decreases. So the waning gibbous phase occurs next. Following the third quarter is the waning crescent, which wanes until the light is completely gone -- a new moon.
The Moon's Orbit
You may have personally observed that the moon goes through a complete moon phases cycle in about one month. That's true, but it's not exactly one month. The synodic period or lunation is exactly 29.5305882 days. It's the time required for the moon to move to the same position as seen by an observer on earth. If you were to view the moon cycling the earth from outside our solar system (the viewpoint of the stars), the time required is 27.3217 days, roughly two days less. This figure is called the sidereal period or orbital period. Why is the synodic period different from the sidereal period? The short answer is because we see the sunlit moon from a slowly moving position: the earth! During the moon cycle, the earth has moved approximately one month along its year-long orbit around the sun, altering our angle of viewpoint, and thus, the phase. The earth's orbital direction is such that it lengthens the period for earthbound observers.
Although the synodic and sidereal periods are exact numbers, the moon phase can't be precisely calculated by simple division of days because the moon's motion (orbital speed and position) is affected and perturbed by various forces of different strengths. Hence, complex equations are used to determine the exact position and phase of the moon at any given point in time.
Also, looking at the diagram, you may have wondered why, at a new moon, the moon doesn't block the sun, and at a full moon, why the earth doesn't block sunlight from reaching the moon. The reason is because the moon's orbit about the earth is about 5 degrees off from the earth-sun orbital plane.
However, at special times during the year, the earth, moon, and sun do in fact "line up". When the moon blocks the sun or a part of it, it's called a solar eclipse, and it can only happen during the new moon phase. When the earth casts a shadow on the moon, it's called a lunar eclipse, and can only happen during the full moon phase. Roughly 4 to 7 eclipses happen in any given year, but most of them minor or "partial" eclipses. Major lunar or solar eclipses are relatively uncommon.
Facebook pages -- Understanding your Facebook page
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What is the purpose of a Facebook page? For one of the purposes of a Facebook page is to give you the ability to reach customers where they are in their location from around the world.
One of the cool things about Facebook, is it people all over the world visit it. They visit Facebook to connect with their friends and even family members as well as other things that they enjoy and have interest in. These things may include businesses and organizations just like yours.
Your Facebook page, if designed correctly, can help you tremendously in marketing your business or cause. Your Facebook page is a place for customers can in turn learn about you, your products, and even your business services. your customers will learn on your page about the things you from old, they will do so in your news feeds, and the constantly updating list of your unique stories that you post on Facebook.
One of the best things about your page is the fact that it is free to you, it is easy for you to set up, and your Facebook page helps people to find you on facebook.
Facebook pages, built for businesses and mobile users
According to online resources, well over a billion people visit Facebook pages each and every month. And according to several articles online more and more individuals are visiting Facebook pages on their smartphones weather Android or Apple each and every day. For you to use your facebook it is never been more important to you or for your business, for it to be readily accessible on mobile devices.
Facebook pages, well simply put they work great on mobile devices. Your page on Facebook will make it easier for you to daily communicate with your customers. On your Facebook page youTo help your customers and help them make purchases, and even keep them coming back for more.
If you're into apps, then you will enjoy the Facebook pages manager app! This app is free and available on both Android and Apple products. With this app you can manage your Facebook page or pages very quickly and respond to your customers request no matter where you are.
Facebook pages, drives customers to take action
What is it about Facebook page? That makes it easy for customers eagerly learn more about you and your business? well and give them up to date information about how they can start using your products and/or services. Your unique page will always be loaded with all the up-to-date features available on Facebook which will enable you to accomplish all your unique business goals, no matter what business line or niche market you are interested in.
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Dave Shirley
Find me on Facebook at www.facebook.com/dave.shirley.522
As a child I loved looking at the covers and the illustrations within my dad's old science magazines. I didn't actually read any, just looked at the pictures. It's still absolutely inspirational stuff.
THREE PHOTOS, OVERLAID ONE on the another, tell a still hidden story, or at least a story not well known of this now famous Air Canada “stretch” DC-8 crash.
While these photos are not a perfect match-up (because each photo was taken from a different vantage point)…still, their alignment IS close enough. Can there be any doubt about what they reveal?
There are distinctive land based markers from the span of years 1970, 2004, and 2018 that once matched—and brought together through a digital overlay—tell the astute viewer this untold story: The FLIGHT 621 MEMORIAL GARDEN (Castlemore) Ontario sits RIGHT ON TOP of the exact July 5, 1970 crash point of the ill-fated airliner.
Compare the 1970 UPI Press photo, with the 2004 Google Earth photo, and the final 2018 Google Earth photo noting the circled markers with their contents—which align—almost perfectly.
It is here where the crippled Air Canada “Stretch” DC-8-63 (CF-TIW) went fourteen feet into the ground at approximately 250 mph, killing all 109 passengers and crew in what remains Air Canada’s largest loss of life accident to this day.
