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Thomas à Kempis and the Plato Stained Glass Window in the Rijksmuseum Amsterdam
Thomas à Kempis was a prominent medieval Christian author and monk, known for his renowned work "The Imitation of Christ." Born in 1380 in Germany, he joined the Augustinian monastery of Mount St. Agnes in the Netherlands and spent most of his life there. Kempis's writings emphasized the importance of humility, self-discipline, and inner spiritual growth. "The Imitation of Christ" became one of the most widely read and influential Christian devotional books, offering guidance on the path to spiritual enlightenment.
The Rijksmuseum Amsterdam, located in the heart of the Netherlands, is renowned for its vast collection of art and historical artifacts. Among its treasures is a striking stained glass window featuring the ancient Greek philosopher Plato. Plato was a pivotal figure in the development of Western philosophy, known for his dialogues and profound ideas about truth, justice, and the ideal forms. His teachings greatly influenced subsequent philosophical and intellectual traditions.
The stained glass window at the Rijksmuseum Amsterdam combines these two significant figures, placing Thomas à Kempis and Plato side by side. This juxtaposition highlights the intersection between Christian spirituality and classical philosophy, representing the rich intellectual and cultural heritage of Europe. The window serves as a visual symbol of the enduring human quest for wisdom, truth, and moral guidance, bridging the gap between different epochs and belief systems.
Visitors to the Rijksmuseum can admire this captivating stained glass window, marveling at the artistry and craftsmanship that brings together the spiritual wisdom of Thomas à Kempis and the philosophical insights of Plato. It serves as a reminder of the diverse sources of inspiration and the universal human pursuit of knowledge and understanding.
photo rights reserved by Ben
The stone sculptures in Sno, a small village in the Kazbegi region of Georgia, are part of a remarkable art project in the Caucasus. These sculptures consist of impressive stone artworks depicting giant faces, often with a melancholic or mysterious expression. They were created by local artist Merab Piranishvili, who is renowned for his unique ability to bring faces and emotions to life in natural stone. Working primarily with local stones, he carves expressive facial features that tell stories about life, the soul, and the deep connection with nature. The sculptures symbolize the ancient wisdom of the mountain dwellers and the spirit of the past. The faces sometimes appear sad or contemplative, reflecting both the challenges and the beauty of life in the Caucasus. Fully integrated into the surrounding landscape, the sculptures stand among the mountains, hills, and rugged grasslands, blending seamlessly with their natural environment. This is what makes Piranishvili’s work so unique: he respects the natural shapes of the stones and subtly adds human characteristics without compromising their raw, natural beauty. Piranishvili often works directly in the field, selecting local stones and carving them with a hammer and chisel. He carefully considers the natural form of each stone, adapting his designs to create a result that looks organic and harmonizes with the surrounding environment.
Sno is located near the breathtaking Stepantsminda area and the imposing Mount Kazbegi. The stone sculptures are a hidden gem in this region, attracting an increasing number of art enthusiasts and travelers. The site exudes a serene, almost meditative atmosphere—perfect for those seeking something unique off the beaten path. If you ever find yourself near Kazbegi, these sculptures are well worth a visit. They offer a truly unique experience where art and nature come together in perfect harmony.
De stenen sculpturen in Sno, een klein dorpje in de Kazbegi-regio van Georgië, maken deel uit van een bijzonder kunstproject in de Kaukasus. De sculpturen bestaan uit indrukwekkende stenen kunstwerken van gigantische gezichten, die vaak een melancholische of mysterieuze uitstraling hebben. Ze zijn gecreëerd door de lokale kunstenaar Merab Piranishvili, die bekendstaat om zijn unieke vaardigheid om gezichten en emoties tot leven te brengen in natuursteen. Hij werkt voornamelijk met lokale stenen en geeft ze expressieve gezichtsuitdrukkingen die verhalen vertellen over het leven, de ziel en de diepe verbondenheid met de natuur. De sculpturen symboliseren de oude wijsheid van de bergbewoners en de geest van het verleden. De gezichten tonen soms een droevige of reflectieve uitdrukking, wat de uitdagingen én de schoonheid van het leven in de Kaukasus weerspiegelt. De beelden zijn volledig geïntegreerd in het omringende landschap: ze staan tussen de bergen, heuvels en het ruige grasland, waardoor ze naadloos opgaan in hun natuurlijke omgeving. Dit maakt het werk van Piranishvili zo uniek: hij respecteert de oorspronkelijke vormen van de stenen en voegt subtiel menselijke kenmerken toe, zonder hun ruwe, natuurlijke schoonheid aan te tasten. Sno ligt vlakbij het adembenemende berggebied Stepantsminda en de imposante Kazbegi-berg. De stenen sculpturen zijn een verborgen juweel in deze regio en trekken steeds meer kunstliefhebbers en reizigers aan. De plek straalt een rustige, bijna meditatieve sfeer uit, ideaal voor wie op zoek is naar iets unieks buiten de gebaande paden. Piranishvili werkt meestal direct in het veld, waarbij hij natuursteen uit de regio selecteert en met hamer en beitel bewerkt. Hij houdt rekening met de oorspronkelijke vormen van de steen en past zijn ontwerpen hierop aan, zodat het eindresultaat natuurlijk oogt en harmonieert met de omgeving. Als je ooit in de buurt van Kazbegi bent, mag je deze sculpturen zeker niet missen. Ze bieden een bijzondere ervaring waarin kunst en natuur op een unieke manier samensmelten!
photo rights reserved by Ben
The stone sculptures in Sno, a small village in the Kazbegi region of Georgia, are part of a remarkable art project in the Caucasus. These sculptures consist of impressive stone artworks depicting giant faces, often with a melancholic or mysterious expression. They were created by local artist Merab Piranishvili, who is renowned for his unique ability to bring faces and emotions to life in natural stone. Working primarily with local stones, he carves expressive facial features that tell stories about life, the soul, and the deep connection with nature. The sculptures symbolize the ancient wisdom of the mountain dwellers and the spirit of the past. The faces sometimes appear sad or contemplative, reflecting both the challenges and the beauty of life in the Caucasus. Fully integrated into the surrounding landscape, the sculptures stand among the mountains, hills, and rugged grasslands, blending seamlessly with their natural environment. This is what makes Piranishvili’s work so unique: he respects the natural shapes of the stones and subtly adds human characteristics without compromising their raw, natural beauty. Piranishvili often works directly in the field, selecting local stones and carving them with a hammer and chisel. He carefully considers the natural form of each stone, adapting his designs to create a result that looks organic and harmonizes with the surrounding environment.
Sno is located near the breathtaking Stepantsminda area and the imposing Mount Kazbegi. The stone sculptures are a hidden gem in this region, attracting an increasing number of art enthusiasts and travelers. The site exudes a serene, almost meditative atmosphere—perfect for those seeking something unique off the beaten path. If you ever find yourself near Kazbegi, these sculptures are well worth a visit. They offer a truly unique experience where art and nature come together in perfect harmony.
De stenen sculpturen in Sno, een klein dorpje in de Kazbegi-regio van Georgië, maken deel uit van een bijzonder kunstproject in de Kaukasus. De sculpturen bestaan uit indrukwekkende stenen kunstwerken van gigantische gezichten, die vaak een melancholische of mysterieuze uitstraling hebben. Ze zijn gecreëerd door de lokale kunstenaar Merab Piranishvili, die bekendstaat om zijn unieke vaardigheid om gezichten en emoties tot leven te brengen in natuursteen. Hij werkt voornamelijk met lokale stenen en geeft ze expressieve gezichtsuitdrukkingen die verhalen vertellen over het leven, de ziel en de diepe verbondenheid met de natuur. De sculpturen symboliseren de oude wijsheid van de bergbewoners en de geest van het verleden. De gezichten tonen soms een droevige of reflectieve uitdrukking, wat de uitdagingen én de schoonheid van het leven in de Kaukasus weerspiegelt. De beelden zijn volledig geïntegreerd in het omringende landschap: ze staan tussen de bergen, heuvels en het ruige grasland, waardoor ze naadloos opgaan in hun natuurlijke omgeving. Dit maakt het werk van Piranishvili zo uniek: hij respecteert de oorspronkelijke vormen van de stenen en voegt subtiel menselijke kenmerken toe, zonder hun ruwe, natuurlijke schoonheid aan te tasten. Sno ligt vlakbij het adembenemende berggebied Stepantsminda en de imposante Kazbegi-berg. De stenen sculpturen zijn een verborgen juweel in deze regio en trekken steeds meer kunstliefhebbers en reizigers aan. De plek straalt een rustige, bijna meditatieve sfeer uit, ideaal voor wie op zoek is naar iets unieks buiten de gebaande paden. Piranishvili werkt meestal direct in het veld, waarbij hij natuursteen uit de regio selecteert en met hamer en beitel bewerkt. Hij houdt rekening met de oorspronkelijke vormen van de steen en past zijn ontwerpen hierop aan, zodat het eindresultaat natuurlijk oogt en harmonieert met de omgeving. Als je ooit in de buurt van Kazbegi bent, mag je deze sculpturen zeker niet missen. Ze bieden een bijzondere ervaring waarin kunst en natuur op een unieke manier samensmelten!
Be the observer, unmoved by the turmoil and thoughts of the ego mind,
eventually those random thoughts and concerns will subside, leaving you, the observer,
the conscious awareness that is the real you,
the "I AM" consciousness.
