View allAll Photos Tagged connotation
Remember Jesus. Genesis 1:16.
"And God made the two great lights; the greater light to rule the day and the lesser light to rule the night; He made the stars also."
The essence of this painting originates from the Bible, but the direct inspiration came from visiting the Sistine Chapel. Last year I travelled to Rome, Italy and took the opportunity to visit Vatican City, the home of Roman Catholicism and a sacred destination for Christians as well as people of all faiths. My appreciation of fine art, especially works created during the renaissance by the masters, namely Leonardo da Vinci, Michelangelo and Gian Lorenzo Bernini led me through beautiful walk ways, corridors and grand rooms within the city eventually arriving at the Sistine Chapel. Documentaries and books although educational do no justice to Michelangelo's work. One really has to see the Chapel's ceiling in the flesh to truly appreciate the grand scale, meticulous detail and most importantly Michelangelo's ability to depict narrative. While in the chapel I noticed many people were observing Michelangelo's Adam, unsurprisingly as its one of his most referenced paintings in popular culture around the world. Personally I was drawn to his painting called 'Creation of the Stars' which relates to Genesis 1:16. The painting is a depiction of God creating the Sun and the Moon. Personally I felt this specific painting spoke volumes as it highlighted the dualism of day and night, light and dark, connotations of good and bad as well as God's balance of power. Overwhelmed and inspired by Michelangelo's painting, I had initially planned to do my own interpretation of Genesis 1:16 shortly after my visit to Rome in 2014, but it's only now come into fruition. In my painting, the greater and lesser lights which rule over the day and night are the Sun and the Moon represented here in the form gold and silver spheres. The composition and structure of the 3D letters have been designed to show a physical separation between the Sun and the Moon (homage to Michelangelo's version). The 'Lovepusher Glow' has a relatively central position within the 3D structured letters and represents God and His divine balance of power.
Apparently the phrase, "He's just blowing air up your ass," had some meaning in the 14th Century, as well. Not sure what the religious connotation might have been ...
The Puerta de San Esteban (formerly the Bab al-Wuzara in Arabic) is one of the oldest well-preserved and historically significant gateways of Moorish architecture. It was originally the gate by which the Muslim emir and his officials entered the mosque and it presumably existed since the mosque's first construction by Abd ar-Rahman I in the 8th century. However, its decoration was completed by Muhammad I in 855. Centuries of slow deterioration and restoration attempts have erased some elements of its decoration, but major original aspects of it remain. Its historical-architectural significance derives from being the earliest surviving example to display the classic ornamental features of Moorish gateways: a door topped by a horseshoe arch with voussoirs of alternating color, which in turn is framed by a rectangular alfiz.
Many other gates were added over the course of subsequent expansions of the mosque. These later gates have even more elaborate decoration, particularly from the 10th century during Al-Hakam II's expansion (starting in 961), visible today on the western exterior façade of the former prayer hall. Al-Mansur's final expansion of the mosque a few decades later (starting in 987–988), which extended the mosque laterally to the east, copied the design of the earlier gates of Al-Hakam II's expansion. Al-Mansur's doors are visible on the building's current eastern façade. Some remains of the original eastern doors of Al-Hakam II's expansion, before Al-Mansur's displacement of the eastern wall, are still visible inside the mosque-cathedral today. One example is the Puerta del Punto, located next to the southern wall and serving today as the visitors' exit from the cathedral's treasury rooms. Many of the exterior gates, however, have undergone various periods of decay and restoration. The most elaborate gates on the eastern wall today are in large part the work of 20th-century restorations. 79 Many of the original Arabic inscriptions on these doors have nonetheless been preserved, however. Susana Calvo Capilla has noted that many of the inscriptions on the 10th-century gates have eschatological and proselytizing connotations, possibly reflecting a conscious rebuttal of heterodox religious currents that the authorities deemed threats at the time. Three of the doors, for example, include Qur'anic verses that deny Christian beliefs on the divinity of Christ.
After the mosque's conversion to a cathedral in 1236, Spanish Christian designs were increasingly added to new or existing gates. The small Postigo de la Leche ("Door of the Milk") on the west side of the building has Gothic details dating from 1475. Among the most notable monumental Christian-era portals are the Puerta de las Palmas, the Puerta de Santa Catalina, and the Puerta del Perdón.
Puerta de las Palmas, seen from the Courtyard of the Oranges
The Puerta de las Palmas (Door of the Palms) is the grand ceremonial gate from the Courtyard of the Oranges to the cathedral's interior, built on what was originally a uniform façade of open arches leading to the former mosque's prayer hall. Originally called the Arco de Bendiciones (Arch of the Blessings), it was the setting for the ceremonial blessing of the royal flag, a ritual which was part of a Spanish monarch's coronation ceremony. Its current form dates from the restoration and remodelling done by Hernán Ruiz I in 1533, who created a plateresque façade above the doorway. The facade's statues depict the Annunciation while, unusually, the smaller figures in the lower corners depict mythological creatures.
The Puerta de Santa Catalina (Door of Saint Catherine) is the main eastern entrance to the Courtyard of the Oranges. Its name referred to the presence of a nearby Convent of Saint Catherine. Its current appearance dates from the work of Hernán Ruiz II, who took over work on the cathedral in 1547 after the passing of his father (Hernán Ruiz I). The gate has a Renaissance façade on its exterior: the doorway is flanked by two columns and is surmounted by a serliana-style composition of columns forming three alcoves topped by a curved lintel. Within the three alcoves are the remains of three murals depicting Saint Catherine (Santa Catalina), Saint Acisclus (San Acisclo) and Saint Victoria (Santa Victoria).
The Puerta del Perdón (Door of Forgiveness) is one of the most ritually important doors of the cathedral, located at the base of the bell tower and directly opposite the Puerta de las Palmas. A gate existed here since the Islamic period; its location is aligned with the mihrab of the mosque and with the central axis of the building before Al-Mansur's expansion. Its first reconstruction in the Christian period of the building dates to 1377, but it has been modified several times since, notably by Sebastián Vidal in 1650. The faded mural paintings inside the blind arches above the outer doorway include a depiction of Our Lady of the Assumption in the middle, with Saint Michel and Saint Raphael on the sides.
Sérguiev Posad (Rusia) - Sergiyev Posad (Russia) - Се́ргиев Поса́д (Россия)
Sérguiev Posad (en ruso: Се́ргиев Поса́д), entre 1930 y 1991 llamada Zagorsk, es una ciudad rusa, al nordeste de Moscú. Contaba con 109.252 habitantes en el censo de 2008. Posee un importante conjunto monumental, el monasterio de la Trinidad y de San Sergio (siglos XV-XVIII), declarado Patrimonio de la Humanidad por la UNESCO.
es.wikipedia.org/wiki/Sérguiev_Posad
es.wikipedia.org/wiki/Anillo_de_Oro_de_Rusia
Sergiyev Posad (Russian: Се́ргиев Поса́д) is a city and the administrative center of Sergiyevo-Posadsky District in Moscow Oblast, Russia. Population: 111,179 (2010 Census); 113,581 (2002 Census); 114,696 (1989 Census).
It was previously known as Sergiyev Posad (until 1919), Sergiyev (until 1930), Zagorsk (until 1991).
Sergiyev Posad grew in the 15th century around one of the greatest of Russian monasteries, the Trinity Lavra established by St. Sergius of Radonezh, still (as of 2015) one of the largest monasteries in Russia. Town status was granted to Sergiyev Posad in 1742. The town's name, alluding to St. Sergius, has strong religious connotations. Soviet authorities changed it first to just Sergiyev in 1919, and then to Zagorsk in 1930, in memory of the revolutionary Vladimir Mikhailovich Zagorsky
The original name was restored in 1991.
Within the framework of administrative divisions, Sergiyev Posad serves as the administrative center of Sergiyevo-Posadsky District. As an administrative division, it is, together with twenty-six rural localities, incorporated within Sergiyevo-Posadsky District as the City of Sergiyev Posad. As a municipal division, the City of Sergiyev Posad is incorporated within Sergiyevo-Posadsky Municipal District as Sergiyev Posad Urban Settlement.
Tourism associated with the Golden Ring plays a role in the regional economy. There is also an important toy factory.
The Moscow–Yaroslavl railway and highway pass through the town. Sergiyev Posad Bus Terminal is located in the city.
en.wikipedia.org/wiki/Sergiyev_Posad
en.wikipedia.org/wiki/Golden_Ring_of_Russia
El monasterio de la Trinidad y San Sergio (en ruso Тро́ице-Се́ргиева Ла́вра; o Tróitse-Sérguieva Lavra) en la ciudad de Sérguiev Posad (antiguo Zagorsk) es un importante monasterio ruso y centro espiritual de la iglesia ortodoxa rusa. Sérguiev Posad se encuentra a unos 70 kilómetros al noreste de Moscú en la carretera que va a Yaroslavl. Actualmente alberga a unos 300 monjes. Según la Unesco, que lo declaró Patrimonio de la Humanidad en 1993, se trata de «un buen ejemplo de monasterio ortodoxo en funcionamiento, con rasgos militares típicos de los siglos XV al XVIII, período durante el que se desarrolló.»
La iglesia principal de la Laura (monasterio), la catedral de la Asunción, recuerda la homónima catedral del Kremlin y alberga las tumbas de los Godunov.
Siendo monje de la Laura, Andréi Rubliov pintó, para el iconostasio de la catedral, su más célebre icono La Trinidad que actualmente se expone en la Galería Tretiakov de Moscú.
es.wikipedia.org/wiki/Laura_de_la_Trinidad_y_San_Sergio
The Trinity Lavra of St. Sergius (Russian: Тро́ице-Се́ргиева Ла́вра) is the most important Russian monastery and the spiritual centre of the Russian Orthodox Church. The monastery is situated in the town of Sergiyev Posad, about 70 km to the north-east from Moscow by the road leading to Yaroslavl, and currently is home to over 300 monks.
The monastery was founded in 1337 by one of the most venerated Russian saints, Sergius of Radonezh, who built a wooden church in honour of the Holy Trinity on Makovets Hill. Early development of the monastic community is well documented in contemporary lives of Sergius and his disciples.
In 1355, Sergius introduced a charter which required the construction of auxiliary buildings, such as refectory, kitchen, and bakery. This charter was a model for Sergius' numerous followers who founded more than 400 cloisters all over Russia, including the celebrated Solovetsky, Kirillov, and Simonov monasteries.
St. Sergius supported Dmitri Donskoi in his struggle against the Tatars and sent two of his monks, Peresvet and Oslyabya, to participate in the Battle of Kulikovo (1380). At the outbreak of the battle, Peresvet died in a single combat against a Tatar bogatyr. The monastery was devastated by fire, when a Tatar unit raided the area in 1408.
St. Sergius was declared patron saint of the Russian state in 1422. The same year the first stone cathedral was built by a team of Serbian monks who had found refuge in the monastery after the Battle of Kosovo. The relics of St. Sergius still may be seen in this cathedral, dedicated to the Holy Trinity. The greatest icon painters of medieval Russia, Andrei Rublev and Daniil Chyorny, were summoned to decorate the cathedral with frescoes. Traditionally, Muscovite royals were baptized in this cathedral and held thanksgiving services here.
In 1476, Ivan III invited several Pskovian masters to build the church of the Holy Spirit. This graceful structure is one of the few remaining examples of a Russian church topped with a belltower. The interior contains the earliest specimens of the use of glazed tiles for decoration. In the early 16th century, Vasily III added the Nikon annex and the Serapion tent, where several of Sergius' disciples were interred.
It took 26 years to construct the six-pillared Assumption Cathedral, which was commissioned by Ivan the Terrible in 1559. The cathedral is much larger than its model and namesake in the Moscow Kremlin. The magnificent iconostasis of the 16th–18th centuries features Simon Ushakov's masterpiece, the icon of Last Supper. Interior walls were painted with violet and blue frescoes by a team of Yaroslavl masters in 1684. The vault contains burials of Boris Godunov, his family and several 20th-century patriarchs.
As the monastery grew into one of the wealthiest landowners in Russia, the woods where it had stood were cleared and a village (or posad) sprang up near the monastery walls. It gradually developed into the modern town of Sergiyev Posad. The cloister itself was a notable centre of chronicle-writing and icon painting. Just opposite the monastery walls St. Paraskeva's Convent was established, among whose buildings St. Paraskeva's Church (1547), Introduction Church (1547), and a 17th-century chapel over St. Paraskeva's well are still visible.
In 1550s, a wooden palisade surrounding the cloister was replaced with 1.5 km-long stone walls, featuring twelve towers, which helped the monastery to withstand a celebrated 16-month Polish-Lithuanian siege in 1608–1610. A shell-hole in the cathedral gates is preserved as a reminder of Wladyslaw IV's abortive siege in 1618.