The Memorial Garden, the 109 granite markers (representing each person who perished) and the large pink granite boulder with its’ black granite plaque inscribed with each crash victim’s name and the adjacent portioned off parcel of land marked by its’ double row of fledgling trees (to the immediate south, right in the photo) display the careful planning, and consideration of the land developers and planning partners.
This hallowed bit of ground indeed encapsulates the main body of the Air Canada DC-8 crash.
And while the City of Brampton wanted to locate the Memorial Garden and Cemetery somewhere…“near to” the crash site, it was engineer Diarmuid Horgan, of Candevcon Limited, who insisted the Memorial be placed right atop the actual crash point. And rightly so.
I am someone who walked the field numerous times, back in the day, stood at the old (now removed) bridge and atop the former Burgsma residence.
I was there when the new house was being erected atop the old Burgsma home lot—with Burgsma kitchen tile and other household remnants—on the very boundary of the new home’s concrete basement. So the planners got the crash location right, as can now be seen by all who view my video.
BUT—IS THAT IT?
No, the Castlemore Memorial is still more.
It is an official Ontario irregular cemetery.
Unfortunately, bones of crash victims were inadvertently left behind after the crash.
Or were buried deeply by the force of the crash at the time—pushed downward into the soil—eventually surfacing decades later.
I, (Paul Cardin) made the first unpleasant discovery of Flight 621’s victim’s bones still remaining in the field, in June 2002, after seeing a Mike Strobel SUN article (November 2001) revisiting the 1970 crash accompanied by Will Burgsma who resided in the house noted in the video. With Mike’s article sitting in my car for months, I finally had the opportunity to go have a look in the early summer of 2002.
Hundreds of bones (and notable aircraft wreckage) were eventually collected by myself and other members of “Friends of Flight 621” (Carol Parr, Barb Winckler, Carrie Parr, Tom Stone, Mike Quatrale, Gord Ransom, Rebecca Reid, and the independent researcher Jan Burton). Some victim families also found aircraft wreckage on site, but thankfully no bone fragments. Peter Hill, son of Second Officer (navigator) did however find a partial denture which was startling to all of us there with him.
In 2003, ex-Metro police officer Tom Stone called Robert Milton (Air Canada CEO) himself and put forth the idea of a new memorial being erected on site, and that the deplorable situation of victim’s bones remains still being found at the former crash site be rectified. Days later, Tom and I were in the field with three Air Canada executives, and Doug Kirkwood, who had assisted with the crash clean-up emergency personnel back in July of 1970. The executive trio were surprised to find so much aircraft debris still in the field, that one of them was even able to identify a piece he found, and where it had come from on the aircraft!
In 2004, Carol Parr, on CBC TV again, with viewers in the millions called for a memorial to be built on the former crash site.
In 2004, Barbara Winckler, a 1970 eyewitness to the Air Canada crash, gathered an information package together for the City of Brampton that included photos, newspaper clippings, history and details about the crash, pages from the crash report AND most importantly information about how and why the Province of Ontario can accord irregular cemetery status to unusual grave-sites. This information package was given to Jim Leonard of the Brampton Historical Society, who presented it to the City, for us.
Given the existing situation at the former crash site, Barb knew that the Air Canada crash site would qualify as an irregular cemetery, as she, and Carol Parr (another eyewitness to the crash) had together, with other “Friends”, found numerous bones in the farm field themselves! At a multitude of locations.
I had a Flight 621 website that noted, complete with pictures, from 2003 onward, the more ridiculous and recent happenings and discoveries at the former crash site.
Several victim’s families found my Flight 621 website and contacted me though it. Some came to the field, including a member of the Labonte family who expressed their distress about the ongoing bone situation, to their Quebec MP at the time, who then raised the issue in the House of Commons!
In 2006, Diarmuid Horgan called an aviation archeologist, Dana Poulton, and his associates to investigate the former crash site. The team proceeded to conduct digs and discovered 90 more victim’s bones—all over the former crash site. It was then determined that the existing “situation” of the field had to be properly dealt with. A problem “Friends of Flight 621”, on TV, through newspaper and radio, web sites, and postings had complained about for years—but lacked official capacity with the City, or those who would actually address these specific matters. City Councillor, John Sprovieri, did respond to us, and told us the situation would take about five years to wind its way through city hall.
But he noted, I, or rather my discoveries, had created a “situation”!
John stated that if people were told about the crash—many…probably wouldn’t want to buy a new house there. And if potential homeowners weren’t told about the crash, and found out later—well, the City could be sued.
But the situation was resolved. Potential homeowners were told about the crash, people bought homes there, AND most importantly to me, no more crash victim bones would be found at the former crash site.