Ancient wisdom
photo rights reserved by Ben
The stone sculptures in Sno, a small village in the Kazbegi region of Georgia, are part of a remarkable art project in the Caucasus. These sculptures consist of impressive stone artworks depicting giant faces, often with a melancholic or mysterious expression. They were created by local artist Merab Piranishvili, who is renowned for his unique ability to bring faces and emotions to life in natural stone. Working primarily with local stones, he carves expressive facial features that tell stories about life, the soul, and the deep connection with nature. The sculptures symbolize the ancient wisdom of the mountain dwellers and the spirit of the past. The faces sometimes appear sad or contemplative, reflecting both the challenges and the beauty of life in the Caucasus. Fully integrated into the surrounding landscape, the sculptures stand among the mountains, hills, and rugged grasslands, blending seamlessly with their natural environment. This is what makes Piranishvili’s work so unique: he respects the natural shapes of the stones and subtly adds human characteristics without compromising their raw, natural beauty. Piranishvili often works directly in the field, selecting local stones and carving them with a hammer and chisel. He carefully considers the natural form of each stone, adapting his designs to create a result that looks organic and harmonizes with the surrounding environment.
Sno is located near the breathtaking Stepantsminda area and the imposing Mount Kazbegi. The stone sculptures are a hidden gem in this region, attracting an increasing number of art enthusiasts and travelers. The site exudes a serene, almost meditative atmosphere—perfect for those seeking something unique off the beaten path. If you ever find yourself near Kazbegi, these sculptures are well worth a visit. They offer a truly unique experience where art and nature come together in perfect harmony.
De stenen sculpturen in Sno, een klein dorpje in de Kazbegi-regio van Georgië, maken deel uit van een bijzonder kunstproject in de Kaukasus. De sculpturen bestaan uit indrukwekkende stenen kunstwerken van gigantische gezichten, die vaak een melancholische of mysterieuze uitstraling hebben. Ze zijn gecreëerd door de lokale kunstenaar Merab Piranishvili, die bekendstaat om zijn unieke vaardigheid om gezichten en emoties tot leven te brengen in natuursteen. Hij werkt voornamelijk met lokale stenen en geeft ze expressieve gezichtsuitdrukkingen die verhalen vertellen over het leven, de ziel en de diepe verbondenheid met de natuur. De sculpturen symboliseren de oude wijsheid van de bergbewoners en de geest van het verleden. De gezichten tonen soms een droevige of reflectieve uitdrukking, wat de uitdagingen én de schoonheid van het leven in de Kaukasus weerspiegelt. De beelden zijn volledig geïntegreerd in het omringende landschap: ze staan tussen de bergen, heuvels en het ruige grasland, waardoor ze naadloos opgaan in hun natuurlijke omgeving. Dit maakt het werk van Piranishvili zo uniek: hij respecteert de oorspronkelijke vormen van de stenen en voegt subtiel menselijke kenmerken toe, zonder hun ruwe, natuurlijke schoonheid aan te tasten. Sno ligt vlakbij het adembenemende berggebied Stepantsminda en de imposante Kazbegi-berg. De stenen sculpturen zijn een verborgen juweel in deze regio en trekken steeds meer kunstliefhebbers en reizigers aan. De plek straalt een rustige, bijna meditatieve sfeer uit, ideaal voor wie op zoek is naar iets unieks buiten de gebaande paden. Piranishvili werkt meestal direct in het veld, waarbij hij natuursteen uit de regio selecteert en met hamer en beitel bewerkt. Hij houdt rekening met de oorspronkelijke vormen van de steen en past zijn ontwerpen hierop aan, zodat het eindresultaat natuurlijk oogt en harmonieert met de omgeving. Als je ooit in de buurt van Kazbegi bent, mag je deze sculpturen zeker niet missen. Ze bieden een bijzondere ervaring waarin kunst en natuur op een unieke manier samensmelten!
photo rights reserved by Ben
The stone sculptures in Sno, a small village in the Kazbegi region of Georgia, are part of a remarkable art project in the Caucasus. These sculptures consist of impressive stone artworks depicting giant faces, often with a melancholic or mysterious expression. They were created by local artist Merab Piranishvili, who is renowned for his unique ability to bring faces and emotions to life in natural stone. Working primarily with local stones, he carves expressive facial features that tell stories about life, the soul, and the deep connection with nature. The sculptures symbolize the ancient wisdom of the mountain dwellers and the spirit of the past. The faces sometimes appear sad or contemplative, reflecting both the challenges and the beauty of life in the Caucasus. Fully integrated into the surrounding landscape, the sculptures stand among the mountains, hills, and rugged grasslands, blending seamlessly with their natural environment. This is what makes Piranishvili’s work so unique: he respects the natural shapes of the stones and subtly adds human characteristics without compromising their raw, natural beauty. Piranishvili often works directly in the field, selecting local stones and carving them with a hammer and chisel. He carefully considers the natural form of each stone, adapting his designs to create a result that looks organic and harmonizes with the surrounding environment.
Alexandre Kazbegi (1848–1893) was a famous Georgian writer and one of the most important literary figures of the 19th century. He was born in Stepantsminda (now known as Kazbegi), a picturesque village in the Caucasus Mountains. His work often reflected the life, culture, and struggles of the people of this mountainous region. Kazbegi came from a noble family, but felt a strong connection with the common people of the mountains, such as shepherds and peasants. He studied in Tbilisi and later in Moscow, where he immersed himself in literature and philosophy. Eventually, he returned to his native region. In order to understand the simple life of the mountain people, he chose to work as a shepherd for a while. This experience formed the basis for his literary works. Kazbegi's stories often revolved around justice, struggle against oppression, and the freedom of the mountains. He portrayed the rugged, free spirit of the people of the Caucasus and their strong connection with nature. His works are imbued with heroic figures and tragic conflicts, which made them beloved by readers in Georgia. Alexandre Kazbegi is considered a cultural icon in Georgia. His works helped to strengthen Georgian national identity. In short, Alexandre Kazbegi was not only a writer, but also a voice of the mountains and a symbol of Georgian spirit and fighting spirit.
De stenen sculpturen in Sno, een klein dorpje in de Kazbegi-regio van Georgië, maken deel uit van een bijzonder kunstproject in de Kaukasus. Deze sculpturen bestaan uit indrukwekkende kunstwerken van gigantische gezichten, die vaak een melancholische of mysterieuze uitstraling hebben. Ze zijn gecreëerd door de lokale kunstenaar Merab Piranishvili, die bekendstaat om zijn unieke vaardigheid om gezichten en emoties tot leven te brengen in natuursteen. Hij werkt voornamelijk met lokale stenen en geeft ze expressieve gezichtsuitdrukkingen die verhalen vertellen over het leven in de bergen en de rijke Georgische cultuur. Een van de prominente figuren die in Sno wordt geëerd, is Alexandre Kazbegi 1848–1893, een beroemde Georgische schrijver en een belangrijke literaire figuur van de 19e eeuw. Geboren in Stepantsminda (nu Kazbegi), een dorp in de bergen van de Kaukasus, weerspiegelde zijn werk het leven, de cultuur en de strijd van de bergbewoners. Hoewel hij uit een adellijke familie kwam, voelde hij zich sterk verbonden met gewone mensen zoals herders en boeren. Kazbegi studeerde in Tbilisi en Moskou, maar keerde uiteindelijk terug naar zijn geboortestreek, waar hij als herder werkte om hun leven beter te begrijpen. Zijn verhalen gaan vaak over gerechtigheid, strijd tegen onderdrukking en de vrijheid van de bergen. Hij portretteerde de ruige, vrije geest van de Kaukasische bevolking en hun diepe verbondenheid met de natuur. Kazbegi’s werken, vol heroïsche figuren en tragische conflicten, versterkten de Georgische nationale identiteit en maakten hem tot een cultureel icoon. Tot op de dag van vandaag wordt hij herinnerd als de stem van de bergen en een symbool van de Georgische geest en strijdlust.
photo rights reserved by Ben
The stone sculptures in Sno, a small village in the Kazbegi region of Georgia, are part of a remarkable art project in the Caucasus. These sculptures consist of impressive stone artworks depicting giant faces, often with a melancholic or mysterious expression. They were created by local artist Merab Piranishvili, who is renowned for his unique ability to bring faces and emotions to life in natural stone. Working primarily with local stones, he carves expressive facial features that tell stories about life, the soul, and the deep connection with nature. The sculptures symbolize the ancient wisdom of the mountain dwellers and the spirit of the past. The faces sometimes appear sad or contemplative, reflecting both the challenges and the beauty of life in the Caucasus. Fully integrated into the surrounding landscape, the sculptures stand among the mountains, hills, and rugged grasslands, blending seamlessly with their natural environment. This is what makes Piranishvili’s work so unique: he respects the natural shapes of the stones and subtly adds human characteristics without compromising their raw, natural beauty. Piranishvili often works directly in the field, selecting local stones and carving them with a hammer and chisel. He carefully considers the natural form of each stone, adapting his designs to create a result that looks organic and harmonizes with the surrounding environment.
Sno is located near the breathtaking Stepantsminda area and the imposing Mount Kazbegi. The stone sculptures are a hidden gem in this region, attracting an increasing number of art enthusiasts and travelers. The site exudes a serene, almost meditative atmosphere—perfect for those seeking something unique off the beaten path. If you ever find yourself near Kazbegi, these sculptures are well worth a visit. They offer a truly unique experience where art and nature come together in perfect harmony.