By the end of the 17th century, when young Peter I twice found refuge within the monastery from his enemies, numerous buildings had been added. These include a small baroque palace of the patriarchs, noted for its luxurious interiors, and a royal palace, with its facades painted in checkerboard design. The refectory of St. Sergius, covering 510 square meters and also painted in dazzling checkerboard design, used to be the largest hall in Russia. The five-domed Church of John the Baptist's Nativity (1693–1699) was commissioned by the Stroganovs and built over one of the gates. Other 17th-century structures include the monks' cells, a hospital topped with a tented church, and a chapel built over a holy well discovered in 1644.
In 1744, Empress Elizabeth conferred on the cloister the dignity of a Lavra. The metropolitan of Moscow was henceforth also the Archimandrite of the Lavra. Elizabeth particularly favoured the Trinity and annually proceeded afoot from Moscow to the cloister. Her secret spouse Alexey Razumovsky accompanied her on such journeys and commissioned a baroque church to the Virgin of Smolensk, the last major shrine to be erected in the Lavra. Another pledge of Elizabeth's affection for the monastery is a white-and-blue baroque belltower, which, at 88 meters, was one of the tallest structures built in Russia up to that date. Its architects were Ivan Michurin and Dmitry Ukhtomsky.
Throughout the 19th century, the Lavra maintained its status as the richest Russian monastery. A seminary founded in 1742 was replaced by an ecclesiastical academy in 1814. The monastery boasted a supreme collection of manuscripts and books. Medieval collections of the Lavra sacristy attracted thousands of visitors. In Sergiyev Posad, the monastery maintained several sketes, one of which is a place of burial for the conservative philosophers Konstantin Leontiev and Vasily Rozanov.
After the Russian Revolution of 1917, the Soviet government closed the lavra in 1920. Its buildings were assigned to different civic institutions or declared museums. In 1930, monastery bells, including the Tsar-Bell of 65 tons, were destroyed. Pavel Florensky and his followers prevented the authorities from stealing and selling the sacristy collection but overall many valuables were lost or transferred to other collections.
In 1945, following Joseph Stalin's temporary tolerance of the church during World War II, the Lavra was returned to the Russian Orthodox Church. On April 16, 1946 divine service was renewed at the Assumption Cathedral. The lavra continued as the seat of the Moscow Patriarchate until 1983, when the patriarch was allowed to settle at the Danilov Monastery in Moscow. After that, the monastery continued as a prime centre of religious education. Important restoration works were conducted in the 1960s and 1970s. In 1993, the Trinity Lavra was inscribed on the UN World Heritage List.
The Lavra has a number of representative churches (podvorie or metochia) in its vicinity and throughout Russia. The Lavra's hieromonks have manned a number of sketes at remote locations (such as the Anzer Island in the Solovki Archipelago in the White Sea), as well as the Trinity Church on the King George Island in the Antarctic.
Sérguiev Posad (Rusia) - Sergiyev Posad (Russia) - Се́ргиев Поса́д (Россия)
Sérguiev Posad (en ruso: Се́ргиев Поса́д), entre 1930 y 1991 llamada Zagorsk, es una ciudad rusa, al nordeste de Moscú. Contaba con 109.252 habitantes en el censo de 2008. Posee un importante conjunto monumental, el monasterio de la Trinidad y de San Sergio (siglos XV-XVIII), declarado Patrimonio de la Humanidad por la UNESCO.
es.wikipedia.org/wiki/Sérguiev_Posad
es.wikipedia.org/wiki/Anillo_de_Oro_de_Rusia
Sergiyev Posad (Russian: Се́ргиев Поса́д) is a city and the administrative center of Sergiyevo-Posadsky District in Moscow Oblast, Russia. Population: 111,179 (2010 Census); 113,581 (2002 Census); 114,696 (1989 Census).
It was previously known as Sergiyev Posad (until 1919), Sergiyev (until 1930), Zagorsk (until 1991).
Sergiyev Posad grew in the 15th century around one of the greatest of Russian monasteries, the Trinity Lavra established by St. Sergius of Radonezh, still (as of 2015) one of the largest monasteries in Russia. Town status was granted to Sergiyev Posad in 1742. The town's name, alluding to St. Sergius, has strong religious connotations. Soviet authorities changed it first to just Sergiyev in 1919, and then to Zagorsk in 1930, in memory of the revolutionary Vladimir Mikhailovich Zagorsky
The original name was restored in 1991.
Within the framework of administrative divisions, Sergiyev Posad serves as the administrative center of Sergiyevo-Posadsky District. As an administrative division, it is, together with twenty-six rural localities, incorporated within Sergiyevo-Posadsky District as the City of Sergiyev Posad. As a municipal division, the City of Sergiyev Posad is incorporated within Sergiyevo-Posadsky Municipal District as Sergiyev Posad Urban Settlement.
Tourism associated with the Golden Ring plays a role in the regional economy. There is also an important toy factory.
The Moscow–Yaroslavl railway and highway pass through the town. Sergiyev Posad Bus Terminal is located in the city.
en.wikipedia.org/wiki/Sergiyev_Posad
en.wikipedia.org/wiki/Golden_Ring_of_Russia
El monasterio de la Trinidad y San Sergio (en ruso Тро́ице-Се́ргиева Ла́вра; o Tróitse-Sérguieva Lavra) en la ciudad de Sérguiev Posad (antiguo Zagorsk) es un importante monasterio ruso y centro espiritual de la iglesia ortodoxa rusa. Sérguiev Posad se encuentra a unos 70 kilómetros al noreste de Moscú en la carretera que va a Yaroslavl. Actualmente alberga a unos 300 monjes. Según la Unesco, que lo declaró Patrimonio de la Humanidad en 1993, se trata de «un buen ejemplo de monasterio ortodoxo en funcionamiento, con rasgos militares típicos de los siglos XV al XVIII, período durante el que se desarrolló.»
La iglesia principal de la Laura (monasterio), la catedral de la Asunción, recuerda la homónima catedral del Kremlin y alberga las tumbas de los Godunov.
Siendo monje de la Laura, Andréi Rubliov pintó, para el iconostasio de la catedral, su más célebre icono La Trinidad que actualmente se expone en la Galería Tretiakov de Moscú.
es.wikipedia.org/wiki/Laura_de_la_Trinidad_y_San_Sergio
The Trinity Lavra of St. Sergius (Russian: Тро́ице-Се́ргиева Ла́вра) is the most important Russian monastery and the spiritual centre of the Russian Orthodox Church. The monastery is situated in the town of Sergiyev Posad, about 70 km to the north-east from Moscow by the road leading to Yaroslavl, and currently is home to over 300 monks.
The monastery was founded in 1337 by one of the most venerated Russian saints, Sergius of Radonezh, who built a wooden church in honour of the Holy Trinity on Makovets Hill. Early development of the monastic community is well documented in contemporary lives of Sergius and his disciples.
In 1355, Sergius introduced a charter which required the construction of auxiliary buildings, such as refectory, kitchen, and bakery. This charter was a model for Sergius' numerous followers who founded more than 400 cloisters all over Russia, including the celebrated Solovetsky, Kirillov, and Simonov monasteries.
St. Sergius supported Dmitri Donskoi in his struggle against the Tatars and sent two of his monks, Peresvet and Oslyabya, to participate in the Battle of Kulikovo (1380). At the outbreak of the battle, Peresvet died in a single combat against a Tatar bogatyr. The monastery was devastated by fire, when a Tatar unit raided the area in 1408.
St. Sergius was declared patron saint of the Russian state in 1422. The same year the first stone cathedral was built by a team of Serbian monks who had found refuge in the monastery after the Battle of Kosovo. The relics of St. Sergius still may be seen in this cathedral, dedicated to the Holy Trinity. The greatest icon painters of medieval Russia, Andrei Rublev and Daniil Chyorny, were summoned to decorate the cathedral with frescoes. Traditionally, Muscovite royals were baptized in this cathedral and held thanksgiving services here.
In 1476, Ivan III invited several Pskovian masters to build the church of the Holy Spirit. This graceful structure is one of the few remaining examples of a Russian church topped with a belltower. The interior contains the earliest specimens of the use of glazed tiles for decoration. In the early 16th century, Vasily III added the Nikon annex and the Serapion tent, where several of Sergius' disciples were interred.
It took 26 years to construct the six-pillared Assumption Cathedral, which was commissioned by Ivan the Terrible in 1559. The cathedral is much larger than its model and namesake in the Moscow Kremlin. The magnificent iconostasis of the 16th–18th centuries features Simon Ushakov's masterpiece, the icon of Last Supper. Interior walls were painted with violet and blue frescoes by a team of Yaroslavl masters in 1684. The vault contains burials of Boris Godunov, his family and several 20th-century patriarchs.
As the monastery grew into one of the wealthiest landowners in Russia, the woods where it had stood were cleared and a village (or posad) sprang up near the monastery walls. It gradually developed into the modern town of Sergiyev Posad. The cloister itself was a notable centre of chronicle-writing and icon painting. Just opposite the monastery walls St. Paraskeva's Convent was established, among whose buildings St. Paraskeva's Church (1547), Introduction Church (1547), and a 17th-century chapel over St. Paraskeva's well are still visible.
In 1550s, a wooden palisade surrounding the cloister was replaced with 1.5 km-long stone walls, featuring twelve towers, which helped the monastery to withstand a celebrated 16-month Polish-Lithuanian siege in 1608–1610. A shell-hole in the cathedral gates is preserved as a reminder of Wladyslaw IV's abortive siege in 1618.
By the end of the 17th century, when young Peter I twice found refuge within the monastery from his enemies, numerous buildings had been added. These include a small baroque palace of the patriarchs, noted for its luxurious interiors, and a royal palace, with its facades painted in checkerboard design. The refectory of St. Sergius, covering 510 square meters and also painted in dazzling checkerboard design, used to be the largest hall in Russia. The five-domed Church of John the Baptist's Nativity (1693–1699) was commissioned by the Stroganovs and built over one of the gates. Other 17th-century structures include the monks' cells, a hospital topped with a tented church, and a chapel built over a holy well discovered in 1644.
In 1744, Empress Elizabeth conferred on the cloister the dignity of a Lavra. The metropolitan of Moscow was henceforth also the Archimandrite of the Lavra. Elizabeth particularly favoured the Trinity and annually proceeded afoot from Moscow to the cloister. Her secret spouse Alexey Razumovsky accompanied her on such journeys and commissioned a baroque church to the Virgin of Smolensk, the last major shrine to be erected in the Lavra. Another pledge of Elizabeth's affection for the monastery is a white-and-blue baroque belltower, which, at 88 meters, was one of the tallest structures built in Russia up to that date. Its architects were Ivan Michurin and Dmitry Ukhtomsky.
Throughout the 19th century, the Lavra maintained its status as the richest Russian monastery. A seminary founded in 1742 was replaced by an ecclesiastical academy in 1814. The monastery boasted a supreme collection of manuscripts and books. Medieval collections of the Lavra sacristy attracted thousands of visitors. In Sergiyev Posad, the monastery maintained several sketes, one of which is a place of burial for the conservative philosophers Konstantin Leontiev and Vasily Rozanov.
After the Russian Revolution of 1917, the Soviet government closed the lavra in 1920. Its buildings were assigned to different civic institutions or declared museums. In 1930, monastery bells, including the Tsar-Bell of 65 tons, were destroyed. Pavel Florensky and his followers prevented the authorities from stealing and selling the sacristy collection but overall many valuables were lost or transferred to other collections.
In 1945, following Joseph Stalin's temporary tolerance of the church during World War II, the Lavra was returned to the Russian Orthodox Church. On April 16, 1946 divine service was renewed at the Assumption Cathedral. The lavra continued as the seat of the Moscow Patriarchate until 1983, when the patriarch was allowed to settle at the Danilov Monastery in Moscow. After that, the monastery continued as a prime centre of religious education. Important restoration works were conducted in the 1960s and 1970s. In 1993, the Trinity Lavra was inscribed on the UN World Heritage List.
The Lavra has a number of representative churches (podvorie or metochia) in its vicinity and throughout Russia. The Lavra's hieromonks have manned a number of sketes at remote locations (such as the Anzer Island in the Solovki Archipelago in the White Sea), as well as the Trinity Church on the King George Island in the Antarctic.
This is an uncropped macro. Taken in a very high wind. I was pleased with the result I have to say. I did a small edit on the petals and reduced the saturation. Poppies always make me feel so happy... I know there are other connotations and I have those in mind too..... but, nevertheless a meadow of poppies makes me smile!
