View allAll Photos Tagged caftan
Gracias al trabajo minucioso y elegante en la edición, de Antoni Gallart
Os asombrará su maravillosa galeria !
Moltes gracies Toni
DRD - Group Gift - Woven Trivets
maps.secondlife.com/secondlife/Death%20Row/117/140/21
Other Things
DRD Boho baskets
20 - DRD - Vagabond - Tapestry - Wall - Two
..::THOR::.. 4- The Stacked Blankets
{vespertine} hanging victorian birdcage / grassy
Soy. Potted Olive Tree
dust bunny . woodland dreams . carved wooden screen
Baskets 1-4 by Morris Mertel
Basket mod 4 [G&S] bu Sombra Magic
Karikko 2.1 Parakeet With Sounds ( wear me ! )
Cazimi: Hasna Caftan - Maitreya
Headscarf Marocaine! - Moroccan Ambience by Megan Dyrssen
[WHD] - Sleeping Kitty Cat - Ginger
KOBA ruined walls by Willem Koba
ANNEX - ATHENA Caftan - RFL EDITION -lara hourglass freya Fantasy Faire
maps.secondlife.com/secondlife/Fairelands%20Junction/59/1...
Have a pleasant weekend my friends !
De la musique sous le soleil du desert ....
Pour une agreable fin de semaine !
Simple Pleasures...Tea Time in Rome
Created with DDG Text 2 AI engine. PP work in Adobe PS Elements 2024 RAW filters
Art Nouveau a 1970's hippie woman in a billowing kaftan sips tea at a cafe in Rome, wrought iron fence, trees, cafe, clouds, spring, flat image, side view, spring} watercolor, colored, calligraphic line, pen, black ink, intricate detail, full color, art deco, fancy
WARNING !! if you use my prompts, please give me the courtesy of either credit me or at least say: inspired by Irene Steeves. If I find you continue using my prompt without credit I will block you. Thanks for your understanding.
Thank you all for the visit, kind remarks and invites, they are very much appreciated! 💝 I may reply to only a few comments due to my restricted time spent at the computer.
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This Makes My Spirit Smile Challenge - February 2025
AIA Group:
www.flickr.com/groups/recreatingmasters/discuss/721577219...
Update March 16, 2025 Winner of fourth place
www.flickr.com/groups/recreatingmasters/discuss/721577219...
...colourful caftan, designer sun glasses and sipping her Mimosa! Could Summer be just around the corner? : )
Nicolae Mavrocordat, Lady Smaragda, Princess Maria and the children [right to left] Constantin, Iancu, Sultanita, Alexandru and Smarandita
Votive painting, vestibule [exonarthex, pronaos] Stavropoleos Church, Bucharest, Romania, 1724
Stavropoleos Monastery, Bucharest, Romania
www.flickr.com/groups/stavropoleos/
www.monumenteromania.ro/index.php/monumente/detalii/en/St...
I’m sorry, I can’t remember this guy’s name, but he and his partner came from the city to join us at Lee’s Hawaiian Islander. His partner leads the Aloha Caftan Society for the northeast. He put a lot more effort into his appearance than I did into mine. Leica R4, Harman Phoenix II, ECN-2 development.
Stavropoleos Monastery, Bucharest, Romania
www.flickr.com/groups/stavropoleos/
www.monumenteromania.ro/index.php/monumente/detalii/en/St...
en.wikipedia.org/wiki/Stavropoleos_Monastery
Votive painting, vestibule [narthex, pronaos]
en.wikipedia.org/wiki/Nicholas_Mavrocordatos
[right to left] Nicolae Mavrocordat, Lady Smaragda, Princess Maria
and the children Constantin, Iancu, Sultanita, Alexandru and Smarandita
A deel (Mongolian: дээл, IPA: [teːɮ]) is the traditional clothing commonly worn for many centuries among the Mongols and other nomadic tribes of Central Asia, including various Turkic peoples, and can be made from cotton, silk, or brocade.
It is still commonly worn outside major towns, and especially by herders. In urban areas, deels are mostly only worn by elderly people, or on festive occasions. The deel appears similar to a caftan or an old European folded tunic. Deels typically reach to the wearers knees and fan out at the bottom and are commonly blue, olive, or burgundy, though there are deels of most colors.