De stenen sculpturen in Sno, een klein dorpje in de Kazbegi-regio van Georgië, maken deel uit van een bijzonder kunstproject in de Kaukasus. De sculpturen bestaan uit indrukwekkende stenen kunstwerken van gigantische gezichten, die vaak een melancholische of mysterieuze uitstraling hebben. Ze zijn gecreëerd door de lokale kunstenaar Merab Piranishvili, die bekendstaat om zijn unieke vaardigheid om gezichten en emoties tot leven te brengen in natuursteen. Hij werkt voornamelijk met lokale stenen en geeft ze expressieve gezichtsuitdrukkingen die verhalen vertellen over het leven, de ziel en de diepe verbondenheid met de natuur. De sculpturen symboliseren de oude wijsheid van de bergbewoners en de geest van het verleden. De gezichten tonen soms een droevige of reflectieve uitdrukking, wat de uitdagingen én de schoonheid van het leven in de Kaukasus weerspiegelt. De beelden zijn volledig geïntegreerd in het omringende landschap: ze staan tussen de bergen, heuvels en het ruige grasland, waardoor ze naadloos opgaan in hun natuurlijke omgeving. Dit maakt het werk van Piranishvili zo uniek: hij respecteert de oorspronkelijke vormen van de stenen en voegt subtiel menselijke kenmerken toe, zonder hun ruwe, natuurlijke schoonheid aan te tasten. Sno ligt vlakbij het adembenemende berggebied Stepantsminda en de imposante Kazbegi-berg. De stenen sculpturen zijn een verborgen juweel in deze regio en trekken steeds meer kunstliefhebbers en reizigers aan. De plek straalt een rustige, bijna meditatieve sfeer uit, ideaal voor wie op zoek is naar iets unieks buiten de gebaande paden. Piranishvili werkt meestal direct in het veld, waarbij hij natuursteen uit de regio selecteert en met hamer en beitel bewerkt. Hij houdt rekening met de oorspronkelijke vormen van de steen en past zijn ontwerpen hierop aan, zodat het eindresultaat natuurlijk oogt en harmonieert met de omgeving. Als je ooit in de buurt van Kazbegi bent, mag je deze sculpturen zeker niet missen. Ze bieden een bijzondere ervaring waarin kunst en natuur op een unieke manier samensmelten!
“The Buddha emphasizes that the best teacher is inside each of us. Within ourselves. That teacher is the spiritual light we all carry inside us. Let this spiritual spark be our teacher.”
THANKS SO MUCH FOR YOUR VIEWS, COMMENTS, FAVES AND INVITES! 🙏♥️
Beautiful Native American Totem
As seen on "Pawn Stars" History Channel
Designed to bring Harmony and peace for all who reside in the home.
The top is made from Wisteria.
Known for it's calming effects, and it's ability to bend promoting compromise.
Beads are made from gemstones, seeds, glass/plastic, and Bamboo for healing and balance.
Some of the gemstones used in the Harmony Bows are:
Rose Quartz - for peace love and harmony
Clear quartz - For clarity of mind
Various shells including mother of pearl - for emotional balance
Amazonite - for calming emotions and soothing nerves
Turquoise - for Healing, trust, and kindness
Amethyst - for spiritual psychic connections
Apatite - for unconditional love and acceptance
Peridot - for healing emotional wounds
Joined together with a large rose quartz to unite and bring peace to the people in your environment. Whether at work or home.
measuring approx. 9-12" across and approx. 11-12 inches long.
Handmade OOAK, no two are alike.
Etsy Artist,
ravenwillow
“They blame those who remain silent, they blame those who speak much, they blame those who speak in moderation. There is none in the world who is not blamed.” - Buddha
there are moments when I'm overcome with grief, worry that the precious ones behind the scenes that keep this planet alive will be no more. I see how humanity treats the smaller; pests, annoyances, to be disposed of. Yet, these insects, fungi, bacteria, birds, plants, etc, are the community which provides for us. Our existence is given by them. How can we treat our caregivers with such disregard?
L'ombra dello gnomone, proiettata su linee ormai sbiadite, sussurra il lento passare del tempo. Ogni segno, tracciato con cura in un'epoca lontana, ora lotta contro l'entropia che lo consuma. Come l'orologio solare che si affida alla luce per misurare il giorno, anche noi siamo spettatori e protagonisti del tempo che scivola via. Eppure, proprio questa evanescenza dona un valore incalcolabile a ogni singolo istante, rendendolo duraturo nel suo ricordo. E la fotografia ci aiuta a combattere l'entropia del tempo e della memoria.
Istanbul, particolare di orologio solare antico, palazzo di Topkapi. Dal mio album ricordi.
#TimePasses #SolarClock #Gnomon #TopkapiPalace #IstanbulMemories #AncientWisdom #ShadowsAndLight #EternalMoments #MelancholyBeauty #Impermanence #HistoryAndTime #LifeEntropy #LinesOfTime #ForgottenStories #Timekeepers #MomentsMatter #AntiqueCharm #EphemeralLight #SilentWhispers #TreasuresOfThePast #sundial #meridiana #topkapi #istanbul
“In the end
these things matter most:
How well did you love?
How fully did you live?
How deeply did you let go?”
― Gautama Buddha
Ancient Wisdom for 'modern' times.
I don’t personally see the attraction of being adulterous or of being in an open relationship but what consenting adults get up to is their choice.
However, if the world’s leading expert on killer rats says, “stay indoors everyone the killer rats are everywhere and you’re almost certain to be attacked and die if you set one foot outside…” and then in the next breath says “I’m just popping out for a while”, you then know by his actions no less, that his first utterance was in fact utter piffle.
Hello there. Relevant comments welcome but please do NOT post any link(s). All my images are my own original work, under my copyright, with all rights reserved. You need my permission to use any image for ANY purpose.
Copyright infringement is theft.
A local shop, where an old man named Appu, is selling Ayurvedic panacea medicines. He has age old wisdom about these medicinal plants and also about the history of the place.
photo rights reserved by Ben
The stone sculptures in Sno, a small village in the Kazbegi region of Georgia, are part of a remarkable art project in the Caucasus. These sculptures consist of impressive stone artworks depicting giant faces, often with a melancholic or mysterious expression. They were created by local artist Merab Piranishvili, who is renowned for his unique ability to bring faces and emotions to life in natural stone. Working primarily with local stones, he carves expressive facial features that tell stories about life, the soul, and the deep connection with nature. The sculptures symbolize the ancient wisdom of the mountain dwellers and the spirit of the past. The faces sometimes appear sad or contemplative, reflecting both the challenges and the beauty of life in the Caucasus. Fully integrated into the surrounding landscape, the sculptures stand among the mountains, hills, and rugged grasslands, blending seamlessly with their natural environment. This is what makes Piranishvili’s work so unique: he respects the natural shapes of the stones and subtly adds human characteristics without compromising their raw, natural beauty. Piranishvili often works directly in the field, selecting local stones and carving them with a hammer and chisel. He carefully considers the natural form of each stone, adapting his designs to create a result that looks organic and harmonizes with the surrounding environment.
1. centre The echoes of the Caucasus mountains: stone faces of Sno, 2. top left Tkarsheti: a hidden mountain gem along the iconic Jvari pass, 3. The Snostskali river flowing beneath the watchful gaze of North Chaukhi, 4. Vakhtang Gorgasali church: a beacon of faith beneath the Caucasus, 5. Sno castle: a fortress in the shadow of the Caucasus, 6. The stone head of Sno: carving history into the Caucasus mountainside, 7. The stone-carved face of the Caucasus, 8. Alexandre Kazbegi: voice of the mountains and symbol of Georgian spirit, 9. Monument of majesty: King Vakhtang Gorgasali and the scenic splendor of Sno, 10. Sno castle: guardian of the Caucasus and witness to time, 11. The raw beauty of Tkarsheti: untamed peaks and rugged landscapes, 12. Sioni is a sacred haven amidst the majestic Caucasus, 13. Serenity in the Caucasus mountains: cows beneath the Autumn sky of Sno.
De stenen sculpturen in Sno, een klein dorpje in de Kazbegi-regio van Georgië, maken deel uit van een bijzonder kunstproject in de Kaukasus. De sculpturen bestaan uit indrukwekkende stenen kunstwerken van gigantische gezichten, die vaak een melancholische of mysterieuze uitstraling hebben. Ze zijn gecreëerd door de lokale kunstenaar Merab Piranishvili, die bekendstaat om zijn unieke vaardigheid om gezichten en emoties tot leven te brengen in natuursteen. Hij werkt voornamelijk met lokale stenen en geeft ze expressieve gezichtsuitdrukkingen die verhalen vertellen over het leven, de ziel en de diepe verbondenheid met de natuur. De sculpturen symboliseren de oude wijsheid van de bergbewoners en de geest van het verleden. De gezichten tonen soms een droevige of reflectieve uitdrukking, wat de uitdagingen én de schoonheid van het leven in de Kaukasus weerspiegelt. De beelden zijn volledig geïntegreerd in het omringende landschap: ze staan tussen de bergen, heuvels en het ruige grasland, waardoor ze naadloos opgaan in hun natuurlijke omgeving. Dit maakt het werk van Piranishvili zo uniek: hij respecteert de oorspronkelijke vormen van de stenen en voegt subtiel menselijke kenmerken toe, zonder hun ruwe, natuurlijke schoonheid aan te tasten. Sno ligt vlakbij het adembenemende berggebied Stepantsminda en de imposante Kazbegi-berg. De stenen sculpturen zijn een verborgen juweel in deze regio en trekken steeds meer kunstliefhebbers en reizigers aan. De plek straalt een rustige, bijna meditatieve sfeer uit, ideaal voor wie op zoek is naar iets unieks buiten de gebaande paden. Piranishvili werkt meestal direct in het veld, waarbij hij natuursteen uit de regio selecteert en met hamer en beitel bewerkt. Hij houdt rekening met de oorspronkelijke vormen van de steen en past zijn ontwerpen hierop aan, zodat het eindresultaat natuurlijk oogt en harmonieert met de omgeving. Als je ooit in de buurt van Kazbegi bent, mag je deze sculpturen zeker niet missen. Ze bieden een bijzondere ervaring waarin kunst en natuur op een unieke manier samensmelten!
Created with fd's Flickr Toys. ....don't forget to zoom in photo!!
A striking portrait of a young hunter against ancient rock engravings in Namibia. The interplay of tradition and history highlights the deep connection between people and their land. The strong profile, detailed textures, and golden light capture a moment that transcends time.
(english follow)
Une nouvelle série dédiée, avec respect, aux sagesses anciennes des premières nations nord américaines....