I couldn't find any translation for the verb "arrollar". Literally, it means "mow down", but in Cuba, in the context of a troupe, or a cultural parade like this, it doesn't has a bad connotation, on the contrary. I guess what they would be "mowing down" ("arrollando") is the sadness, and leaving behind a wake of joy.
And, of course, the music...
In Hinduism, Nandi is the name for the bull which serves as the mount of the god Shiva and as the gate keeper of Shiva and Parvati.
Temples venerating Lord Shiva display stone images of a seated Nandi, generally facing the main shrine. There are also a number of temples dedicated solely to Nandi.
The various descriptions on Nandi in the Hindu mythological texts include:
Vehicle of Shiva: The bull Nandi is Shiva's primary vehicle and is the principal gana (follower) of Shiva.
Gate keeper of Shiva's abode: The close association of Shiva and Nandi explains the presence of a statue of Nandi at the gate of many temples dedicated to Shiva. It also explains why the word "nandi" in the Kannada, Telugu and Tamil languages is used as a metaphor for a person blocking the way[citation needed]. In Sanskrit, a bull is called "vrisha", which has another connotation - that of righteousness or Dharma. It is important to seek the blessings of Nandi before proceeding to worship Lord Shiva.
Chief in Shiva's army: Some Puranas mention that Nandi lead the Shiva Ganas, Shiva's attendants.
A Guru of Saivism: In addition to being his mount, Nandi is Shiva's foremost disciple. In the Natha/Siddhar tradition, Nandi is one of the primal gurus. He was the guru to Siddhar Thirumulanathar, Patanjalinathar and others.
From the yogic perspective, Nandi/Nandhi/ Nandikeshvara is the mind dedicated to Lord Siva, the Absolute. In other words, to understand and absorb Light, the 'experience and the wisdom' is Nandi which is the Guru within.
Spiritually, Nandi represents an individual jiva (soul) and the message that the jiva should always be focussed on the Atman (Paramatman)
Source-Wikipedia
Borders Buses (WCM) 11718, YY17 GTF. ADL Enviro 200 / E20D. Seen here on Melville Gate Road linking the Gilmerton Road and Old Dalkeith Road working the X95 for Edinburgh bus station. Note the blue relief strip, certainly works against the background, so far this is the only BB vehicle I have seen in the flesh with the blue relief. If I was the transport manager I would have binned the registration mark, GTF has to many connotations for comfort
This is the question that every man who feels the impulse to dress as a woman has asked himself while looking at his transformed image in the mirror; a question that could have different answers or connotations. From one point of view, we could wonder if we really want to be the woman in the mirror, but from another, we could marvel at our ability to change our masculine persona to a point that “he” can look, convincingly, as a “she”.
As a man who has accepted himself, without a doubt, as a heterosexual CD for over 30 years, I know that my answer to the question is: “No, this is not me, but it is a part of me”. It took me years of secrecy, anguish, and guilt to finally come to a conclusive answer. Years of therapy during my teens and early twenties were useless, until I finally found professionals who, in two short sessions, could provide logical answers to my questions, in a way that made absolute sense. Many years later, as I compare my crossdressing experience with others like me, I ratified that the diagnosis from 32 years ago was accurate. So, for the second half of my life I have lived in peace and enjoyed this “blessing” whenever possible and within life limitations.
In conclusion, as frivolous or superficial as it might seem, I don’t want to be the woman in the mirror but want to be the man who can change his male appearance into that of the woman in the mirror when desired and possible. This photo is from 16 years ago and therefore I can no longer transform into the woman in this mirror but, as I grow old, gain weight, and lose my charm, I must adapt to the changes while still doing my best to be satisfied with my appearance; much like genetic women do as they age.
Will the desire to dress ever disappear? I think not, as it is in my wiring. I can choose to stop doing it if it no longer gives me satisfaction or relaxation, but I was born a CD and will die a CD.
This post was inspired by an email exchange with my dear friend Nora Simone and the coincidence that, while reviewing my old photos, I came across this image from when I was in my prime. I know that I can no longer present Cristy as I did then but will always try to do my best to produce a feminine presentation with which I can be happy.
_________________________________________________
Esta es la pregunta que todo hombre que siente el impulso de vestirse de mujer se ha hecho al ver su imagen transformada en el espejo; una pregunta que puede tener diferentes respuestas y connotaciones. Desde un punto de vista nos podríamos preguntar si en realidad queremos ser esa mujer en el espejo, pero por otro lado, nos podemos maravillar de nuestra habilidad para cambiar nuestra imagen femenina al punto en que “el” pueda verse, de manera convincente, como “ella”.
Siendo un hombre que se ha aceptado, sin lugar a duda, como un CD heterosexual por más de 30 años, sé que mi respuesta a la pregunta es: “No, yo no soy ella, pero es una parte de mí”. Me tomó años de mantenerlo en secreto con angustia y culpabilidad el llegar a una respuesta concluyente. Años de terapia como adolescente y los veinte fueron inútiles, hasta que encontré profesionales que, en dos sesiones, dieron respuestas lógicas y con sentido a mis preguntas. Muchos años después, al comparar mis experiencias con otros como yo, ratifiqué que el diagnóstico de hace 32 años era correcto. Así es que, la segunda mitad de mi vida la he vivido en paz y disfrutando de esta “bendición” cuando me es posible y dentro de las limitaciones que impone la vida.
En conclusión, por frívolo o superficial que parezca, no quiero ser la mujer en el espejo, pero quiero ser el hombre que puede transformar su apariencia masculina en la de esa mujer cuando lo desee y sea posible. Esta foto es de hace 16 años y obviamente ya no me puedo transformar en la mujer del espejo, pero, a medida que envejezco, subo de peso y pierdo el encanto, debo de aprender a adaptarme a los cambios mientras hago mi mejor esfuerzo por quedar satisfecho con mi apariencia; tal y como lo hacen las mujeres genéticas cuando envejecen.
¿Desaparecerá algún día el deseo de vestirme? Creo que no, ya que está en mi esencia. Puedo elegir dejar de hacerlo si ya no me produce satisfacción o me relaja, pero nací CD y moriré CD.
Este escrito fue inspirado por un intercambio de correos con mi querida amiga Nora Simone y la coincidencia de que, mientras revisaba mis fotos viejas, me apareció esta imagen de cuando estaba en mi mejor forma. Sé que ya no puedo lucir como la Cristy de entonces, pero siempre haré mi mejor esfuerzo por producir una presentación femenina con la que me pueda sentir feliz y satisfecho.
Pazhaverkadu, India, © 2008
Kodak T-Max 400
Swastik(a) or svástik(a), from the Sanksrit स्वस्तिक, is the ancient Hindu symbol found to this day all over India. Sadly it will always be stigmatised in the West for its far more recent and sinister connotations.
"The History of Silhouettes
The art of silhouette cutting originated in Europe in the early 1700's.
Prior to the French revolution, silhouettists were hired as an
amusement for the royal class. The featured artist would attend the many extravagant balls and cut out the distinguished profiles of the Lords and Ladies capturing the latest fashions and elaborate wigs.
While the aristocrats were having their silhouettes cut out and eating like kings much of Europe was starving, especially in France. In the 1760's the Finance Minister of France, Etienne de Silhouette, had crippled the French people with his merciless tax polices. Oblivious to his people's plight, Etienne was much more interested in his hobby of cutting out paper profiles, the latest fad. Etienne de Silhouette was so
despised by the people of France that in protest the peasant s wore only black mimicking his black paper cutouts. The saying went all over France,"We are dressing a la Silhouette. We are shadows, too poor to wear color. We are Silhouettes!" To this very day the black profile cutouts are called silhouettes. Thankfully, the negative connotation no longer remains.
The art of silhouette cutting reached its "golden age" in the 1800's. Many European silhouettists immigrated and became very famous and rich, catering to the American politicians and very wealthy. Others traveled to county fairs and small towns capturing the profiles and the hearts of countless thousands of ordinary folk. Silhouettes remain as popular today as ever. In fact, they have become one of the most collectable art forms. Unfortunately there are only a handful of silhouette cutters left, perhaps as few as 15 in the United States. We of the computer age may be seeing the last generation of silhouette artists."
1/8000, f/2.0, 35 mm
Idiomatic Connotations.
Cognitio Phaenomenalis directiones veritates obiectae assertiones criterium comparando comparationes dissociationis validitatis praesuppositionum superandarum,
investigações consciência distinções regular determinidade conhecimento momentos designados padrões essência exames,
voir des notions importer des critères des contributions correspondent des distinctions entre des silences des objets conformes des faits altérant d'où vient la justice,
testare la conoscenza cosciente parole precedenti esperienze punti di vista sensi intelligibili annotati preservare gli esseri semplici,
строгое содержание исчезли демонстрации отрицание сцена предполагаемая реальность диалектическое заверение единичный пункт конкретный этап противопоставления получены,
láithreacht íon - riachtannach idirdhealú dearbhuithe dtugfar leanúint cúrsaí iomadaithe dhlíthe iomlána fhíoraithe bhaineann fhírinní eimpíreacha,
有機システム構造化された関係普遍的なアカウントの概念決定された形式制限された行動過敏性の反応区別された概念定性的なアンチテーゼが発生します.
Steve.D.Hammond.
What if our names were chosen by what people thought of us? Love and Hate would be top names every year, I'm sure. But when would people get original? How many Truths or Honestys would there be? What about Greed or Envy? Things would get complicated with names like Lust because what would it mean? The person who held the title was lustful or you lusted after them?
How many Integritys and Loyals would there be? What about Honor and Spite? Deceit and Betrayal? Would the people named Perfect cry because of the connotations? Would all the Mercys get together and rally with the Justices?
How many Plains would there be? What about Staggerings or Brilliants? Would there ever in the world be someone named Worthless?
This is how my mind works.
Edit: Explored. Thank you so very much.
Church of the Holy Cross. (Ilam Church), is a Grade I Listed Building dating back to 1618. Aside from its obvious religious connotations, which all baloney, its aesthetics and gravitas as an historical building sparks enough interest to reach for my camera.
--
* Ilam Park, Peak District National Park, Derbyshire. Part of the National Trust.
The National Heritage List for England (NHLE)
* Ilam - pronounced 'eye-lamb'
Cars. Well who am I kidding. I'll probably never have a really healthy relationship with them. I just had way too many landscape and architecture photos ruined by their omnipresence, and a father who cared more about cars and computers than about his kids certainly left a mark. Cars and computers... a very similar kind of love hate relationship, come to think of it. Super useful, super practical, super entertaining, but also with a distinct negative connotation if you found youself on the wrong side of the equation more often than not. At the same time, at least as far as cars are concerned, I just seem to have a natural gift at driving them, without anyone needing to teach me. Remembering the day at the go-kart track and what there all was... I just got in and drove. And drove well from what people told me. Yet I never got a driver's license until now. Partially thanks to the railway bug and driving in this city being a hassle more than anything really. Plus I couldn't afford one anyway, let alone owning a car, at the age one typically gets a drivers license. Plus, the memories of the training course where I didn't feel like I was doing such a great job at all - these exist too. But then, all insecurities and nervousness went out the window the very moment father was out of the car. Suddenly even driving uncle's old stickshift Golf went just as smoothly as I'd have hoped. So, on the one hand, I'll probably get myself a license over the next weeks and months, but at the same time... enthusiasm this is not.
A bouquet of yellow roses brings to mind all of the sunny, cheerful feelings of warmth and happiness. In contrast to the romantic meanings attributed to other roses, the yellow rose is purely a symbol for friendship. This gives it a unique place in the pantheon of roses. Yellow roses can send the perfect message of appreciation and platonic love without the romantic connotations of other colors. They can represent feelings of joy and delight, and are an ideal way to brighten someone's day who may be feeling down. There is perhaps no other flower that is able to bring out a smile in quite the same way as a Yellow Rose!
It was beautiful at Oxbow bend in every direction. Imagine my surprise as I was reviewing this landscape shot at Oxbow looking away from Mount Moran and see this coyote on the bank and reflected in the water. I should have pulled out a longer lens! We did see this guy pass on the bank closer to us 10 minutes earlier but had lost track of him in the mean time.
I learned a couple of lessons from this. First that there are often beautiful scenes in directions other than the classic view. Always check your back! And second, examine your frame as carefully as circumstances and time allow. Chimping has a negative connotation with some people but I have found it very helpful to correct mistakes and adjust things in the moment.
Camera Nikon D800
Exposure 0.01 sec (1/100)
Aperture f/16.0
Focal Length 300 mm
ISO Speed 400
Exposure Bias -1/3 EV
View the entire Tetons - East and West Set
View the entire Yellowstone Set.
View my - Most Interesting according to Flickr
For information on our winter Yellowstone Workshop see my blog at JamesNeeley.com
Best to be viewed in large size format.