The deel looks like a big overcoat when not worn. Instead of buttoning together in the middle, the sides are pulled against the wearers body, right flap close to the body with the left covering. On the right side of the wearer are typically 5 or 6 clasps to hold the top flap in place. There is one clasp below the armpit, three at the shoulder, and either one or two at the neckline.
A deel is usually worn with a large belt, usually made of silk. The area between the flaps and above the belt creates a large pocket in which Mongolians keep many things, Mongolian men will occasionally even carry entire handles of vodka in their deel. Though there is no major difference in material or outline between male and female deels, females tend to wear the 'pocket' closer, while males may have both larger pockets, looser fit, and wider sleeve.
One of the many curious sights of Fes. Thread is tied to the walls of the medina, to be spun on to reels for the embroiderers of caftans and jellabas.
Abaya with the mixture of colors ,the flow of the textile, the adequacy & delicacy of the cuts ,all of which gathered, provoke passion & understanding of what the contemporary women needs. The design in jersey Butterfly Cuts , Umberla Cuts , Fish Cuts , A Line Cuts Abaya ranges.
Coming in May 2010, the Barbie Fashion Model Collection (BFMC) of Silkstone fashion dolls presents the BFMC Palm Beach collection with all new tan skin tones.
Originally called BFMC Palm Beach "Caftan" but now referred to as "Breeze" Due in March, this one should retail for about $75. Sketch by Robert Best.
The Mattel Barbie Showroom at the 2010 New York International Toyfair, Jacob Javits Center, New York City, February 14, 2010. (Mandatory Photo Credit by Michael Williams/mawphoto.com for Haute Doll Magazine/hautedoll.com)
It was a challenge getting the members of the Aloha Caftan Society in the same frame as the sign for Lee’s Hawaiian Islander, the tiki restaurant we had dinner at. Leica R4, Harman Phoenix II, ECN-2 development.
Ava Jhamin For
FACE PAINT
FACE PAINT STYLE
"Face Paint Caftan Maitreya"
"Face Paint Ankle Pants"
" Face Paint Back Hair Bun"
"Face Paint Open Toe Pumps"
All Maitreya
sTyLeOn.....
Face Paint
New Store Location
Ava Jhamin For
FACE PAINT
FACE PAINT STYLE
"Face Paint Caftan Maitreya"
"Face Paint Ankle Pants"
" Face Paint Back Hair Bun"
"Face Paint Open Toe Pumps"
All Maitreya
sTyLeOn.....
Face Paint
New Store Location
St. Mark Preaching in Alexandria is an oil painting by Gentile and Giovanni Bellini, dated to 1504-1507, and held in the Pinacoteca di Brera, in Milan.
The work is a huge canvas (telero) destined for the Scuola Grande di San Marco in Venice. It is 26m in surface, and has rich narrative and iconographic features. The cycle of paintings with stories of the life of St Mark was completed around 60 years later by Giorgione and Tintoretto, and is today housed in the Pinacoteca di Brera and the Accademia in Venice.
The canvas was started by Gentile in July 1504, but after his death in February 1507, when it was "largely completed", it passed to his brother Giovanni, as indicated in Gentile's will. Giovanni completed it, making some modifications. The invitation to complete it was probably from his brother just before he died, to which Giovanni probably responded negatively, This explains its insertion in the will of the clause that consigned a precious collection of drawing to Giovanni should he complete the painting. The commission was confirmed as being passed to Giovanni by the Scuola on 7 March 1507.
The scene is rich with exotic elements adapted from real-life that Gentile had the opportunity to study during his trip to Constantinople in 1479–1480. Decorative elements of Mamluk architecture, rather than Ottoman, suggest that the artist may also have reached Jerusalem. This painting combines two distinct moments in time, one ancient and one contemporary to Bellini's life, as well as three different places, Alexandria, Venice, and a mountainous landscape in the background. The arrangement of the huge "historia," imagined as an arranged portrayal on a wide stage shut on three sides by huge architectural dividers, was plainly Gentile. The style of the design proposed to the painter during his excursion in the East (where the Republic had sent him in 1479 in the entourage of a discretionary mission) is quite similar to Mameluke models, which prompted the hypothesis that Gentile may have continued from Constantinople to Jerusalem on a journey, and from that point have recorded new building thoughts that were not quite the same as Ottoman styles, the last being more natural to Venetians.