«Je crois que l'homme qui est assis sur le sol dans son tipi, méditant sur la vie et sa signification, acceptant la parenté de tous les êtres, et reconnaissant l'unité avec l'univers des choses, infuse dans son être l'essence même de la civilisation. »
(Luther Standing Bear, Chef de la tribu Oglada (Sioux) (1868-1939)
photo : Grand Canyon, South Rim
A new series dedicated with respect to the ancient wisdom of the First Nations of North America
« I believe that the man who is sitting on the ground in his tipi meditating on life and its meaning, accepting the kinship of all creatures, and acknowledging unity with the universe of things, infused into his being the very essence of civilization. »
(Luther Standing Bear, Oglala Sioux Chef (1868-1939)
photo : Grand Canyon, South Rim
Created for Magic Unicorn Pink challenge
Fluidr on black ~ View small or *click* to view large ~
The rose bush is a small shrub with thorny stalks and dark green leaves and soft velvety blooms. Pink roses are the roses used to make essential oils.
*For me... a dying Rose represents...Always holding in my heart - in the memory of those who have died and gone before us*
The essential oil rose is sought after for its aphrodisiac, and as a tonic for the heart and for its uplifting mental characteristics. The rose can be found worldwide, but in France, Morocco, Bulgaria, China and India it is mostly grown to produce its essential oil. The rose essential oil is extracted by steam distillation from fresh petals. It is used for its antidepressant, antiseptic, antiviral, laxative and tonic properties. Rose oil has a rich flowery aroma, and it is often blended with other essential oil such as bergamot, geranium, lavender and Roman chamomile when used in aromatherapy mixtures.
Roses have been a romantic symbol throughout history. It is the flower of love and marriage. It has been said that Cleopatra wore rose oil when she first met Mark Anthony to capture his love. The Romans used roses at weddings and funerals, and they scattered rose petals at banquets to prevent drunkenness. Persian Warriors are said to have adorned their shields with red roses. The rose was the symbol of many armies in medieval times. The rose has also long been used as part of mediation rituals for the monks.
In today’s aromatherapy it is often used for the skin, rose essential oil is good for all skin conditions, especially mature or sensitive skins. Roses play a psychological role; it has a calming effect for grief, resentment, anger and depression. Rose essential oil has a sedative effect, which aids in times of shock and bereavement. It is used to ease nervous tension and stress, and lifts the heart.
Also - Alex ~ Fuji and I ~ informed me - roses used to make a strong alcoholic drink in Bulgaria, similar to the raki, called "giulovica",
Thanks for that ma dear..:o)
(english follow)
Une nouvelle série dédiée, avec respect, aux sagesses anciennes des premières nations nord américaines....
« Le sol que vous voyez n'est pas un sol ordinaire ... c'est la poussière du sang, de la chair et des os de nos ancêtres .... Vous aurez à creuser à travers la surface avant de trouver la terre mère... La terre, telle qu’elle est, est mon sang et ma mort, elle est consacrée. » (Shes-his, Renow Crow Nation, 19 th Century) Photo prise au Canyonlands National Park, Utah, Terre
en.wikipedia.org/wiki/Crow_Nation
A new series dedicated with respect to the ancient wisdom of the First Nations of North America
« The soil you see is not ordinary soil...it is the dust of the blood, the flesh, and the bones of our ancestors....You will have to dig down through the surface before you can find nature's earth...The land, as it is, is my blood and my dead ; it is consecrated. » (Shes-his, Renow Crow Nation, 19 th Century) - Photo taken at Canyonlands National Park, Utah,Earth
Bits & Pieces
no. 16-0291
cork
1,000 pieces, used and complete
20 x 33 in
51 x 84 cm
2022 piece count: 39,399
puzzle: 44
TED: "I fink I liked this pussel more than the oldies! It's a big flyin' owl an' there's a bonus set of 3 mini pussles wot fits togevver - baby owls, there nest an' a branch. S'odd cuz it's made of cork, an' there's wimsys too but they wuz borin' so I diddunt pick 'em out to show yew. When we opened the box sum of the pussel wuz alreddy done, so we left 'em like that. I no it's a bit cheaty but so wot?" 😉
"Do Not Limit A Child To Your Own Learning, For He Was Born In Another Time." --Chinese Proverb . . .
Seems foundational for good parenting.
* The ones that got away, and away again. A 9min 50 sec 152Mby MP4 video, with 12 sections from various locations with pictures selected which haven't made it to Flickr and which have been 'hanging about' for a good many months, in their respective directories, awaiting something to be 'done'... this video I hope will be of interest in the current crisis with the Covid-19 virus. An appropriate and very suitable piece of music, by 'Epicuros', accompanies the 146 shots.
** NB: As this is longer than the fixed 3 minute viewing in the Flickr interface, the Video must be downloaded to the desktop to see the full length.
** Right-click on the down-arrow option, the last of the three options to the lower right of the video frame. Select 'Save-As' and view...
** It has just come to my notice (10/12/23) that the Download option below and to the right of the media _does not_ allow you to download the full version, only the 3 minutes available here. So, I am going to try and 'fix' this for all videos lasting more than 3 minutes, this is the link to obtain the full version shown here-
www.flickr.tightfitz.com/Video/Lock-Down_2020_A_Landscap...
1. Aldwarke Burngreave Templeborough Wath Dropping Well. First stop Aldwarke and a very great contrast in technology here. For around 18 months I owned a Nissan 380Z, high performance sports car with just enough room for two. The 'boot' had a sign on the lid, instructing the user on how to load their golf clubs! a suitcase was out of the question, just about. At 22-25 m.p.g, the tank cost just over £100 to fill, around 80 gallons and the road tax was the highest at over £500/year. Interestingly this, my next car a Honda CRV and the present Suzuki, were all around the same insurance, £250 ish/year fully comprehensive. Obviously 'old gits' weren't deemed a risk when driving a car which had a top speed of 250m.p.h on the clock. Behind, shunting wagons in the Aldwarke U.E.S. steel yard is then, Sept 17th 2012, a TATA Steel shunter, No.53, with a haul of coiled wire ready to make up a working out of the works later. Next in sequence but 3 years later, a shot of the new Tesco site at Wicker, looking towards the Spittal Hill Tunnel area and the awnings along the side of the site and the derelict buildings in the background being 'attended too', well, some of them. Back 2 years in time and at the site, in Rotherham, of the almost complete New York Stadium, the new home of the Rotherham United Football Club. The River Don is just at left and the building, now being demolished is the old 'Guest & Chrimes' building, replete with much asbestos and once, Grade II listed. Moving on 5 years and driving past the new development at Templeborough, this is the form of the 2nd Biomass Power Station being built right next to the GCR and Midland line through the area where they intersect at Ickles; the new River Don bridge can be seen on the right, replacing a long-standing, single carriageway, blue structure which succumbed during the development. The next pair of shots were taken in July 2012 on a jaunt to discover remnants of artifacts in the Wath Yard area and in fact these two shots were taken at the old GCR's Wath Central Station site, with now very little to show the huge hive of activity which once existed here. The Station was opened in 1851 and closed as long ago as 1959. The final location, another old GC line trackbed, this time from the Dropping Well Colliery to the north of Rotherham, near Kimberworth Park. The area of the colliery is now, not surprisingly, a housing estate and the on the opposite side of Dropping Well Road is its namesake's Golf Course. The steeply-graded line ran from the colliery at the junctions of Wortley and Dropping Well Road, south to join the GCR's Blackburn Valley line at a north-facing junction, at Grange Lane; the track-bed would have gone under the M1 motorway to achieve this and the formation can still be seen on the OS map. These last 3 pictures in this section show the diminutive railway bridge carrying the single track mineral line, which crossed a footpath onto what is now the golf course and the view along the bridge looking north with the colliery area over at top right, with its 1970s housing estate peeking through the trees in these early April shots from 2012. The last shot, now looks south towards the M1 in the distance through the trees, and it is clear what the grade would have looked like to a coal-train driver as the land fell away from around 120m here, down to 50m at the junction at Grange Lane, around 1km away.
2. Oughtibridge Paper Mill site - cleared. The large site of the Oughtibridge Paper Mill was cleared by last July, 2019, and as part of the proposal to build upto 300 new houses, within a few metres in height from the course of the River Don, a new road-bridge was put in, the second such in the Upper Don Vally here, in the last year. The other bridge is at a similar development at Deepcar, below the GCR's old Deepcar Station building and it too is to receive a large number of new housing types covering that derelict land and the land released by the move of the old Sewage Works facility from there, to the new one at Morehall. The Don Valley has thus received two new road bridges in the last 18 months or so based on new housing requiring access to old derelict, and now cleared, industrial land. As these 5 pictures show, the Oughtibridge site is clear, the old bridge is still extant a little to the south if the old one and the contractors have left and the site is fenced off. I can not see, in these times in early 2020 with the spread of the Corona Virus and this country and many others, in total 'Lock-Down', and the economic down-turn which is forecast due to this, that this site will be developed in anywhere like the near future. And, I may ask, what about the River Don flooding, there appears no concession to prevention of this, as it did dramatically in July, 2007, as later, the Global Climate Crisis will have to be addressed and this after the Global Covid-19 pandemic crisis is over, which is currently affecting, globally, 2,267,744 people with 155,175 deaths...