The orchid is a peculiar plant and shows the most developed and the widest variety of types. Unlike the roses, which are always symmetric and of the same type. The very word orchid has a aphrodisiac connotation, because it comes from the Greek word orchis (testicle) and for the first Greeks botanics the shape of the species in the region resembled the male reproductive organ.
Long tailed ducks... A large wintering flock, seen today on LakeOntario, near Port Credit... West of the city of Toronto. Greater Toronto now has over six million people... But you can still see some magnificent natural sights !
Please see the previous two pics.... The same flock...
From Wikipedia:
"Their breeding habitat is in tundra pools and marshes, but also along sea coasts and in large mountain lakes in the North Atlantic region, Alaska, northern Canada, northern Europe, and Russia. The nest is located on the ground near water; it is built using vegetation and lined with down. They are migratory and winter along the eastern and western coasts of North America, on the Great Lakes, coastal northern Europe and Asia, with stragglers to the Black Sea. The most important wintering area is the Baltic Sea, where a total of about 4.5 million gather.
The long-tailed duck is gregarious, forming large flocks in winter and during migration. They feed by diving for mollusks, crustaceans and some small fish. Although they usually feed close to the surface, they are capable of diving to depths of 60 m (200 ft).
Common Name
In North American English it is sometimes called oldsquaw, though this name has fallen out of favour under influence of negative connotations of the word squaw in English usage. Some biologists have also feared that this name would be offensive to some Native American tribes involved in the conservation effort.[5] The American Ornithologists' Union stated that "political correctness" was not sufficient to change the name, but "to conform with English usage in other parts of the world", it officially adopted the name "Long-tailed Duck".[
When a concept comes together
I found this old rail spike and I had a short section of a truly weathered wooden plank laying around outside. For many, many months, I have looked at this rusty old rail spike and wondered how I would photograph it, the context, the background, the angle, the quality of the light, which lens, et cetera. Then, one fine day, while working outside, in the yard, I rediscovered the wooden plank and put the spike on top of it and took a photo. Though, I am not overly religious, at that moment I was thinking more of Christ and the crucifix he was held in place upon, as the Romans had used spikes. So, this photo takes on different connotations with different orientations of the photo, such as portrait or landscape, and the tip of the spike pointing left or right.
Photographic Notes:
I tried many shots of this spike and wooden plank, with different orientation of the grain and spike. I was never thoroughly satisfied, with any. Last night, I took the 4th, 5th, and 6th series of photos. I had used three different software programs to stack the images. How frustrating that I could not get precisely what I envisioned. I simply converted the raw NEF images in Nikon CaptureNX2 to TIF, only selecting Automatic Distortion Control, just before saving to TIF. Then I tried the various image stacking software. I made one last attempt using Photoshop CS5, under File > Scripts > Load Files into Stack . . . I worked from there, including blending a monochrome version of the final color image with the color image to 50:50, then re-saturated and boosted Color, in Nikon's CaptureNX2. I did a bit of localised Sharpening to one small spot on the head of the spike. My only disappointment is the Shadow. When taking the photo, I placed a Silver Reflector opposite to the Studio Flash, at a 45˚ angle to fill the shadow, but it provided marginal benefit, in the final analysis. I used a grid on a medium aluminium beauty dish to deliberately bring out features, that a diffuser might soften. By 02:00 a.m., I had enough.
A gentle reminder about copyright and intellectual property-
Ⓒ Cassidy Photography (All images in this Flickr portfolio)
While the name "Asylum" may mean a place of safety and hopefully peace but down the years the connotations have been less pleasant. Being confined in an asylum carried a terrible stigma that lasted for the remainder of many peoples lives.
The old psychiatric hospital in Enniscorthy is featured on the double here in this beautiful Eblana image. The scene is peaceful and pleasant though that fine building stands abandoned and neglected today.
Photographers: Unknown
Collection: Eblana Photograph Collection
Date: between ca. 1870-1890
NLI Ref: EB_0896
You can also view this image, and many thousands of others, on the NLI’s catalogue at catalogue.nli.ie
In October 1981, flying tiger ancient human remains from Guizhou Provincial Museum trial excavation, the accumulation of complex, broadly divided into early and late phases. Early formation of yellow or grayish yellow, unearthed panda, Stegodon fossils, stone products are made for the late Paleolithic culture era. Advanced formation is black, black, unearthed animal genetic pulp for extant species, and human mandibular and chipped stone, grinding stone, grinding bone, pottery and other large, geological time for the Holocene, culture in the age of the Neolithic age, that about 4000 years ago to 6000 years.
Unearthed stone products made a total of 532 pieces of raw materials, mainly to flint stone, there is, nuclear, stone etc.. The stone to stone, with the forward direction of processing processing, types of hit device, a scraper, tip like device and dolabriform etc.. The scraper accounted for 76%, tip like device is small but fine processing. The axe is a symbol of the transformation of Neolithic culture. 27 pieces of polished stone, delicate process, a stone axe, stone adzes, stone spinning wheels, stone scraper, stone arrow head, small stones (spear) 8. The number of stone adzes, regular shape, with long oblique cutting tool representative. 79 pieces of bone, in addition to the 1 pieces of grinding residual bone scraper, are making bone, bone and bone shovel cone. The three notches in the teeth may be scratching the porcupine symbol. In addition to pottery and ball spinning round round cake 1, the rest are all pieces of artifacts. 1494 tablets. The uneven thickness, thickness of 1.2 cm, thickness of only 0.2 cm, high temperature, hard texture. About 70% of sand pottery, pottery sand shale pottery class accounted for 30%, very little. Sand and sand are mainly sand. Pottery ornamentation is complicated, there are thick rope lines and Fang Gewen cone, tattoo, carved lines and lines and other additional cone. There are 3 pieces of pottery pottery, which has 1 pieces of orange powder is subjected to pottery coating inside and outside the grey clay, on the exterior is painted with two parallel red bands. This is the first time in Guizhou, Guizhou is also the earliest pottery record.
The site has a new and old stone formation, and the cultural connotation is rich. Pottery appear more attractive, but considerable differences in advanced culture. These have great significance to the study of the relationship between the new and the old stone culture in Guizhou and the time continuity of the times.
In February 23, 1982, the Guizhou Provincial People's Government approved the publication of the provincial cultural relics protection units. 1981年10月，飞虎山古人类遗址由贵州省博物馆试掘，洞内堆积复杂，大致分早、晚两期。早期地层呈黄色或灰黄色，出土大熊猫、剑齿象等化石，石制品均为打制，文化时代为旧石器时代晚期。晚期地层呈黑色、灰黑色，出土动物遗髓为现生属种，并出人类下颌件和打制石器、磨制石器、磨制骨器、大量的陶片等，地质时代为全新世，文化时代属新石器时代，推测距今约4000年至6000年。
遗址出土打制的石制品共532件，原料以燧石为主，有是核、石片、石器等。石器以石片为主，加工方向以正向加工为主，类型有砸器、刮削器、尖状器和斧形器等。其中刮削器占76%，尖状器虽少但加工精细。斧形器似为向新石器文化转化的象征。磨制石器27件，加工精致，有石斧、石锛、石纺轮、石刮刀、石箭(矛)头、小石块等8种。石锛数量多，形制规整，以长形斜刃具代表性。骨器79件，除1件残的磨制骨刮刀外，均为打制骨器，有骨锥和骨铲。其中豪猪牙上的三道刻痕可能是刻划符。陶器除圆饼式及圆珠纺轮各1件外，其余全是器物碎片。计1494片。其厚度不匀，厚者达1.2厘米，薄者仅0.2厘米，火候高，质地坚硬。夹砂灰陶约占70%，夹砂黑陶占30%，泥质类陶极少。夹砂陶以夹细砂为主。陶片纹饰复杂多样，有粗细绳纹、方格纹、锥刺纹、刻划纹和附加锥纹等。陶片中有3片彩陶，其中有1片是在泥质灰陶的内外施以粉澄色陶衣，再于外表绘有两条平行的红色条带。这是贵州首次发现，也是贵州迄今最早的彩陶记录。
遗址具有新、旧石器地层叠压，文化内涵丰富。彩陶的出现更引人瞩目，但中、晚期文化差异颇大。这些对研究贵州新、旧石器文化的相互关系和时代延续问题具有重要的意义。
1982年2月23日，经贵州省人民政府批准公布为省级文物保护单位。
“When Christians in later centuries translated Aramaic and Hebrew sources into Greek and Latin, the gendered connotation of the word "spirit" was lost. Those translating various forms of “ruah”—the feminine term for "spirit" in Hebrew, Aramaic, and Syriac into Latin, translated it as “spiritus,” a word gendered masculine. Greek speakers translated it as “pneuma,” a word gendered neuter—effectively, however, erasing the vision of divine Mother, an interpretation of the Holy Spirit, whose presence resonates through many of the earliest sources.” —Elaine Pagels, Miracle and Wonder: The Historical Mystery of Jesus, p. 51
C'est l'enseigne d'un ancien marchand de café rue des petits-carreaux à Paris. Cette façade à des connotations coloniales très marquées et à ce titre elle a fait l'objet de jets d'encre nettement visibles. L'enseigne est classée aux M.H. et une page wikipedia lui est consacrée.
fr.wikipedia.org/wiki/Au_Planteur
It’s the sign of a former coffee shop on rue des petits-carreaux in Paris. This facade has very strong colonial connotations and as such has been the subject of clearly visible ink jets. The brand is classified in M.H. and a wikipedia page is dedicated to it.
a href="https://en.wikipedia.org/wiki/Au_Planteur" rel="noreferrer nofollow">en.wikipedia.org/wiki/Au_Planteur/a>
Pentax Super Me,
Film Fujicolor C200
Développement en kit Rollei Colorchem C41
Hozeva wilderness, Israel
St. George Monastery of Hazeva from Judea, also called Wadi Kelt, is an ancient Orthodox monastery baring the relics of Saint John Jacob of Neamt (the Romanian), called also “the Hotzebite” and of Saint George the Hotzebite.
The valley of “Wadi Kelt” occupies a large part of the Judea desert and runs parallel with the ancient Roman road that once connected Jerusalem to Jericho, a road with biblical connotations – where the Good Samaritan came to Christ.
In October 1981, flying tiger ancient human remains from Guizhou Provincial Museum trial excavation, the accumulation of complex, broadly divided into early and late phases. Early formation of yellow or grayish yellow, unearthed panda, Stegodon fossils, stone products are made for the late Paleolithic culture era. Advanced formation is black, black, unearthed animal genetic pulp for extant species, and human mandibular and chipped stone, grinding stone, grinding bone, pottery and other large, geological time for the Holocene, culture in the age of the Neolithic age, that about 4000 years ago to 6000 years.
Unearthed stone products made a total of 532 pieces of raw materials, mainly to flint stone, there is, nuclear, stone etc.. The stone to stone, with the forward direction of processing processing, types of hit device, a scraper, tip like device and dolabriform etc.. The scraper accounted for 76%, tip like device is small but fine processing. The axe is a symbol of the transformation of Neolithic culture. 27 pieces of polished stone, delicate process, a stone axe, stone adzes, stone spinning wheels, stone scraper, stone arrow head, small stones (spear) 8. The number of stone adzes, regular shape, with long oblique cutting tool representative. 79 pieces of bone, in addition to the 1 pieces of grinding residual bone scraper, are making bone, bone and bone shovel cone. The three notches in the teeth may be scratching the porcupine symbol. In addition to pottery and ball spinning round round cake 1, the rest are all pieces of artifacts. 1494 tablets. The uneven thickness, thickness of 1.2 cm, thickness of only 0.2 cm, high temperature, hard texture. About 70% of sand pottery, pottery sand shale pottery class accounted for 30%, very little. Sand and sand are mainly sand. Pottery ornamentation is complicated, there are thick rope lines and Fang Gewen cone, tattoo, carved lines and lines and other additional cone. There are 3 pieces of pottery pottery, which has 1 pieces of orange powder is subjected to pottery coating inside and outside the grey clay, on the exterior is painted with two parallel red bands. This is the first time in Guizhou, Guizhou is also the earliest pottery record.
The site has a new and old stone formation, and the cultural connotation is rich. Pottery appear more attractive, but considerable differences in advanced culture. These have great significance to the study of the relationship between the new and the old stone culture in Guizhou and the time continuity of the times.