It is not clear which parts were done by which brother: Vasari only mentioned Gentile in the 1550 version of the Vite, and omitting them in the 1568 edition. Modern criticism considers Gentile to have done the background, except for the modified parts, and possibly the characters on the right hand. Giovanni is assigned with some certainty the portraits on the left, and some of the central group.
The painting of St. Mark Preaching in Alexandria was commissioned by the Scuola Grande di San Marco (Great Confraternity of St. Mark) in Venice for their gathering house in the Campo San Giovanni e Polo, perhaps the biggest important square in Venice. The great Confraternity of St. Mark was reconstructed after a massive fire took a hit on the old structure on 31 March 1485 toward the end of the fifteenth century. The room that contained the most prestigious paintings and focus was the meeting space where it demonstrated their patron saint's narrating life. The Scuola Grande di San Marco looked to the most valuable painter Gentile Bellini to create this painting.
The canvas was reduced at an unknown time, a strip along the top being cut away, where the buildings finished. The work arrived in the Brera in 1809, following the Napoleonic invasion.
The large-scale oil painting depicts a massive stage in the center of the main city and the pavement appears to be created of large square red brick stones. Behind the stage are three tall blue domed temples along with minaret-like towers and big square light colored houses, along the side as well. The side buildings are decorated with light colored red facade and rooftop porches on top. In front of the stage, there are about a hundred contrastingly dressed individuals who have assembled on this square. The men are shown wearing caftans, frocks, cloaks, turbans, and immense hats, while the women are dressed in white from head to ankle-length veils. The attribution of the different pieces of the work to every artisan is as yet a matter of discussion among researchers; in any case, the most generally held view allots Gentile the meaning of the primary lines of the scene, where components of Venetian engineering are superimposed on structures of unmistakably Mediterranean and Oriental inference.
The background of the painting is overpowered by the assortment and distinction of various building structures and models that are reflected by the painted cityscape. In one manner or the other, the various buildings all appear to insinuate a wide range of Eastern Mediterranean architectural types. To indicate just a portion of the implications: The gigantic structure in the focal point of the square, for instance, looks to some extent like Eastern holy places. With its structure of round curves, its marble-shaded façade adornments, and glossy vault covers, it reviews a portion of the primary qualities of early Byzantine holy places. The most generally held view allots Gentile the meaning of the primary lines of the scene, where components of Venetian engineering are superimposed on structures of unmistakably Mediterranean and Oriental inference.
This painting depicts St. Mark, who lived in Alexandria in the first-century. In the painting, he is preaching to Muslims and some Venetian guests, including peers of the artist and Gentile himself. The structure behind resembles San Marco in Venice, but with the lack of its decoration and sculptural figures. St. Mark Preaching in Alexandria presents two particular moments in history and three spots—Alexandria, Venice, and the mountains. Since many Venetians would not have understood what Alexandria looked like, everybody would have perceived it as San Marco. The hieroglyph on the obelisk directly above Mark symbolizes that the ancient Egyptians foresaw Christianity. By including contemporary Venetians and Mamluk Egyptians, Gentile is actually making a reference to the present and expressing a hope of hope of reconverting these Muslims to Christianity. St. Mark Preaching in Alexandria makes known the expectation of reconverting Alexandria, with St. Mark as an exemplar. Gentile Bellini presented the canvas as a substitute history where Venetians and Muslims intermix in a spot that is neither Venice nor Alexandria and is instead a fanciful city joining highlights of the two locations.
(Most of) the members pose for a shot (taken by the one member who was there who is not in this photo). I shot this while Jane was taking her photo. Leica R4, Harman Phoenix II, ECN-2 development.
vintage peacock caftan - ebay
yellow glads - thrifted (remixed)
black purse - handmedown
Taken after a lovely breakfast with the amazing Coco.