3. Moorgate Cemetery & Janet's Grave & Boston Castle Views. Sadly, I once had two sisters, one who died in tragic circumstances before I was born and the second, in 1990 from ovarian cancer. The first shot in this short sequence shows her commemorative marble stone in Moorgate Cemetery, adorned with some flowers on the day I visited in July last year. The old Victorian Moorgate Cemetery, was opened in 1842 by business men for the sum of £499, see-
moorgatecemetery.org.uk/19th-century/
and consisted of 3 acres of land at the side of Boston Castle, another prominent Rotherham landmark. Walking through the grounds and to the hill overlooking the Rother Valley, the following scenes reveal themselves. The four next shots show the views directly to the west with the Templeborough Biomass works prominent to the upper left of centre. To the right in the next shot, a view towards Centenary Park and the GCR's line through it with the old Millmoor football stadium at the left edge of the picture and Kepples Column standing on the horizon above it to the left. The 3rd shot swings round to the south-west and towards the Scandinavian Steelworks along the Rother Valley and the centre of Sheffield in the distance. The 4th shot, zooms in to the railway interest surrounding the Masbrough Freight Depot area where various pieces of freight hardware can be seen- a set of 'Hoods' or 'Pig Pens' on the left and stacked containers occupying almost the whole of the central section of the shot. In the background the Tinsley Viaduct with the M1 on top and to to the right, the orange/black building is the Tinsley Biomass Works with the Magna Science Adventure Centre in front of it. And finally in this section, a shot of the newly refurbished 'Boston Castle' which apparently was thought to have something to do with the 'Boston Tea PArty' but in fact although being built around the same time, it has nothing to do with it at all. Well worth a visit, see-
4. Fraisthorpe Beach WWII Relics & 'She Sells Sea Shells' at Bridlington. The east coast in Yorkshire has much to commend itself and the beaches around Bridlington are now some of the cleanest in the country and with much to see, including of course, relics from World War II in the form of various section of defence installations, now slowly being dismantled by the relentless tides. In the the background, the 'new kids on the block', wind turbines are springing up everywhere and if this subsequently means no more Nuclear Power Stations, so much the better. There are however, mixed views about the impact they have on the Landscape, but at least you can visit the surrounding areas close by, something I wouldn't recommend trying at a Nuclear Power installation. On the day of this walk, 10th October, 2019, there was a large presence of crab claws with elastic bands around them, dozens of them, presumably washed back in from the shell fishing boats which now work out of Bridlington; there was even a dinosaur in the haul!
5. Tinsley Shepcote Lane & Canal views. Ten days later and I was back in the local area photographing the scene around Tinsley South Junction whilst awaiting the arrival of a GBRf light engine working which, from what we could gather, was a prelude to using Tinsley Yard as a Newell & Wright Container Port, whilst rail replacement work was underway at their depot at Masbrough. The first 13 of the 21 shots shows the 'secluded' area between the Shepcote Lane curve up to Tinsley Yard, from line line running along the Lower Don Valley from Tinsley East Junction. Hidden away at this time of year, amongst the slightly yellowing leaves, the sign board for Tinsley South Junction can be seen, the main line behind it running to Woodburn Junction and the line in front, up-grade, to the north-west corner of Tinsley Yard. The large Sheffield Road over-bridge stands prominent in the background. The small building at the side of the track is a remnant from better days when the area on this side was a Goods Yard, full of sidings and with a small goods shed at the end, this is what can be seen in the pictures, though all signs of connection with the running line, has long gone. From the 1955 OS map there looks also to have been a 'Ramp' beyond the Goods Shed, possibly for pushing wagons up to off-load cargo/coal etc onto the back of trucks; there is no sign anywhere of a road connection here though and this are is completely cut-off from access by vehicles, something which may have ensured its lack of development! Woodburn Junction's Signal W0208 can be seen for the approach back onto the main line and this is very useful to see operating on the track diagram, as a means of indicating where workings have got to when exiting the Yard; the state of the vegetation, even in late October, leaves much of the infra-structure hidden from view, though hopefully, not for the drivers. The Shepcote Lane canal over-bridge can be seen at the very end of this section of the Tinsley flight of locks and there are videos on Flickr showing this bridge being crossed, here, related to the GBRf moves on this day-
www.flickr.com/photos/daohaiku/48957284737/
and from December, 2014, a real treat, here-
www.flickr.com/photos/daohaiku/15790328909/
On the banks of the Sheffield & South Yorkshire Navigation, the two small buildings, now graffiti'd were once part of the old Tinsley Station, the area looking rather sylvan in its settings this, just before the next 4 shots showing some of the colourful freight traffic, on the motorway in this instance, although a loco, the one in the video above, does pass by to provide 'proper interest'. The H.G.V.'s were amongst about 20 I took shots of, just due to the colourful nature of the Container sides. The ones shown here are 'Truswell Haulage', 'GreenFlag', 'Emsley Crane Hire', 'Marks & Spencer', 'Sky Blue Trucks?', 'Smeets', & 'DHL'. Adding rail traction interest, here and in the video above was GBRf, class 66, 66777, 'Annette' on the 0Z23, Thrybergh Junction (not Roberts Road) to Tinsley Yard(GBRf), light engine route learner in preparation for using the south-east section of Tinsley Yard as a Container Terminal. Under the lower deck of the Tinsley Viaduct, the Sheffield Tram/Train line from Parkgate may be seen as it approaches heads towards the main part of the Supertram network at Tinsley Meadowhall tram stop; beyond, between the two decks of the viaduct, is the Tinsley Biomass Works. The last four shots show the locale in the are of the Tinsley Station site with a Sheffield Supertram heading towards the camera whilst heading away, is one of the Tram/trains heading for the terminus at Sheffield Cathedral; this land once occupied by GCR metals. In the foreground, another signal in the area, Woodburn's W0205 signal and also useful on the track diagram for spotting moves along into the Yard, or along the main-line to Woodburn Junction; the deciding element being the 'feather', unlit here, atop the signal for the divergence, up-grade, into the Yard at Shepcote Lane Junction. In the same location, the end of Sheffield Road from Rotherham, as it approaches the large Tinsley roundabout at the southern end of Junction 34, and the usual mess associated with derelict land. A row of houses once stood here but they were demolished in the years since I photographed them on 10th June, 2008; now its advertising awnings attempting to hide the mess some folk feel in the need to just dump anywhere...
6. Tinsley Yard refurbishment for container traffic & DMU & Toyon Berry at Woolley Wood. The height of the activity at what turned out to be a temporary Container Terminal for Newell & Wright, though I was told in the middle of operations it was to be permanent.. Here its 30th October after the light engine moves ran a week ago with GBRf 66777 and now the place is received around 4 in-bound and 4 out-bound services a day, freeing up Masbrough whilst long-overdue track-relaying is taking place on the main and into the terminal. Even is these shots its clear what a muddy place this is for this type of operation and the 7 pictures show the state of the ground looking to the south, in the first shot and then the north in the second. The entry for off and on-loading is the dirt road on the right, passing the N&W office which has been equipped with generator and telephone and some floodlighting. The exit road was to be the old dive-under at far left but it didn't take long for this to collapse and which meant some remedial work had to be undertaken to make it more robust; the large pile of dirt was part of this and the depth of lorry tracks in the mud is easy to see. In the second shot, the concrete blocks mark the line of the in-bound road on the left and on the right, the Container wagons access right of centre, with a long rake of parked up redundant flat-bed wagons which have been shunted up the stub of the Yard' through line. The 3rd shots shows the in-filling has begun but it looks like they have their work cut-out for them and .. in a very short time, the rains began and flooded the whole area around Rotherham and as far as here... the worse rain for a long time, though, it turned out not to be the last! The 4th shot shows the remnant of Tinsley Yard at right with one of the two large M&S aircraft hangar-type buildings dominant at centre. The last shots show the work on-going to try and provide a better road surface for the out-bound traffic and a road-roller is busy compacting material to establish a good surface with following, on the same day, the pile of muck awaiting laying into the soft ground of the exit road under Wood Lane bridge. Autumn is underway as evidenced in the last shot with the road-roller doing its best, Autumn colours are evident and the heavy rain isn't far off! Last shot was on the following day when the sun managed to illuminate the Toyon Berries at the side of the Blackburn Valley line at Woolley Wood where a Northern DMU class 153, 153332, heads south towards Sheffield on the 1Y17 service to Nottingham via Sheffield.
7. Miscel. shots, Masbrough, Orgreave and Class 20s, 20312 & 20302, at Neepsend on the RHTT in early November, 2013. Some 'stuff' which was going on in 2016 with two views from the area near Masbrough once occupied by the 'Tivoli' cinema, one of a handful which were once available in Rotherham, the others being the 'Essoldo', the 'Odeon' and 'Hippodrome'; the 'Tivoli' was finally demolished in 1989 after closing as a cinema on 31st January 1959 with the final films being Alan Ladd in 'The Proud Rebel' and Dean Jones in 'Handle With Care', see-
cinematreasures.org/theaters/25863
The intervening shots between these two, were taken on the the old Orgreave Coking plant site, a large part of which, on the northern side was being redeveloped for the Waverley Housing Estate of around 4000 houses of one sort or another, the shots here being from March, 2016. Finally, over at Parkwood Springs in 2013, and 3 years before this working was finally withdrawn from the Stocksbridge branch line, the final operation being in October/November 2016, the RHTT set can be seen heading up-grade through the old Neepsend Station site. This is the Rail Head Treatment Train, with Direct Rail Services, class 20s, 20312 & 20302 at the rear on the 3S13, Sheffield to Stocksbridge Works and in about 40 minutes it will have reversed and return as 3S14, Stocksbridge Works to York Thrall Europa with 20302 then leading. The last shot is of the set motoring up-grade towards Owlerton, Wadsley Bridge, Wharncliffe Wood and finally Deepcar for the reversal just outside the MS&LR's Deepcar Station, now a private residence of course.; the terrain speaks for itself. By 2017, the 'Citrus LandRover' had taken over these duties, see-
www.flickr.com/photos/daohaiku/43893626960/
taken on 31st October in the same location and-
www.flickr.com/photos/daohaiku/43893627790/
taken in Wharncliffe Wood about 40 minutes after the first one during the 2nd year of operation. I had no inkling in 2017, how this set was running and on what days... that information was obtained at the Wadsley branch of Sainsburys the following year, when I happened on two track-workers buying some lunch and quizzed them about the 'SandRover'. They were most obliging and obtained the details from the appropriate person at Blast Lane at the Wicker, the centre for Network Rail Track operations in the area.!