In February 23, 1982, the Guizhou Provincial People's Government approved the publication of the provincial cultural relics protection units. 1981年10月，飞虎山古人类遗址由贵州省博物馆试掘，洞内堆积复杂，大致分早、晚两期。早期地层呈黄色或灰黄色，出土大熊猫、剑齿象等化石，石制品均为打制，文化时代为旧石器时代晚期。晚期地层呈黑色、灰黑色，出土动物遗髓为现生属种，并出人类下颌件和打制石器、磨制石器、磨制骨器、大量的陶片等，地质时代为全新世，文化时代属新石器时代，推测距今约4000年至6000年。
遗址出土打制的石制品共532件，原料以燧石为主，有是核、石片、石器等。石器以石片为主，加工方向以正向加工为主，类型有砸器、刮削器、尖状器和斧形器等。其中刮削器占76%，尖状器虽少但加工精细。斧形器似为向新石器文化转化的象征。磨制石器27件，加工精致，有石斧、石锛、石纺轮、石刮刀、石箭(矛)头、小石块等8种。石锛数量多，形制规整，以长形斜刃具代表性。骨器79件，除1件残的磨制骨刮刀外，均为打制骨器，有骨锥和骨铲。其中豪猪牙上的三道刻痕可能是刻划符。陶器除圆饼式及圆珠纺轮各1件外，其余全是器物碎片。计1494片。其厚度不匀，厚者达1.2厘米，薄者仅0.2厘米，火候高，质地坚硬。夹砂灰陶约占70%，夹砂黑陶占30%，泥质类陶极少。夹砂陶以夹细砂为主。陶片纹饰复杂多样，有粗细绳纹、方格纹、锥刺纹、刻划纹和附加锥纹等。陶片中有3片彩陶，其中有1片是在泥质灰陶的内外施以粉澄色陶衣，再于外表绘有两条平行的红色条带。这是贵州首次发现，也是贵州迄今最早的彩陶记录。
遗址具有新、旧石器地层叠压，文化内涵丰富。彩陶的出现更引人瞩目，但中、晚期文化差异颇大。这些对研究贵州新、旧石器文化的相互关系和时代延续问题具有重要的意义。
1982年2月23日，经贵州省人民政府批准公布为省级文物保护单位。
In October 1981, flying tiger ancient human remains from Guizhou Provincial Museum trial excavation, the accumulation of complex, broadly divided into early and late phases. Early formation of yellow or grayish yellow, unearthed panda, Stegodon fossils, stone products are made for the late Paleolithic culture era. Advanced formation is black, black, unearthed animal genetic pulp for extant species, and human mandibular and chipped stone, grinding stone, grinding bone, pottery and other large, geological time for the Holocene, culture in the age of the Neolithic age, that about 4000 years ago to 6000 years.
Unearthed stone products made a total of 532 pieces of raw materials, mainly to flint stone, there is, nuclear, stone etc.. The stone to stone, with the forward direction of processing processing, types of hit device, a scraper, tip like device and dolabriform etc.. The scraper accounted for 76%, tip like device is small but fine processing. The axe is a symbol of the transformation of Neolithic culture. 27 pieces of polished stone, delicate process, a stone axe, stone adzes, stone spinning wheels, stone scraper, stone arrow head, small stones (spear) 8. The number of stone adzes, regular shape, with long oblique cutting tool representative. 79 pieces of bone, in addition to the 1 pieces of grinding residual bone scraper, are making bone, bone and bone shovel cone. The three notches in the teeth may be scratching the porcupine symbol. In addition to pottery and ball spinning round round cake 1, the rest are all pieces of artifacts. 1494 tablets. The uneven thickness, thickness of 1.2 cm, thickness of only 0.2 cm, high temperature, hard texture. About 70% of sand pottery, pottery sand shale pottery class accounted for 30%, very little. Sand and sand are mainly sand. Pottery ornamentation is complicated, there are thick rope lines and Fang Gewen cone, tattoo, carved lines and lines and other additional cone. There are 3 pieces of pottery pottery, which has 1 pieces of orange powder is subjected to pottery coating inside and outside the grey clay, on the exterior is painted with two parallel red bands. This is the first time in Guizhou, Guizhou is also the earliest pottery record.
The site has a new and old stone formation, and the cultural connotation is rich. Pottery appear more attractive, but considerable differences in advanced culture. These have great significance to the study of the relationship between the new and the old stone culture in Guizhou and the time continuity of the times.
In February 23, 1982, the Guizhou Provincial People's Government approved the publication of the provincial cultural relics protection units. 1981年10月，飞虎山古人类遗址由贵州省博物馆试掘，洞内堆积复杂，大致分早、晚两期。早期地层呈黄色或灰黄色，出土大熊猫、剑齿象等化石，石制品均为打制，文化时代为旧石器时代晚期。晚期地层呈黑色、灰黑色，出土动物遗髓为现生属种，并出人类下颌件和打制石器、磨制石器、磨制骨器、大量的陶片等，地质时代为全新世，文化时代属新石器时代，推测距今约4000年至6000年。
遗址出土打制的石制品共532件，原料以燧石为主，有是核、石片、石器等。石器以石片为主，加工方向以正向加工为主，类型有砸器、刮削器、尖状器和斧形器等。其中刮削器占76%，尖状器虽少但加工精细。斧形器似为向新石器文化转化的象征。磨制石器27件，加工精致，有石斧、石锛、石纺轮、石刮刀、石箭(矛)头、小石块等8种。石锛数量多，形制规整，以长形斜刃具代表性。骨器79件，除1件残的磨制骨刮刀外，均为打制骨器，有骨锥和骨铲。其中豪猪牙上的三道刻痕可能是刻划符。陶器除圆饼式及圆珠纺轮各1件外，其余全是器物碎片。计1494片。其厚度不匀，厚者达1.2厘米，薄者仅0.2厘米，火候高，质地坚硬。夹砂灰陶约占70%，夹砂黑陶占30%，泥质类陶极少。夹砂陶以夹细砂为主。陶片纹饰复杂多样，有粗细绳纹、方格纹、锥刺纹、刻划纹和附加锥纹等。陶片中有3片彩陶，其中有1片是在泥质灰陶的内外施以粉澄色陶衣，再于外表绘有两条平行的红色条带。这是贵州首次发现，也是贵州迄今最早的彩陶记录。
遗址具有新、旧石器地层叠压，文化内涵丰富。彩陶的出现更引人瞩目，但中、晚期文化差异颇大。这些对研究贵州新、旧石器文化的相互关系和时代延续问题具有重要的意义。
1982年2月23日，经贵州省人民政府批准公布为省级文物保护单位。
They don't make 'em like this anymore.........
The beautiful Lux Cinema can be found in the Galleria San Federico, an elegant shopping arcade in the centre of Turin.
Click here to see more of my photos from various trips to Italy : www.flickr.com/photos/darrellg/albums/72157603213111374
Translated from the Italian Wikipedia page : "The Galleria San Federico is a commercial building in the historic center of Turin. Built in the 1930s, it houses numerous business premises, offices and a historical cinema.
In 1931, at the suggestion of the mayor Thaon di Revel, he advanced the hypothesis of the restructuring of the previous Galleria Natta (later Geisser) present in the San Federico Island, creating a new covered commercial area that could be added to the already existing Galleria Subalpina. and Galleria Umberto I. The project was therefore inserted in the context of the imposing restructuring of Via Roma and the surrounding blocks that took place between 1931 and 1937; in 1932 the shipyard was started on the project of architect Federico Canova and engineer Vittorio Bonadè Bottino, who also took care of the simultaneous construction of the nearby Hotel Principi di Piemonte. The project was immediately distinguished by its connotations of modernity and prestige compared to the previous structure, providing ample space for shops, the construction of warehouses and underground garages and, in addition, numerous office spaces and a new cinema, replacing the old Cinema Meridiana . The works were characterized by their fast pace and ended in 1933, just one year after the opening of the construction site."
My Website : Twitter : Facebook : Instagram : Photocrowd
© D.Godliman
Colours we associate with traffic lights ---- Traffic stoppers
Red generally symbolizes danger or warning, making it a good choice for "stop."
Green is calming, probably because it is prolific in nature and a sign of health and abundance, so it might have lent itself to mean "go."
Curiously, yellow or amber, is associated with warmth, happiness, and the sun. Despite these connotations, it was chosen to symbolize "caution."
Photo taken against the backdrop of the PinkPunters Bus.
IMG_3669
8 Apr 11
In the 19th Century, many women's hands came into fashion either with rings or without. It had two symbolic meanings: hospitality and power.
In ancient Greece, doctors thought that a vein joined the left annular finger to the heart....a love connotation attached to the ring. It is both a symbol of peace and harmony in the house and of welcome and kindness to the visitors. Also, the hand that wore the rings belonged to a person of means and symbolized wealth.
A postcard addressed on the other side to "Iva Appleyard, Guilford, Me.," and postmarked, "Guilford, Me., Aug. 5, 1907."
"Skidoo 23 is NOW 37. Turn around the card and I hand you a--."
"I hand you a"—what?
Based on a fad that became popular around 1906 or 1907, "skidoo 23"—or more commonly "23 skidoo"—was a shorthand way of telling someone to "scram," "beat it," or "get lost," usually with a humorous or joking connotation.
If you "turn around the card" or rotate it so that the text is upside down (see below), you'll discover that the letters and numbers of "NOW 37" have turned into the word "LEMON" (this trick is known as an ambigram).
The sender of the card is telling its recipient that "skidoo 23" is "NOW 37." But "NOW 37" turns out to be a "LEMON" when the card is rotated. So the real message is, "I hand you a—LEMON" = "NOW 37" = "Skidoo 23."
In an amusingly convoluted way, then, this postcard illustrated that being handed a lemon was the equivalent of telling someone "23 skidoo."
Perhaps it was due to postcards like this one that "handing someone a lemon" became a way to say scram or get lost without an explicit reference to 23 skidoo. For an example of this, see With My Compliments.
In any case, if a lemon is handed to you, you now know what to do!
For an amazing compilation of information regarding the skidoo 23 fad, see the 23 Skidoo Postcards Web site, or go directly to the site's Lemons (Also NOW37) page.
Originally posted on Ipernity: Skidoo 23 Is Now 37.
Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Today however we are not at Cavendish Mews, although we are still in Mayfair, moving a few streets away to Hill Street, where Edith, Lettice’s maid, and her beau, grocery boy Frank Leadbetter, are visiting Edith’s friend and fellow maid Hilda. It is a beautiful, sunny Sunday and Sundays all three have as days off from their jobs as domestic servants and delivery boy. Taking advantage of this, all three are going to spend the afternoon at Hammersmith Palias de Danse*. As usual, Frank collects Edith from Cavendish Mews and the pair then go to the home of Lettice’s married friends Margot and Dickie Channon, where Hilda works as a live-in maid.
Being Hilda’s day off, her employers usually decamp for the day, and today they are visiting their friend Priscilla who recently married American dry goods heir Georgie Carter. The pair have just returned to London from their honeymoon which took in much of Europe before visiting Georgie’s family in Philadelphia. The quartet will dine at the Café Royal**, doubtless at the expense of Georgie since the Channons seem perpetually to have financial difficulties, but as a result, the Channons have invited the Carters back to their Hill Street flat for after supper coffee, which means that Hilda must do one of her most hated jobs: grind coffee beans to make real coffee for Georgie Carter, who is particular about his American style coffee. We find the trio in the kitchen of the Hill Street flat, the ladies’ dancing frocks and Frank’s suit at odds with their surrounds as Hilda grinds the coffee beans sitting in a white china bowl in the large wooden and brass coffee grinder. By preparing the coffee, ready to make before she goes out, it will be easy to serve when her employers and their guests return after dinner, and the beans will still be fresh enough for Georgie’s liking.
“You know,” Frank remarks as he stands at Edith’s elbow and watches Hilda turn the handle of the coffee grinder with gusto. “I don’t see why they can’t just drink Camp Coffee*** like the rest of us.”
“Oh Frank!” gasps Edith, looking up at her beau and patting his hand with her own as he squeezes her left shoulder lovingly. “You know perfectly well why not, Frank. Mr. and Mrs. Channon’s friend, Mr. Carter is an American gentleman, and just like Miss Wanetta Ward the American moving picture star, he doesn’t like British coffee.”
“What rot!” Frank scoffs at the suggestion. “There’s nothing wrong with British coffee! If British coffee isn’t to Mr. Carter’s taste, let him have tea then, and save poor Hilda the effort of having to grind up coffee beans for his lordship.” He slips off the jacket of his smart Sunday blue suit, revealing his crisp white shirt, red tie and smart navy blue vest. He drapes it over the back of the Windsor chair Edith sits in. “Come on old girl,” he says to Hilda as he moves around the deal pine kitchen table. “Give me a go then. Give your arms a chance to recuperate before we go dancing.”
“You’re such a Socialist, Frank Leadbetter.” pipes up Hilda as with a grunt, she pushes the handle of the grinder mechanism over a particularly recalcitrant coffee bean.
“What?” gasps Frank as he takes over grinding from the grateful maid. “I thought you’d come to my defence, Hilda, especially as I’m being so chivalrous as to grind coffee beans for you.”