Proper burial of the deceased is a corporeal work of mercy, as every Catholic knows. Jesus, the Lord, Himself, was buried according to long-held Jewish religious practices of the Old Covenant. Jews and Catholics know the importance God places on a proper burial. Only savages, or the reprobate, don’t bury their dead. And considering the horrific nature of the crash itself, the lives lost so tragically, with the additional indignity of the remaining bones (inadvertently left behind for more than three decades) out there a farm field, in all seasons—proper burial of the victims at that point—became an indispensable work of charity surpassing even almsgiving itself.
The bones the “Friends of Flight 621” found were turned over to the Coroner’s Office through Candevcon Limited. The remaining victim’s bones still dispersed within the crash site soil, were finally gathered together strategically, by removing the large tract of affected soil, and entombing it right under the Flight 621 Memorial Garden and Cemetery. The area which includes the crash arena is currently marked off by the double row of trees, previously mentioned, and with additional white obelisks. I myself witnessed, and photographed part of this encapsulating process, as it unfolded.
Let the readership note, victims of Flight 621 at the time of the crash were buried by Air Canada in Toronto’s Mount Pleasant Cemetery, among famous Canadians, musicians, and even a prime minister or two.
But it is here, in Castlemore on July 5, 1970—where these passengers and crew of Flight 621 breathed their last.
So, it is only fitting, that they are also buried here.
Check here, on July 5, 2020, after 7 pm:
www.flickr.com/photos/78215847@N00/albums/721576246894922...
ADD A CONDOLENCE to the FLIGHT 621 FAMILIES, or a LOVED ONE from FLIGHT 621, or a MEMORY of a PERSONAL EVENT related to the crash…at the City of Brampton's permanent Flight 621 site…SEE: www.brampton.ca/EN/City-Hall/Protocol-Office/Brampton-Rem...
REST IN PEACE passengers and crew of Flight 621:
Adams, Celine Fradette
Adams, Pierre J
Beaudin, Gaetan
Belanger, Mrs.
Belanger, Jacques
Belanger, Jean
Belanger, Roland
Belanger, Rosanne
Benson, Helen
Benson, Leonard
Benson, Mary
Benson, Richard
Bertrand, Ginette
Boosamra, Lynn
Boulanger, Guy
Bradshaw, Dollie
Cedilot, Robert J
Chapdeleine, Jeannine
Chapdeleine, Joanne
Chapdeleine, Mario
Charent, Jean Maurice
Clarke, Devona Olivia
Cote, Francine
Daoust, Yolande
Desmarais, Brigitte
Desmarais, G
Dicaire, Alice (Marie)
Dicaire, Gilles
Dicaire, Linda
Dicaire, Luke
Dicaire, Mark
Dion, Suzanne
Dore, Jacqueline
Earle, Lewella
Earle, Linda
Filippone, Francesco
Filippone, Linda
Filippone, Marie
Gee, Bernard
Goulet, Denise M
Grenier, Madeleine
Growse, Diana Cicely
Growse, Jane
Growse, Roger
Hamilton, Karen E
Hamilton, Peter Cameron
Herrmann, Ronald Alvin
Hill, Harry Gordon
Holiday, Claude
Houston, Irene Margaret
Houston, Wesley
Jakobsen, Vagn Aage
Labonte, Gilles
Leclaire, Marie Rose
Leclaire, Oscar
Leduc, Henri W
Lepage, Claudette
Mailhiot, Claire Gagnon
Mailhiot, Gerald Bernard
Maitz, Gustave
Maitz, Karoline
McKettrick, Winnifred
McTague, John
Medizza, Carla
Mohammed, Dolly
Molino, Antonio
Molino, Michael (Michel)
Moore, Frederick T
Partridge, Andrea
Partridge, Carnie (Carnis) Ann
Partridge, Cyril Wayne
Phillips, Kenneth William
Poirier, Rita
Raymond, Gilles
Raymond, Martial
Robert, Aline
Robert, Georges E
Robidoux, Lionel
Rowland, Donald
Silverberg, Marci
Silverberg, Merle
Silverberg, Steven
Simon, Istvan
Simon, Mark
Smith, Dwight Lee
St. Laurent, Blanche
Stepping, Glenn Thomas
Sultan, Celia
Sultan, Jerald. M
Sultan, Robert. L
Szpakowicz, Borys
Szpakowicz, Serge
Tielens, Carmen
Tielens, Frederick
Tournovits, George
Tournovits, Soula (Athanasia)
Weinberg, Carla
Weinberg, Rita
Weinberg, Wendy
Whittingham, Jennifer
Whittingham, John
Whittingham, Reginald
Whybro, Mary Baker
Wieczorek, Hildegund
Witmer, Edgar
Wong, Ngar-Quon
Wong, Suzie
Wong, Wong (Mansing)
Woodward, Dallas J
© 2020 LPR CARDIN II - Friends of Flight 621
© 1970 UPI Press
© 2004 Google Earth Maps
© 2018 Google Earth Maps
© 2014 Dominican Sisters of Mary, Mother of the Eucharist,
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