8. Flooding at Morehall & Oughtibridge. As mentioned above, in the section on the Container Terminal operations at Tinsley, although conditions there weren't perfect in late October 2019, about 10 days later, they got a whole lot worse. These 9 shots show the vast amount of rain which fell just after the 1st week in November, with all the local reservoirs now full and over-brimming, the first shot showing the over-flow at Morehall. This like Broomhead, its feeder water, and just to the north at Stocksbridge, Underbank, Midhope and Langsett with Scout Dyke, Royd Moor and Ingbirchworth further north still, but which all flow into the River Don when they are full; and there's Winscar at the Don's head at Dunford Bridge! So one can imagine the calamity which can happen during prolonged heavy rain which occured during the British Summer, July, of 2007. At this time it was not nearly as bad but the increase in reservoir water levels caused the Don to flood in certain places and unfortunately one of the worst areas hit locally, was that around Rotherham Central Station. This is significant due to the fact that the diverted container traffic into and out of Tinsley Yard, from the temporary Newell & Wright operation, ran along the Lower Don Vally line, though Kilnhurst, Rotherham Central and Tinsley and into the Yard. After suspending operations at the Yard due to the problems with the road mentioned earlier, workings recommenced on 6th November with the 1st container load from the London Gateway, see video here-
www.flickr.com/photos/daohaiku/49024523378/
but this only lasted two days, as the heavy flooding which ensued after the 6th November, resulted in the weekend working on the 9th November, getting stuck at Kilnhurst, as Rotherham Central reverted back to its old function, a canal bed, and the station was flooded up to the platforms, stopping all moves from the north along the GCR line though Tinsley and into the Yard... These next pictures show some of the local mayhem cause near where I live, on the north-west side of Sheffield, close to Oughtibridge. A flooded road with 'Satsuma' Ford doing a three-point turn, the water coming out of a local care home and flowing straight down hill to the River at the bridge crossing. Subsequent pictures show the impact of the water as it flows down-hill towards the river, with local residents sand-bagging entrances to keep the water at bay. The 'spate' of the river can be seen in at the Oughtibridge bridge with a golden labrador dog at the side of the river whose chances I wouldn't fancy if it fell in... Doncaster wouldn't be that far away the speed the river was flowing...Oughtibridge Park, right next to the river was flooded and at right, a sign for the French Folk who once raced through here, this is 'Cote d'Oughtibridge' for the Tour-de-France which occured in 2014, see-
www.flickr.com/photos/imarch1/49525415943/
The final shot shows water flowing downhill out of the premises of a local care home, lets hope the residents had boats and water-wings...
9. Flickr 2019 - Best Shots. I prepared last years entries over a few weeks and ended up with a selection of around 50, narrowing them finally to these 10 shots. Unfortunately, I had miss-read the date for the last day for the entries and missed it by just a few hours... the ten are,
* the Bridlington 'Pepper Pot', now long out-of-use and not open to the public,
* 'Tornado' crossing the Norfolk Bridge over the River Don at Attercliffe in Sheffield,
* Puffins & Kittiwakes at the Bempton Cliff Bird Sanctuary to the north of Bridlington,
* Kite Flying Extravaganza on the cliffs at Sewerby Park, Bridlington,
* 'Graffiti artist 'Mufasa' on an awning board at a redevelopment site on Egerton Street, Broomfield, Sheffield
* Same location and more development work proceeding with the remnant of the old buildings in the area which haven't been protected ...
* The 'Old Park Rolling Mill' on Club Mill Road. The business rolled Sheffield Plate and silver for other manufacturers and closed in the 1950s. The site, although derelict is still worth a visit, if only for the colourful graffiti...
* Colourful Fibre Optic data cabinets near the River Don on Ball Street, Neepsend.
* 'Ancient Wisdom' now prevails on Parkwood Road, this was taken at a point just north of its junction with Sandbed Road and looks a little out-of-place, though interesting to see...
* This interesting character, with dog, and earphones, passed by opposite the large Station Hotel next to where the Midland's Parkgate Station used to be, just behind the pub; long gone of course. Crossing over the road bridge in the background, a lunchtime convoy of 5 DBS locos, 66117, 67020, 66140, 66112, & 66086 on the lunchtime, 0F54, Belmont Down Yard to Toton North Yard light engines return working.
10. Re-visiting Club Mill Road, Sandbed Rd., following once more the foot-steps of Adrian Wynn and to finish this section, the on-going redevelopment in the Netherthorpe and Shalesmoor areas. By the start of the year, with some fine weather in late January and not much else going on before making extensive changes to how my Flickr presence was represented, another visit was undertaken to chart the shots taken by Adrian Wynn, over the last decade or so. The subsequent changes to the Flickr material was to entail moving almost 1800 pictures from the standard account to two Archive sites, leaving the newest 995 shots on the old 'Views in Camera' site-
www.flickr.com/photos/daohaiku
and then starting out anew with 'Views in Camera, 2020', this one, which now has 60 images so far, starting from the 1st January. Much of the very oldest and little viewed material, around a 1000 shots, was removed altogether, there has been some casualties I have noticed but I now feel I am more in control of the state of matters, than what was a amounting to almost 6000 pictures and videos, all sat in the same contiguous place. So, from the path which takes the walker up to Wardsend Cemetery at Owlerton, and close to the old site of Coopers Scrapyard, still in use as such though not owned by Coopers anymore, the path extends along the side of the River Don, all the way along to Neepsend. Some of this material has been seen before, see 'The Adrian Wynn Landscape Collection, Re-Visit, Part I', here-
www.flickr.com/photos/daohaiku/49182445076/
and, Part II', here-
www.flickr.com/photos/daohaiku/49187093212/
The first 20, taken on January 22nd this year, in this set of 37 shots show much more detailed aspects of this area and right along to and inside of, the old 'Sheffield Ski Slop', itself now planned for massive renovation after a tragic few years after a fire which left the site derelict and used, in some part, as a refuse dumping space; no surprise there! The latter 17, taken on the following day, the day before the big Flickr presence changes commenced, show new development in the area surrounding the 'Daniel Doncaster & Sons', Cementation Furnace, some information relating to this-
'...This is the last remaining intact example which was built in 1848 and was last fired in 1951', further 'it is the only example of its type and was built by Daniel Doncaster & Sons and used a process developed by the Germans in the 1600s and used a technique of placing wrought iron with charcoal in large stone chests sealed with 'piecrust' or 'wheelswarf', a sludge of sandstone & steel dust, and firing the whole lot up to red heat for a total period of around two weeks. The wrought iron would absorb the carbon and be turned into steel; the iron never becoming molten but just soft. The impurities would form bubbles of gas and created blisters on the surface and it is for this reason that the material was called 'Blister Steel'...
The area is replete with well executed Graffiti of one sort or another and there are 'spooky' pieces inside buildings which have been fenced off due to the presence of Asbestos in the building's structure. The 4th shot in this sequence shows the Furnace now being dwarfed by surrounding development with an old chimney stack at Kelham Island over on the far left and standing on the hill in the right background, the 'Seventh-Day Adventist' church at 67, Andover Street in Burngreave; quite an impressive looking building. A further shot with the furnace on the right and a university building on the left has the area of the Ski Slope in the background, the Stocksbridge branch line to the steelworks also passes through this picture behind all the buildings at the foot of the hill. The derelict looking land in the foreground is under significant redevelopment and when finished the whole of the area around the Doncaster Cementation Furnace will be full of buildings which dwarf the last intact Blister Steel relics in the country.. hope its safe! Once the derelict industrial buildings have gone, sone have been kept and refurbished I hasten to add, this whole area will take on a completely different fell, one which I am sure Adrian will almost certainly not have approved of!
11. Carnaby Airfield History. The old airfield at Carnaby was used in the 2nd World War to accommodate crippled aircraft which were having to make an emergency landing. The small 'park' on the main Bridlington to Driffield road, at Carnaby, tells an amazing story of one such operation where a member of the crew fell through a hole in the aircraft after it had been shot at when flying back from a bombing raid off the coast of Norway in April, 1945. He was saved by his parachute harness D-Ring which got snagged under the aircraft, the D-Rind was found to have elongated by 50% when they finally touched down at Carnaby, out-of-fuel but with the help of the 'FIDO' lighting system at the airfield; their own HS2 Navigation system having been destroyed by the flack. The story of Sgt. Smith is shown in the 4th picture here. The airfield has long been-redeveloped into a very linear, and long, industrial estate.
Some information from Wikipedia-
'...RAF Carnaby opened in March 1944 under the control of No. 4 Group Royal Air Force. Unlike most RAF airfields, there was a single runway, five times the width of a standard runway and 9,000ft (2,700m) long, lying approximately east-west to enable bombers crossing the coast an easier landing. Two similar airfields were either constructed or further developed along the east coast of England, at Manston and Woodbridge, all three providing an emergency option for wartime bomber crews. The three airfields were developed to the same pattern, Woodbridge being the first to open in November 1943. The runway at Manston was brought into operation in April 1944...
Full article-
en.wikipedia.org/wiki/RAF_Carnaby
The last shot shows what the main Carnaby Village shopping centre looked like, in the 1940s and 1950s, all facilities provided.