“Oh I am grateful, Frank, ever so.” Hilda replies, rubbing her aching forearms with her fat, sausage like fingers. “But just because you are being gallant, doesn’t mean I can’t call you a Socialist.”
“Because a hard working man like me thinks I’m every bit as good as this friend of your Mr. and Mrs. Channon, I’m now a Socialist?” Frank asks in an appalled voice. “You’re as bad as Edith’s mum.” He nods in his sweetheart’s direction.
“Mum thinks Frank might be a Communist.” Edith explains. “Even though we’ve both told her that he isn’t.”
“Handsome is as handsome does.” remarks Hilda with a cheeky smile as she glances at Frank winding the red knob topped brass handle of the grinder.
“I’m neither, I’ll have you know, Hilda Clerkenwell!” Frank retorts. “I’d prefer to think of myself as more of a progressive thinker when it comes to the rights and privileges of the working man,” He looks poignantly at Hilda. “And woman.”
“Same thing.” Hilda retorts matter-of-factly as she starts to straighten the russet grosgrain bandeau**** embellished with gold sequins which has slipped askew whilst she has been grinding coffee beans.
“Pardon my ignorance,” Edith begins gingerly. “But what exactly is a Socialist?”
“Socialism is a political movement that wants to reform various economic and social systems, transferring them to social ownership as opposed to private ownership.” remarks Hilda as she runs her hands down the back of her hair.
“Well done, Hilda!” Frank congratulates her.
“You sound surprised, Frank.” Hilda says with a cheeky smile. “Don’t they have smart girls where you come from, present company excluded, Edith!” Hilda adds hurriedly so as not to offend her best friend.”
“Oh, you know I’m not very political,” Edith assures Hilda, yet at the same time self consciously toys with her blonde waves as she speaks.
“I must confess, Hilda, I am a little surprised.” Frank admits. “I don’t know many girls who are interested in social rights and can give explanations so eloquently.”
“I’m so sorry Frank!” Edith defends herself. “I know you’ve tried to teach me, but I can’t help it. I get confused between this ist and the other ist. They all seem the same to me.” She blushes with mild embarrassment at her own ignorance.
“No, no, Edith!” Frank assures her as he stops grinding the coffee beans and reaches out his left hand, clasping her right one as it rests on the tabletop and squeezes it reassuringly. “This isn’t a criticism of you! It was a compliment to Hilda. You’re wonderful, and there are things that you understand and are far better at than me.”
“Than both of us, Edith.” adds Hilda quickly, the look of concern about her friend taking umbrage clear on her round face.
“Yes, inconsequential things.” Edith mumbles in a deflated tone.
“No, not at all.” Frank reassures her soothingly as he takes up grinding coffee again. “What good am I to myself if I can’t cook a meal to feed myself.”
“And for all my love of reading, Edith, you know I can’t sew a stitch.” Hilda appends. “I could never have made this beautiful frock.” She grasps the edge of the strap of her russet coloured art satin***** dress as she speaks. “Not in a million years. We’re all good at different things, and no-one could say you weren’t smart, Edith.”
“That’s right.” Frank concurs, smiling at his sweetheart. “One of the reasons why I’ve always admired you is because you aren’t some silly giggling Gertie****** like some of the housemaids I’ve known. You aren’t turned by just a handsome face, and your head isn’t filled with moving picture stars and nothing else.”
“Well, I do like moving picture stars, Frank.” Edith confesses.
“Oh I know, Edith, and I love you for that too.” Frank reassures her. “But it’s not all that is in there. You have a good head on your shoulders.”
“And a wise one too.” Hilda interjects. “How often do I ask you for advice? I’ve always asked you for your opinion on things for as long as we’ve been friends.”
“You are clever, and insightful, and you want a better life for yourself too, and that’s why I really love you. We want the same things from life.” Frank says in a soft and soothing tone full of love as he gazes at Edith. “You are very pretty, and no-one can deny that – not even you,” He holds out an admonishing finger as Edith goes to refute his remark. “But beauty, however glorious will fade. Just look at our Dowager Queen Mother*******. When beauty fades, wit and intelligence remain, and you have both of those qualities in spades, Edith.”
“Oh Frank.” Edith breathes softly. “You aren’t ashamed of me then?”
“Of course I’m not Edith! How could I ever be ashamed of you? I’m as proud as punch******** to step out with you! You’re my best girl.”
Frank winds the gleaming brass coffee grinder handle a few more times before stopping. He pulls out the drawer at the bottom and as he does, the rich aroma of freshly ground coffee beans fills the air around them, wafting up his, Edith and Hilda’s nostrils. He sighs with satisfaction at a job well done.
“Good enough for his American lordship?” Frank asks Hilda.
She peers into the drawer. “Good enough.” she acknowledges with another of her cheeky smirks, nodding affirmatively.
“I still think he could jolly well grind his own, you know, Hilda!” Frank opines.
“Socialist.” she laughs in reply as she walks around Frank, withdraws the drawer of ground coffee and knocks the contents into the small, worn Delftware coffee cannister with careful taps, so as not to spill and waste any of the hard-won grinds.
“I bet you, your Wanetta Ward doesn’t grind her own coffee, Edith.” Frank goes on as he walks back around to Edith and slips his jacket on again.
“I bet you she does, Frank!” Edith counters.
“What? A moving picture star grinding her own coffee? I don’t believe it!”
“Miss Ward is a very unorthodox person, Frank, even for an American.” she assures him. “I think she might surprise you if you ever get the pleasure of meeting her one day.”
“Maybe.” Frank says doubtfully. “Well now that coffee is ground, we should really get going.” He runs his hands around the back of his jacket collar to make sure it is sitting straight. “The Hammersmith Palais waits for no-one, not even those who slave for undeserving Americans.” He laughs good heartedly. “Shall we go?”
“Oh yes!” enthuses Edith as Frank chivalrously pulls out her chair for her as she stands up. “I’ll fetch our coats.”
With her pretty blue floral sprigged frock swirling about her figure, Edith hurries over to the pegs by the door where Frank’s, Hilda’s and her own coat and hats hang. She moves lightly across the floor, practicing her dance steps as she goes, silently moving to the music she hears the band playing in her head.
“I really wonder why I bother sometimes.” Hilda says despondently as she pulls her brown coat on over the top of the luxurious man-made silk frock that Edith made for her and decorated with lace trimming and small bursts of sequins.
“Like I said,” Frank mutters. “He should settle for Camp Coffee like the rest of us, or have tea.”
“Not grinding coffee, Frank!” Hilda scoffs in reply. “I mean go dancing at the Hammersmith Palais week after week. What’s the point?”
“What do you mean, Hilda?” Edith asks gently, slipping her arms into her own black three-quarter length coat as Frank holds to open for her.
“I mean why do I bother going dancing when no man at the Palais ever looks at me, even in this beautiful new frock you made me, Edith.” She picks up the lace trimmed hem of her dance dress and lifts it despondently.
Edith and Frank both glance anxiously at one another for a moment. Both know they are thinking exactly the same thing. What Hilda says is true. Whenever the three of them go to the Hammersmith Palais de Danse there are always far more women in attendance than men. The Great War decimated the male population, and almost drove an entire generation of young men into extinction. Sadly, this means that more and more women are finding themselves without a gentleman to step out with, and are deemed surplus to needs by society. In spite of any of his faults, Edith knows how lucky she is to have a young man like Frank. Even the attentions of pretty girls are less in demand with fewer men in circulation desiring their company. Unlike Edith, Hilda is a little on the plump side, enjoying the indulgence of sticky buns from the bakers and an extra serving of Victoria Sponge at the Lyons Corner Shop********* at the top of Tottenham Court Road. Her face is friendly, with soft brown eyes and a warm smile, but she isn’t pretty. Even with the judicious application of a little powder and rouge acquired from the make-up counter of Selfridges********** her skin lacks the fresh gleam that Edith has, and for as long as she has known her, Edith has always found Hilda to have a very pale complexion. When the three of them do go dancing, Frank is often the only man she dances with when he partners her around the dancefloor, and more often than not, Hilda ends up taking the part of the man, dancing with any number of other neglected wallflowers, just to ward of the tedium of waiting for someone to ask her to dance. The plight, for plight it was, of women like Hilda was all too common, in the post-war world of the 1920s.
“Perhaps you’re looking in the wrong place, Hilda.” Frank says.
“What do mean, Frank?”
“Well, a girl with brains like you needs a man who will stimulate her mentally. Perhaps you might find the man of your dreams at a library.”
“A library!” Hilda’s mind conjures up images of pale bookish young men in glasses with phlegmatic characters who would much rather shake her hand limply and discuss the benefits of Socialism, rather than sweep her off her feet romantically.
“Not at all helpful, Frank!” hisses Edith as she watches her best friend’s face fall.
“I was only joking.” Frank shrugs apologetically, unsure what to say.
Edith hurries over and wraps her arm around Hilda’s slumping shoulders consolingly. “A faint heart never won a fair lady, Hilda.” She pulls Hilda to her lovingly. Hilda looks up at her friend sadly, yet thoughtfully. “And I think it works the same in reverse.”
Seeing a way to make amends for his ill-timed joke, Frank pipes up, “That’s exactly right, Hilda. Edith wouldn’t have been anywhere near as attractive to me if she hadn’t had a bit of pluck.”
“And you look splendid in the dance frock I made for you, Hilda,” Edith adds. “Really you do.”
“Do you really think so, Edith?” Hilda asks, looking at her friend.
“Of course I do! I’m a professional seamstress, and you are my best friend. I wouldn’t make something that didn’t suit you!”
“No, no of course not.” Hilda replies.
“And didn’t Mrs. Minkin say that russet satin would suit your colourings?”
“She did.”
“Well then,” Edith replies matter-of-factly. “There is nothing more to be said.”
“That’s right.” agrees Frank, and without further ado, he sweeps Hilda into his arms.
With the ease of a natural dancer, Frank begins to waltz his partner carefully across the black and white chequered linoleum floor of the Channon’s kitchen, guiding her around the kitchen table and the chairs gathered around it, past the black and white stove and the dresser cluttered with crockery and provisions.
“Oh Frank!” Hilda says, laughing joyously as she allows herself to be swept away. “You really are a one!”
Edith smiles as she sees a light return to her best friend’s eyes, and a smile appear upon her pert lips. She considers herself so fortunate not just because she has a chap to step out with, but because Frank is so kind and considerate. Not just any man would understand or appreciate Edith’s wish to include Hilda in their excursions to the Hammersmith Palais de Danse, and not every man would be as willing to take a turn with her on the dancefloor, as has been proven. Then again, Frank is no ordinary man, and as time goes on and she gets to know him better, the more she is becoming aware that her sweetheart is a very special man indeed. She laughs as Frank dips Hilda, making her squeal in delight, before raising her up again and restoring her to her feet.
“There!” Frank says with a huff as he catches his breath. “Now that your feet are suitably warmed up, you’re ready to go, Miss Clerkenwell. We’ll have no more talk of you not wanting to come dancing with us.”
“Today might be the day you meet someone, Hilda. Don’t give up on the chance.” Edith enthuses.
“Oh alright you two!” Hilda acquiesces. “I give up. Let’s go then.”
“That’s the spirit, Hilda!” Frank says. “That pluck will win you a fine and handsome gentleman with a brain that you deserve.”
“I can hardly battle both of you, can I?” Hilda laughs as she carefully places her floppy brimmed brown velvet and copper faille poke-style bonnet decorated with a beige rose and leaves atop her head.
The three friends walk out of the kitchen door that leads out onto the flat’s back stairs and begin to descend to the street. Hilda locks the door behind her and the coffee grinder and the as of yet to be ground coffee beans sit on the table, ready for when she returns later that day to serve to Margot, Dickie and their friends Priscilla and Georgie Carter.
*The Hammersmith Palais de Danse, in its last years simply named Hammersmith Palais, was a dance hall and entertainment venue in Hammersmith, London, England that operated from 1919 until 2007. It was the first palais de danse to be built in Britain.
**The Café Royal in Regent Street, Piccadilly was originally conceived and set up in 1865 by Daniel Nicholas Thévenon, who was a French wine merchant. He had to flee France due to bankruptcy, arriving in Britain in 1863 with his wife, Célestine, and just five pounds in cash. He changed his name to Daniel Nicols and under his management - and later that of his wife - the Café Royal flourished and was considered at one point to have the greatest wine cellar in the world. By the 1890s the Café Royal had become the place to see and be seen at. It remained as such into the Twenty-First Century when it finally closed its doors in 2008. Renovated over the subsequent four years, the Café Royal reopened as a luxury five star hotel.