12. Canal Basin refurbishment of bed at the Wicker. I had over-looked doing anything with the 18 shots in this last section, all taken on a walk back along the canal, from Attercliffe to the Victoria Quays Canal Basin, on 2nd March this year, just 3 weeks before all hell broke loose due to the CoronaVirus-19 country-wide 'Lock-Down'; it was extended a further 3 weeks at the beginning of this week, though there appears to have been no formal government announcement to this effect; another cock-up. Major work, at the end of the Sheffield & South Yorkshire Navigation, was in progress in the Canal BAsin at Victoria Quays with only the end section full of water and being used as a 'boat-park', which for the duration of the work, were stranded there. The first shot shows the extent of the work with it commencing just before the A61 ring-road connecting the town centre to the Sheffield Parkway; the A61 bridge prominent in this shot. The canal water are lapping at the barrier in the right-hand corner and the barrier isn't keeping all the water out, heavy duty pumps being in action as well, pumping the seepage back to the canal, see later. The whole of the, presumably, 'puddle-clay', bed is being replaced, a fortified roadway has been installed from the bank and the stranded barges can be seen in the distance. The other 8 shots in the first part of this section show-
* The fortified dirt road-way onto the site from the Wharf building side. The Sheffield Victoria Hotel is in the right background and St. Pauls Tower is at left
* Looking back along the canal formation under the A61 ring-road bridge with the last boat on the canal formation at the barrier being the blue, 'L.B. Hardfeet' passenger cruiser and seen in action here-
www.flickr.com/photos/imarch2/49564493088/
The tall, square chimney is at the side of the old Sheffield Victoria Station railway formation, whose single line to Stocksbridge passes over the canal on the bridge just under the blue-fenced, A61 ring-road bridge.
* The extent of the dirt-road fortification can be seen, taking the excavator traffic on and off the site to the Wharf Street area of the Quays. A large floating blue-platform has been moored to its left; now at rest on the old canal bed.
* The other end of the business shows the blockage with the pound behind it for the temporarily marooned barges and boats next to the Wharf at the far end. This pound is also leaking somewhat and pumps are keeping the water flowing back to the pound behind the wall of thick liner and aggregate topping. A classic blue Morris 1000 van stands next to the show on the right and behind, the 'Best Western Hotel with the refurbished Wharf building to its left.
* In the background, the railway formation on the old Sheffield Victoria site, in front, the square chimney stack still extant from 'the olden days' and right in front of that, the blue-fenced A61 ring-road bridge. This view looks directly east over the nearer pound with its barrier, to beyond the fortified dirt-road access and in the distance, just under the road-bridge, the other wall holding back the full might of the canal water. The yellow-topped barge on the left has a 'NO RUBBISH' sign on its deck and just behind it in the 'hold', is a pile of rubbish! The square chimney may well have been part of the old Effingham Stree Iron & Steel works which were close to it on the left.
* Looking over the site towards the 'Capita' building at the end of the Sheffield Parkway, the 'Veolia' recycling centre & chimney is next to that on the left and the two blue-brick pillars at the side of the canal are adorned with water birds and the years, '1819' on the nearer one and '2019' on the one behind, so a 200 year celebration, re-doing the 'Tinsley Canal, S&SYN, bed.
* The final shot in this first part of the last section shows the boats moored up at the Wharf-end of the canal. Some information about the local businesses in the Victoria Quays area-
'...As well as local businesses including CMS (International Law Firm) and Servelec (UK headquartered technology group) there is Victoria Junction Café and sandwich shop, Livingwell gym, Hilton hotel, Narrowboat moorings, a brokerage and chandlery service (C.V. Marine) & two wide beam hotel boats (Houseboathotels, Sheffield) providing hotel accommodation on the water. Newcomers include; Born & Raise who joined the premises in 2015 as a Marketing Agency and most recently Ovo Spaces an award-winning specialist interior design and fit-out company, who now own both Terminal 1 for their offices and Terminal 2 as a unique event space, available to hire for conferences, meetings and more. In early 2015 Sheffield Creative Agency 'We Are' purchased 3,500 sq.ft of office space on the ground floor of the Grade II-listed Grain and Terminal Building which had been vacant for 20 years...'
The canal-bed refurbishment work was set to complete by the 31st March, having begun on the 6th January.
The second set of shots in this section show the canal, walking back towards Attercliffe, just a short way, and some of the local 'features' which make this an endearing place to be. Some more barges are moored up along the canal bank and a boat is in the dry dock at the 'Finesse Boatyard. Another sky-blur craft lies to the left, 'Salty' and the narrow Cadman Street bridge is just around the corner and in the next picture it is seen with some canal-side colourful artistry. Some trains at last, this,here, in the form of a Northern Rail class 150, on the 1Y15, Leeds to Nottingham service seen passing a few old canal-side derelict, on the left, buildings. The next shot shows some more artistry on the wall of the building just under Cadman Street. I scanned the bar-code and got the word 'Affix' which is the word appearing above in large letters, still no the wiser. A few minutes later and the next traction delight comes rattling along, this time in the form of the more brightly coloured livery of a class 185 TPE unit, this one, number readable miraculously, is 185109 and its the 1B75, Cleethorpes to Manchester Airport service, about to pull into Sheffield Midland. On the left a building with a more striking gable-end than is normal in these parts, this artistry something to do with Sheffield United as both the name 'Bramall Lane' and the club's insignia are present in the artwork; I know nothing... Up in the real word of roads and works, right next to the CAdman Street canal bridge is the well known, 'Sipelia Works', now in the hands of 'Emmaus' who are very active in supporting homeless people well, they were, until the whole operation shut on March 23rd due to the Covid-19 'Lock-Down'; what do the homeless do now. Some information about its past history-
'...Sipelia Works on Cadman Street is closely tied to the history of steel making and the cutlery trade of the 19th and 20th centuries. Built for Eyre, Ward & Co. between 1850 and 1855 it represents not only the industrialisation of Sheffield , but also the development of a city, the growth of the nations in North and South America and the movement from rural to urban life....', Further-
'...B & J SIPPEL LTD, Sheffield. Sipelia Cutlery Works, Cadman Street/Blast Lane, Sheffield. Founded in the 1930s by Benno (died 1946) and J. Sippel, two Jewish brothers relocated from Germany to Sheffield in 1931. The factory was still active in the 1950s (closed c. 1960/1970)...'
See also the Emmaus website which provides some further information about the building-
www.emmaus-sheffield.org.uk/sipelia-works
It was Grade II listed on 13th June, 1988 and, quite rightly so. The final traction shot, taken at the same bridge, now in gathering dark cloud, with sun lighting up the yellow front panel, is a Northern class 144, also heading into Sheffield on the 2R25 service from Adwick, the low mid-day sun is helping with the colourful surrounds again, particularly on that football club related gable-end. The blue gable-ends of the building showing in front of the D.M.U. on the left-hand canal bank, are those of 'Taylor Forgings Canalloy Steels Ltd', on Bernard Road and the building on the right now looks to be derelict and unused. With heavy clouds rolling in and a shot from the Cadman Street bridge looking directly east with the 'Veolia Recycling Centre' and its tall white chimney standing prominent on the right and all the other elements mentioned in the last few shots, now darkly visible, its time to depart the area and, show one last shot.
This was taken in an ad-hoc way on the way back home and shows an advertising awning I had seen a few days before and took a quick snap on the phone as a reminder, but now, with the proper camera to hand, with focus and exposure set, I had only to hope that the traffic lights at the BnQ store on Penistone Road would be at red so I could compose the shot calmly without being a traffic hazard. Fortunately, the tail-back of stationary traffic was just long enough to place me right in front of the hoarding and with a Mercedes Smart Car at the left, adding that bit extra Va-va-voom!! I still think the poster is amusing and well designed.. and seems to fit right in, in this environment, maybe you had to be there !!!
Rural memory in use today -
In the scorching heat of summer, the ancient Romans devised ingenious methods to stay cool. Without the luxury of modern air conditioning, they relied on the natural cooling properties of water. Public fountains, grand baths, and private bathing areas provided respite from the heat. Romans would spend hours soaking in cool water, enjoying the refreshing relief it brought. These practices not only kept them comfortable but also fostered social interaction and communal well-being. Even today, in rural parts of Europe, similar natural cooling methods persist, offering a sustainable alternative to resource-intensive air conditioning.
Poem
In ancient days, when sun was fierce,
Romans found a cooling pierce.
Fountains flowed in market squares,
Baths were places free from cares.
Water's touch in midday's heat,
Made the summer feel more sweet.
Lessons from their cooling art,
Echo still within our heart.
Haikus
In ancient baths' grace,
Cool waters embrace the heat,
Nature's calm embrace.
Fountains softly flow,
Roman whispers from the past,
Cooling tales they show.
Rural memory in use today -
In the scorching heat of summer, the ancient Romans devised ingenious methods to stay cool. Without the luxury of modern air conditioning, they relied on the natural cooling properties of water. Public fountains, grand baths, and private bathing areas provided respite from the heat. Romans would spend hours soaking in cool water, enjoying the refreshing relief it brought. These practices not only kept them comfortable but also fostered social interaction and communal well-being. Even today, in rural parts of Europe, similar natural cooling methods persist, offering a sustainable alternative to resource-intensive air conditioning.
Poem
In ancient days, when sun was fierce,
Romans found a cooling pierce.
Fountains flowed in market squares,
Baths were places free from cares.
Water's touch in midday's heat,
Made the summer feel more sweet.
Lessons from their cooling art,
Echo still within our heart.
Haikus
In ancient baths' grace,
Cool waters embrace the heat,
Nature's calm embrace.
Fountains softly flow,
Roman whispers from the past,
Cooling tales they show.
Rural memory in use today -
In the scorching heat of summer, the ancient Romans devised ingenious methods to stay cool. Without the luxury of modern air conditioning, they relied on the natural cooling properties of water. Public fountains, grand baths, and private bathing areas provided respite from the heat. Romans would spend hours soaking in cool water, enjoying the refreshing relief it brought. These practices not only kept them comfortable but also fostered social interaction and communal well-being. Even today, in rural parts of Europe, similar natural cooling methods persist, offering a sustainable alternative to resource-intensive air conditioning.
Poem
In ancient days, when sun was fierce,
Romans found a cooling pierce.
Fountains flowed in market squares,
Baths were places free from cares.
Water's touch in midday's heat,
Made the summer feel more sweet.
Lessons from their cooling art,
Echo still within our heart.
Haikus
In ancient baths' grace,
Cool waters embrace the heat,
Nature's calm embrace.
Fountains softly flow,
Roman whispers from the past,
Cooling tales they show.
The Kabyle people are a prominent Berber ethnic group residing mainly in the mountainous regions of northern Algeria. They are known for their rich cultural heritage, distinct language, and unique religious practices. Historically, the Kabyles have practiced a native polytheistic religion with elements of ancestor worship and animism. These practices were influenced by contact with other cultures and religions, such as ancient Egyptian religion, Punic religion, Judaism, and later, Hellenistic religion.
During the Roman period, many Kabyles converted to Christianity, establishing significant Christian communities, especially in areas like Kabylia in Algeria. This legacy of Christianity remains influential, with some Kabyles maintaining Christian traditions and blending them with their indigenous beliefs. Notably, Kabyle women often do not wear head coverings, allowing their long, shiny black hair to be fully visible, which distinguishes them from other Berber and Arab communities where head coverings are more common.
The Arab conquest in the 7th century brought Islam to the Kabyle people, and by the 13th century, Islam became the dominant religion among the Berbers. Despite this, many Kabyle communities retained elements of their traditional beliefs and practices, incorporating them into their Islamic faith. Today, the majority of Kabyles are Sunni Muslims, but the influence of their Christian past and traditional practices is still evident in their cultural and religious life.
The Kabyle Women
In the desert’s golden embrace they toil,
With camels by their side, loyal and royal,
Hair unbound, like raven silk it spills,
Through dust and heat, they bend to daily wills.
Their faith, a blend of ancient and divine,
In every gesture, a sacred sign,
No veils to hide their strength, their grace,
In every task, a prayer, a trace.
Their eyes, like stars in twilight’s gleam,
Hold secrets of an ancient dream,
They gather wood, they tend the fire,
Each act a hymn, each breath a lyre.
In the vast expanse, their laughter rings,
A melody of freedom, as they sing,
For in their hearts, the old ways live,
A testament to all they give.
Haikus
Beneath desert skies,
Kabyle women walk unveiled,
Faith in every stride.
Dust and sun embrace,
Long black hair in freedom’s dance,
Traditions' warm grace.
Rural memory in use today -
In the scorching heat of summer, the ancient Romans devised ingenious methods to stay cool. Without the luxury of modern air conditioning, they relied on the natural cooling properties of water. Public fountains, grand baths, and private bathing areas provided respite from the heat. Romans would spend hours soaking in cool water, enjoying the refreshing relief it brought. These practices not only kept them comfortable but also fostered social interaction and communal well-being. Even today, in rural parts of Europe, similar natural cooling methods persist, offering a sustainable alternative to resource-intensive air conditioning.
Poem
In ancient days, when sun was fierce,
Romans found a cooling pierce.
Fountains flowed in market squares,
Baths were places free from cares.
Water's touch in midday's heat,
Made the summer feel more sweet.
Lessons from their cooling art,
Echo still within our heart.
Haikus
In ancient baths' grace,
Cool waters embrace the heat,
Nature's calm embrace.
Fountains softly flow,
Roman whispers from the past,
Cooling tales they show.
Rural memory in use today -
In the scorching heat of summer, the ancient Romans devised ingenious methods to stay cool. Without the luxury of modern air conditioning, they relied on the natural cooling properties of water. Public fountains, grand baths, and private bathing areas provided respite from the heat. Romans would spend hours soaking in cool water, enjoying the refreshing relief it brought. These practices not only kept them comfortable but also fostered social interaction and communal well-being. Even today, in rural parts of Europe, similar natural cooling methods persist, offering a sustainable alternative to resource-intensive air conditioning.
Poem
In ancient days, when sun was fierce,
Romans found a cooling pierce.
Fountains flowed in market squares,
Baths were places free from cares.
Water's touch in midday's heat,
Made the summer feel more sweet.
Lessons from their cooling art,
Echo still within our heart.
Haikus
In ancient baths' grace,
Cool waters embrace the heat,
Nature's calm embrace.
Fountains softly flow,
Roman whispers from the past,
Cooling tales they show.
The Kabyle people are a prominent Berber ethnic group residing mainly in the mountainous regions of northern Algeria. They are known for their rich cultural heritage, distinct language, and unique religious practices. Historically, the Kabyles have practiced a native polytheistic religion with elements of ancestor worship and animism. These practices were influenced by contact with other cultures and religions, such as ancient Egyptian religion, Punic religion, Judaism, and later, Hellenistic religion.
During the Roman period, many Kabyles converted to Christianity, establishing significant Christian communities, especially in areas like Kabylia in Algeria. This legacy of Christianity remains influential, with some Kabyles maintaining Christian traditions and blending them with their indigenous beliefs. Notably, Kabyle women often do not wear head coverings, allowing their long, shiny black hair to be fully visible, which distinguishes them from other Berber and Arab communities where head coverings are more common.
The Arab conquest in the 7th century brought Islam to the Kabyle people, and by the 13th century, Islam became the dominant religion among the Berbers. Despite this, many Kabyle communities retained elements of their traditional beliefs and practices, incorporating them into their Islamic faith. Today, the majority of Kabyles are Sunni Muslims, but the influence of their Christian past and traditional practices is still evident in their cultural and religious life.
The Kabyle Women
In the desert’s golden embrace they toil,
With camels by their side, loyal and royal,
Hair unbound, like raven silk it spills,
Through dust and heat, they bend to daily wills.
Their faith, a blend of ancient and divine,
In every gesture, a sacred sign,
No veils to hide their strength, their grace,
In every task, a prayer, a trace.
Their eyes, like stars in twilight’s gleam,
Hold secrets of an ancient dream,
They gather wood, they tend the fire,
Each act a hymn, each breath a lyre.
In the vast expanse, their laughter rings,
A melody of freedom, as they sing,
For in their hearts, the old ways live,
A testament to all they give.
Haikus
Beneath desert skies,
Kabyle women walk unveiled,
Faith in every stride.
Dust and sun embrace,
Long black hair in freedom’s dance,
Traditions' warm grace.
The Sturgeon Moon, August’s full moon, carries powerful spiritual symbolism rooted in ancient wisdom and seasonal cycles.
Named after the prehistoric sturgeon fish, which was most abundant in late summer, this moon invites us to rise from emotional depths, just as the sturgeon surfaces from the lake bottom.
♀️ Spiritual Themes
• Resilience & Strength: Like the sturgeon, this moon reminds us of our ability to endure and thrive through challenges.
• Release & Renewal: It’s a potent time to let go of emotional clutter, outdated beliefs, or toxic attachments.
• Authenticity & Intuition: The moon in Aquarius (2025) encourages introspection, creative problem-solving, and reconnecting with your true self.
Thank you for your visit and any faves or comments are always greatly appreciated!
~Sonja
Bits & Pieces
no. 16-0291
cork
1,000 pieces, used and complete
20 x 33 in
51 x 84 cm
2022 piece count: 39,399
puzzle: 44
Another shaped puzzle, but this time it was cork-backed and with whimsies (although they were nothing special, so I didn't photograph them separately). The large owl with outstretched wings came with a set of mini puzzles - baby owls in their nest, balanced on a branch, that could be assembled as individual puzzles and then pushed together to make one puzzle. Very colourful and surprisingly sturdy given that the backing was cork. The box gave only one piece count, 1,000pc, and one measurement, and as I couldn't be bothered to count the pieces (some were tiny!) or measure the two jigsaws (forgot!) I have merely copied the information from the box lid. Did we enjoy it? Yes... but as a couple of sections were complete when we opened the box it made it easier to make a start. I think if it had been totally disassembled we might have struggled to get an 'in' to this one.
I muri che parlano:come molte altre espressioni di vita orgolese, comunicano all'osservatore una vasta gamma di impressioni che forse è impossibile riscontrare altrove: vi si leggono i malesseri, le speranze, i disagi e gli aneliti di una comunità che ha vissuto, forse, il senso di esclusione e di non appartenenza ad un mondo dai troppi volti contraddittori.
The Kabyle people are a prominent Berber ethnic group residing mainly in the mountainous regions of northern Algeria. They are known for their rich cultural heritage, distinct language, and unique religious practices. Historically, the Kabyles have practiced a native polytheistic religion with elements of ancestor worship and animism. These practices were influenced by contact with other cultures and religions, such as ancient Egyptian religion, Punic religion, Judaism, and later, Hellenistic religion.
During the Roman period, many Kabyles converted to Christianity, establishing significant Christian communities, especially in areas like Kabylia in Algeria. This legacy of Christianity remains influential, with some Kabyles maintaining Christian traditions and blending them with their indigenous beliefs. Notably, Kabyle women often do not wear head coverings, allowing their long, shiny black hair to be fully visible, which distinguishes them from other Berber and Arab communities where head coverings are more common.
The Arab conquest in the 7th century brought Islam to the Kabyle people, and by the 13th century, Islam became the dominant religion among the Berbers. Despite this, many Kabyle communities retained elements of their traditional beliefs and practices, incorporating them into their Islamic faith. Today, the majority of Kabyles are Sunni Muslims, but the influence of their Christian past and traditional practices is still evident in their cultural and religious life.
The Kabyle Women
In the desert’s golden embrace they toil,
With camels by their side, loyal and royal,
Hair unbound, like raven silk it spills,
Through dust and heat, they bend to daily wills.
Their faith, a blend of ancient and divine,
In every gesture, a sacred sign,
No veils to hide their strength, their grace,
In every task, a prayer, a trace.
Their eyes, like stars in twilight’s gleam,
Hold secrets of an ancient dream,
They gather wood, they tend the fire,
Each act a hymn, each breath a lyre.
In the vast expanse, their laughter rings,
A melody of freedom, as they sing,
For in their hearts, the old ways live,
A testament to all they give.
Haikus
Beneath desert skies,
Kabyle women walk unveiled,
Faith in every stride.
Dust and sun embrace,
Long black hair in freedom’s dance,
Traditions' warm grace.