***Camp Coffee is a concentrated syrup which is flavoured with coffee and chicory, first produced in 1876 by Paterson & Sons Ltd, in Glasgow. In 1974, Dennis Jenks merged his business with Paterson to form Paterson Jenks plc. In 1984, Paterson Jenks plc was bought by McCormick & Company. Legend has it (mainly due to the picture on the label) that Camp Coffee was originally developed as an instant coffee for military use. The label is classical in tone, drawing on the romance of the British Raj. It includes a drawing of a seated Gordon Highlander (supposedly Major General Sir Hector MacDonald) being served by a Sikh soldier holding a tray with a bottle of essence and jug of hot water. They are in front of a tent, at the apex of which flies a flag bearing the drink's slogan, "Ready Aye Ready". A later version of the label, introduced in the mid-20th century, removed the tray from the picture, thus removing the infinite bottles element and was seen as an attempt to avoid the connotation that the Sikh was a servant, although he was still shown waiting while the kilted Scottish soldier sipped his coffee. The current version, introduced in 2006, depicts the Sikh as a soldier, now sitting beside the Scottish soldier, and with a cup and saucer of his own. Camp Coffee is an item of British nostalgia, because many remember it from their childhood. It is still a popular ingredient for home bakers making coffee-flavoured cake and coffee-flavoured buttercream. In late 1975, Camp Coffee temporarily became a popular alternative to instant coffee in the UK, after the price of coffee doubled due to shortages caused by heavy frosts in Brazil.
****A bandeau is a narrow band of fabric worn round the head to hold the hair in position. Although bandeaus existed long before the 1920s, there was a resurgence in popularity for embroidered grosgrain ribbons to be worn around the head across the forehead in the 1920s, and they are synonymous with 1920s flapper fashion.
*****The first successful artificial silks were developed in the 1890s of cellulose fibre and marketed as art silk or viscose, a trade name for a specific manufacturer. In 1924, the name of the fibre was officially changed in the U.S. to rayon, although the term viscose continued to be used in Europe.
******Although obscure as to its origin, the term “giggling Gertie” is of English derivation and was often used in a derisive way to describe silly children and young people, usually girls, who were deemed as being flippant and foolish.
*******Queen Alexandra was Queen of the United Kingdom and the British Dominions, and Empress of India, from the twenty-second of January 1901 to the sixth of May 1910 as the wife of King-Emperor Edward VII. Daughter of King Christian IX of Denmark, at the age of sixteen Alexandra was chosen as the future wife of Albert Edward, Prince of Wales, the son and heir apparent of Queen Victoria. When she arrived in England she was famed for her beauty and her style of dress and bearing were copied by fashion-conscious women. From Edward's death, Alexandra was queen mother, being a dowager queen and the mother of the reigning monarch. Alexandra retained a youthful appearance into her senior years, but during the Great War her age caught up with her. She took to wearing elaborate veils and heavy makeup, which was described by gossips as having her face "enamelled".
********Although today we tend to say as “pleased as punch”, the Victorian term actually began as “proud as punch”. This expression refers to the Punch and Judy puppet character. Punch's name comes from Punchinello, an Italian puppet with similar characteristics. In Punch and Judy shows, the grotesque Punch is portrayed as self-satisfied and pleased with his evil actions.
*********J. Lyons and Co. was a British restaurant chain, food manufacturing, and hotel conglomerate founded in 1884 by Joseph Lyons and his brothers in law, Isidore and Montague Gluckstein. Lyons’ first teashop opened in Piccadilly in 1894, and from 1909 they developed into a chain of teashops, with the firm becoming a staple of the High Street in the United Kingdom. At its peak the chain numbered around two hundred cafes. The teashops provided for tea and coffee, with food choices consisting of hot dishes and sweets, cold dishes and sweets, and buns, cakes and rolls. Lyons' Corner Houses, which first appeared in 1909 and remained until 1977, were noted for their Art Deco style. Situated on or near the corners of Coventry Street, Strand and Tottenham Court Road, they and the Maison Lyonses at Marble Arch and in Shaftesbury Avenue were large buildings on four or five floors, the ground floor of which was a food hall with counters for delicatessen, sweets and chocolates, cakes, fruit, flowers and other products. In addition, they possessed hairdressing salons, telephone booths, theatre booking agencies and at one period a twice-a-day food delivery service. On the other floors were several restaurants, each with a different theme and all with their own musicians. For a time, the Corner Houses were open twenty-four hours a day, and at their peak each branch employed around four hundred staff including their famous waitresses, commonly known as Nippies for the way they nipped in and out between the tables taking orders and serving meals. The tea houses featured window displays, and, in the post-war period, the Corner Houses were smarter and grander than the local tea shops. Between 1896 and 1965 Lyons owned the Trocadero, which was similar in size and style to the Corner Houses.
********** Selfridges, also known as Selfridges & Co., is a chain of upscale department stores in the United Kingdom that is operated by Selfridges Retail Limited, part of the Selfridges Group of department stores. It was founded by Harry Gordon Selfridge in 1908. Harry Gordon Selfridge, Sr. was an American-British retail magnate who founded the London-based department store. His twenty year leadership of Selfridge’s led to his becoming one of the most respected and wealthy retail magnates in the United Kingdom. He was known as the 'Earl of Oxford Street'.
***********Faille is a type of cloth with flat ribs, often made in silk. It has a softer texture than grosgrain, with heavier and wider cords or ribs. Weft yarns are heavier than warp, and it is manufactured in plain weaving. It was especially popular in the Nineteenth Century, and its popularity, although somewhat dwindling, did carry through into the early decades of the Twentieth Century.
This cosy domestic kitchen scene is a little different to what you might think, for whilst it looks very authentic, it is made up entirely of 1:12 size dollhouse miniatures from my miniatures collection.
Fun things to look for in this tableaux include:
On Hilda’s deal table stands her coffee grinder with its brass handle, wooden base and drawer, and red knobs. It comes from Kathleen Knight’s Dolls House Shop in the United Kingdom. The little Delftware canister and the white china bowl also come from Kathleen Knight’s Dolls House Shop. The coffee beans in the bowl are really black carraway seeds. The vase of flowers comes from an online shop on E-Bay.
Hilda’s Windsor chair is a hand-turned 1:12 artisan miniature which came from America. Unfortunately, the artist did not carve their name under the seat, but it is definitely an unmarked artisan piece.
In the background you can see a very modern and up-to-date 1920s gas stove. It would have been expensive to instal at the time, and it would have been the cook’s or maid’s pleasure to cook on and in. It would have included a thermostat for perfect cooking and without the need of coal, it was much cleaner to feed, use and easier to clean. It is not unlike those made by the Roper Stove Company in the 1920s. The Roper Stove Company previously named the Florence-Wehrle Company among other names, was founded in 1883. Located in Newark, Ohio, the company was once the largest stove producer in the world. Today, the Roper Stove Company is a brand of Whirlpool.
“I love that sweet smell of decay that surrounds me in forests and woods. A kind of mulchy, deep, rich rot that has no connotation of death or ending, but rather of life and age. A sense of perpetual destruction and rebirth.”
-Unknown
Explore #470 on Saturday, July 4, 2009
Also known as:
Blueweed
Bugloss
Viper's Bugloss
Whatever. It's a weed. It's beautiful. And it grows best in pastures, parking lots, abandoned sites with coarse, gravelly soil.
For the record, 'vulgaris' in Latin, simply means 'common' or 'ordinary' -- it has no connotation of the modern English "vulgar."
Color selection can be personal, intentional, or accidental, or the result of any combination of those reasons. By design the dominant colors for this piece were chosen to be green, yellow and purple. They are the favorite colors of the person I was thinking of as I created it. Some people attribute specific connotations or emotions with the different colors, which is why this piece has been named what it is! The painting has had a single coat of varnish applied, with two more on the way.
Comments and constructive feedback are always appreciated!
I was on my way out when I happened upon this image that I thought or hoped everyone would get a chuckle out of, I hope. The connotation is hilarious you have to admit, I wonder what the baby would look like, I hope you all enjoy this whimsical image. Please view image large and take a good look at the face of the turtle, the expression is priceless.
as time goes by: vistors moving in the pergamon museum, incidentally the photographer in the middle is the one most "there". i love the connotations in that.
this was in explore 2024-06-08 and in the explore takeover on 2024-06-26
In October 1981, flying tiger ancient human remains from Guizhou Provincial Museum trial excavation, the accumulation of complex, broadly divided into early and late phases. Early formation of yellow or grayish yellow, unearthed panda, Stegodon fossils, stone products are made for the late Paleolithic culture era. Advanced formation is black, black, unearthed animal genetic pulp for extant species, and human mandibular and chipped stone, grinding stone, grinding bone, pottery and other large, geological time for the Holocene, culture in the age of the Neolithic age, that about 4000 years ago to 6000 years.
Unearthed stone products made a total of 532 pieces of raw materials, mainly to flint stone, there is, nuclear, stone etc.. The stone to stone, with the forward direction of processing processing, types of hit device, a scraper, tip like device and dolabriform etc.. The scraper accounted for 76%, tip like device is small but fine processing. The axe is a symbol of the transformation of Neolithic culture. 27 pieces of polished stone, delicate process, a stone axe, stone adzes, stone spinning wheels, stone scraper, stone arrow head, small stones (spear) 8. The number of stone adzes, regular shape, with long oblique cutting tool representative. 79 pieces of bone, in addition to the 1 pieces of grinding residual bone scraper, are making bone, bone and bone shovel cone. The three notches in the teeth may be scratching the porcupine symbol. In addition to pottery and ball spinning round round cake 1, the rest are all pieces of artifacts. 1494 tablets. The uneven thickness, thickness of 1.2 cm, thickness of only 0.2 cm, high temperature, hard texture. About 70% of sand pottery, pottery sand shale pottery class accounted for 30%, very little. Sand and sand are mainly sand. Pottery ornamentation is complicated, there are thick rope lines and Fang Gewen cone, tattoo, carved lines and lines and other additional cone. There are 3 pieces of pottery pottery, which has 1 pieces of orange powder is subjected to pottery coating inside and outside the grey clay, on the exterior is painted with two parallel red bands. This is the first time in Guizhou, Guizhou is also the earliest pottery record.
The site has a new and old stone formation, and the cultural connotation is rich. Pottery appear more attractive, but considerable differences in advanced culture. These have great significance to the study of the relationship between the new and the old stone culture in Guizhou and the time continuity of the times.
In February 23, 1982, the Guizhou Provincial People's Government approved the publication of the provincial cultural relics protection units. 1981年10月，飞虎山古人类遗址由贵州省博物馆试掘，洞内堆积复杂，大致分早、晚两期。早期地层呈黄色或灰黄色，出土大熊猫、剑齿象等化石，石制品均为打制，文化时代为旧石器时代晚期。晚期地层呈黑色、灰黑色，出土动物遗髓为现生属种，并出人类下颌件和打制石器、磨制石器、磨制骨器、大量的陶片等，地质时代为全新世，文化时代属新石器时代，推测距今约4000年至6000年。
遗址出土打制的石制品共532件，原料以燧石为主，有是核、石片、石器等。石器以石片为主，加工方向以正向加工为主，类型有砸器、刮削器、尖状器和斧形器等。其中刮削器占76%，尖状器虽少但加工精细。斧形器似为向新石器文化转化的象征。磨制石器27件，加工精致，有石斧、石锛、石纺轮、石刮刀、石箭(矛)头、小石块等8种。石锛数量多，形制规整，以长形斜刃具代表性。骨器79件，除1件残的磨制骨刮刀外，均为打制骨器，有骨锥和骨铲。其中豪猪牙上的三道刻痕可能是刻划符。陶器除圆饼式及圆珠纺轮各1件外，其余全是器物碎片。计1494片。其厚度不匀，厚者达1.2厘米，薄者仅0.2厘米，火候高，质地坚硬。夹砂灰陶约占70%，夹砂黑陶占30%，泥质类陶极少。夹砂陶以夹细砂为主。陶片纹饰复杂多样，有粗细绳纹、方格纹、锥刺纹、刻划纹和附加锥纹等。陶片中有3片彩陶，其中有1片是在泥质灰陶的内外施以粉澄色陶衣，再于外表绘有两条平行的红色条带。这是贵州首次发现，也是贵州迄今最早的彩陶记录。
遗址具有新、旧石器地层叠压，文化内涵丰富。彩陶的出现更引人瞩目，但中、晚期文化差异颇大。这些对研究贵州新、旧石器文化的相互关系和时代延续问题具有重要的意义。
1982年2月23日，经贵州省人民政府批准公布为省级文物保护单位。
A parallel universe is a hypothetical self-contained separate reality co-existing with one's own. A specific group of parallel universes is called a "multiverse", although this term can also be used to describe the possible parallel universes that constitute reality. While the terms "parallel universe" and "alternative reality" are generally synonymous and can be used interchangeably in most cases, there is sometimes an additional connotation implied with the term "alternative reality" that implies that the reality is a variant of our own. The term "parallel universe" is more general, without any connotations implying a relationship, or lack of relationship, with our own universe. A universe where the very laws of nature are different – for example, one in which there are no Laws of Motion – would in general count as a parallel universe but not an alternative reality and a concept between both fantasy world and earth.
The actual quantum-mechanical hypothesis of parallel universes is "universes that are separated from each other by a single quantum event."
In October 1981, flying tiger ancient human remains from Guizhou Provincial Museum trial excavation, the accumulation of complex, broadly divided into early and late phases. Early formation of yellow or grayish yellow, unearthed panda, Stegodon fossils, stone products are made for the late Paleolithic culture era. Advanced formation is black, black, unearthed animal genetic pulp for extant species, and human mandibular and chipped stone, grinding stone, grinding bone, pottery and other large, geological time for the Holocene, culture in the age of the Neolithic age, that about 4000 years ago to 6000 years.
Unearthed stone products made a total of 532 pieces of raw materials, mainly to flint stone, there is, nuclear, stone etc.. The stone to stone, with the forward direction of processing processing, types of hit device, a scraper, tip like device and dolabriform etc.. The scraper accounted for 76%, tip like device is small but fine processing. The axe is a symbol of the transformation of Neolithic culture. 27 pieces of polished stone, delicate process, a stone axe, stone adzes, stone spinning wheels, stone scraper, stone arrow head, small stones (spear) 8. The number of stone adzes, regular shape, with long oblique cutting tool representative. 79 pieces of bone, in addition to the 1 pieces of grinding residual bone scraper, are making bone, bone and bone shovel cone. The three notches in the teeth may be scratching the porcupine symbol. In addition to pottery and ball spinning round round cake 1, the rest are all pieces of artifacts. 1494 tablets. The uneven thickness, thickness of 1.2 cm, thickness of only 0.2 cm, high temperature, hard texture. About 70% of sand pottery, pottery sand shale pottery class accounted for 30%, very little. Sand and sand are mainly sand. Pottery ornamentation is complicated, there are thick rope lines and Fang Gewen cone, tattoo, carved lines and lines and other additional cone. There are 3 pieces of pottery pottery, which has 1 pieces of orange powder is subjected to pottery coating inside and outside the grey clay, on the exterior is painted with two parallel red bands. This is the first time in Guizhou, Guizhou is also the earliest pottery record.
The site has a new and old stone formation, and the cultural connotation is rich. Pottery appear more attractive, but considerable differences in advanced culture. These have great significance to the study of the relationship between the new and the old stone culture in Guizhou and the time continuity of the times.
In February 23, 1982, the Guizhou Provincial People's Government approved the publication of the provincial cultural relics protection units. 1981年10月，飞虎山古人类遗址由贵州省博物馆试掘，洞内堆积复杂，大致分早、晚两期。早期地层呈黄色或灰黄色，出土大熊猫、剑齿象等化石，石制品均为打制，文化时代为旧石器时代晚期。晚期地层呈黑色、灰黑色，出土动物遗髓为现生属种，并出人类下颌件和打制石器、磨制石器、磨制骨器、大量的陶片等，地质时代为全新世，文化时代属新石器时代，推测距今约4000年至6000年。
遗址出土打制的石制品共532件，原料以燧石为主，有是核、石片、石器等。石器以石片为主，加工方向以正向加工为主，类型有砸器、刮削器、尖状器和斧形器等。其中刮削器占76%，尖状器虽少但加工精细。斧形器似为向新石器文化转化的象征。磨制石器27件，加工精致，有石斧、石锛、石纺轮、石刮刀、石箭(矛)头、小石块等8种。石锛数量多，形制规整，以长形斜刃具代表性。骨器79件，除1件残的磨制骨刮刀外，均为打制骨器，有骨锥和骨铲。其中豪猪牙上的三道刻痕可能是刻划符。陶器除圆饼式及圆珠纺轮各1件外，其余全是器物碎片。计1494片。其厚度不匀，厚者达1.2厘米，薄者仅0.2厘米，火候高，质地坚硬。夹砂灰陶约占70%，夹砂黑陶占30%，泥质类陶极少。夹砂陶以夹细砂为主。陶片纹饰复杂多样，有粗细绳纹、方格纹、锥刺纹、刻划纹和附加锥纹等。陶片中有3片彩陶，其中有1片是在泥质灰陶的内外施以粉澄色陶衣，再于外表绘有两条平行的红色条带。这是贵州首次发现，也是贵州迄今最早的彩陶记录。
遗址具有新、旧石器地层叠压，文化内涵丰富。彩陶的出现更引人瞩目，但中、晚期文化差异颇大。这些对研究贵州新、旧石器文化的相互关系和时代延续问题具有重要的意义。
1982年2月23日，经贵州省人民政府批准公布为省级文物保护单位。
I said with a posed look.
Here comes Ononoki Yotsugi from the Monogatari series in all her frilly, doll-like glory.
Things are always complicated in Monogatari's lore, and Yotsugi-chan is no exception. In broad terms, she is a Shikigami (i.e. supernatural familiar), created from a deceased body by a group of oddity specialists. But she is also often referred to as a Tsukumogami (i.e. possessed object).
Yotsugi-chan is a recurrent character in the Monogatari series. She has many quirky personality traits, including a perennial deadpan face, monotone voice, a taste for (lame) puns, a predilection for odd catchphrases and also being best girl.
You may also find her being labelled as a “bokukko” (literally, “me girl” with masculine connotation), as she refers to herself with the boku pronoun, which is normally used by men, not women.
"At Presen (Temma Lowly)"
graphite and gesso on paper
8.5 x 11 inches
2023
Here is Nik Burkhart's contribution to the "Deposition: Drawn" project and upcoming exhibition opening on Valentine's Day, February 14, 4-6 pm in the Carlson Tower Gallery of North Park University, Chicago.
With Nik's piece there is more than meets the eye. Here's Nik's text:
I've attached my contribution to the project in response to your prompt. The title for this is "At Present (Temma Lowly)". I made this piece using Graphite and Gesso on Rives BFK Paper. I'm exploring the idea of additive and subtractive methods of image production over the course of the making of the piece. I was thinking about the growth of a tree and how each subsequent year it adds a growth ring as evidence of its persistence. At any given moment, all layers of its growth are present, even though you can only see the exterior layer.
For this drawing, I have projected and drawn multiple layers of the same image onto this paper to equal Temma's age (37) at the outset of this exhibition. I drew with graphite and subsequently covered it with a layer of gesso, then allowed it to dry and started again. There are 19 layers of graphite drawings and 18 layers of gesso built up on the paper. This process was fairly mundane in its repetition, but each layer (particularly the drawing phases) caused me to attend to different details in the overall image. Because of the way graphite interacts with gesso, applying the gesso layer wasn't a process of erasure, but rather a means of unifying the layers of drawings over the course of time as the graphite mixed with the paint and changed the tonal range of the image.
While the metaphor of tree and stump as relates to Temma are not exactly a perfect match, I felt a resonance that was worth exploring for this project. I feel unqualified to talk about disability as relates to this image, but recognize from your writing and artwork that in coming to terms with Temma's condition, you have simultaneously encountered profound loss and a deeper beauty through her presence in your life.
I am uncomfortable with the connotations of death brought to mind by the image of a stump in this context, but it bears acknowledgement. We typically measure the life of a tree (particularly a cherry tree like this stump) in terms of its ability to produce fruit, or at least the amount of time that it is alive and photosynthesizing. Assessing value in these terms neglects the reality that the physical presence of the wood/stump/matter continues to exist and age past the expiration of its standard utility. Said another way, measuring value (of anything or anyone) in terms of usability is a narrow view and a path to objectification or exploitation. Other connections can be drawn, but I think this gives context for my thoughts.
In thinking about a writing to be included with my piece, I have wrote the following poem.
this present
is as much
what was
as what is here
now
Nik Burkhart
The Puerta de San Esteban (formerly the Bab al-Wuzara in Arabic) is one of the oldest well-preserved and historically significant gateways of Moorish architecture. It was originally the gate by which the Muslim emir and his officials entered the mosque and it presumably existed since the mosque's first construction by Abd ar-Rahman I in the 8th century. However, its decoration was completed by Muhammad I in 855. Centuries of slow deterioration and restoration attempts have erased some elements of its decoration, but major original aspects of it remain. Its historical-architectural significance derives from being the earliest surviving example to display the classic ornamental features of Moorish gateways: a door topped by a horseshoe arch with voussoirs of alternating color, which in turn is framed by a rectangular alfiz.
Many other gates were added over the course of subsequent expansions of the mosque. These later gates have even more elaborate decoration, particularly from the 10th century during Al-Hakam II's expansion (starting in 961), visible today on the western exterior façade of the former prayer hall. Al-Mansur's final expansion of the mosque a few decades later (starting in 987–988), which extended the mosque laterally to the east, copied the design of the earlier gates of Al-Hakam II's expansion. Al-Mansur's doors are visible on the building's current eastern façade. Some remains of the original eastern doors of Al-Hakam II's expansion, before Al-Mansur's displacement of the eastern wall, are still visible inside the mosque-cathedral today. One example is the Puerta del Punto, located next to the southern wall and serving today as the visitors' exit from the cathedral's treasury rooms. Many of the exterior gates, however, have undergone various periods of decay and restoration. The most elaborate gates on the eastern wall today are in large part the work of 20th-century restorations. 79 Many of the original Arabic inscriptions on these doors have nonetheless been preserved, however. Susana Calvo Capilla has noted that many of the inscriptions on the 10th-century gates have eschatological and proselytizing connotations, possibly reflecting a conscious rebuttal of heterodox religious currents that the authorities deemed threats at the time. Three of the doors, for example, include Qur'anic verses that deny Christian beliefs on the divinity of Christ.
After the mosque's conversion to a cathedral in 1236, Spanish Christian designs were increasingly added to new or existing gates. The small Postigo de la Leche ("Door of the Milk") on the west side of the building has Gothic details dating from 1475. Among the most notable monumental Christian-era portals are the Puerta de las Palmas, the Puerta de Santa Catalina, and the Puerta del Perdón.
Puerta de las Palmas, seen from the Courtyard of the Oranges
The Puerta de las Palmas (Door of the Palms) is the grand ceremonial gate from the Courtyard of the Oranges to the cathedral's interior, built on what was originally a uniform façade of open arches leading to the former mosque's prayer hall. Originally called the Arco de Bendiciones (Arch of the Blessings), it was the setting for the ceremonial blessing of the royal flag, a ritual which was part of a Spanish monarch's coronation ceremony. Its current form dates from the restoration and remodelling done by Hernán Ruiz I in 1533, who created a plateresque façade above the doorway. The facade's statues depict the Annunciation while, unusually, the smaller figures in the lower corners depict mythological creatures.
The Puerta de Santa Catalina (Door of Saint Catherine) is the main eastern entrance to the Courtyard of the Oranges. Its name referred to the presence of a nearby Convent of Saint Catherine. Its current appearance dates from the work of Hernán Ruiz II, who took over work on the cathedral in 1547 after the passing of his father (Hernán Ruiz I). The gate has a Renaissance façade on its exterior: the doorway is flanked by two columns and is surmounted by a serliana-style composition of columns forming three alcoves topped by a curved lintel. Within the three alcoves are the remains of three murals depicting Saint Catherine (Santa Catalina), Saint Acisclus (San Acisclo) and Saint Victoria (Santa Victoria).
The Puerta del Perdón (Door of Forgiveness) is one of the most ritually important doors of the cathedral, located at the base of the bell tower and directly opposite the Puerta de las Palmas. A gate existed here since the Islamic period; its location is aligned with the mihrab of the mosque and with the central axis of the building before Al-Mansur's expansion. Its first reconstruction in the Christian period of the building dates to 1377, but it has been modified several times since, notably by Sebastián Vidal in 1650. The faded mural paintings inside the blind arches above the outer doorway include a depiction of Our Lady of the Assumption in the middle, with Saint Michel and Saint Raphael on the sides.
In October 1981, flying tiger ancient human remains from Guizhou Provincial Museum trial excavation, the accumulation of complex, broadly divided into early and late phases. Early formation of yellow or grayish yellow, unearthed panda, Stegodon fossils, stone products are made for the late Paleolithic culture era. Advanced formation is black, black, unearthed animal genetic pulp for extant species, and human mandibular and chipped stone, grinding stone, grinding bone, pottery and other large, geological time for the Holocene, culture in the age of the Neolithic age, that about 4000 years ago to 6000 years.
Unearthed stone products made a total of 532 pieces of raw materials, mainly to flint stone, there is, nuclear, stone etc.. The stone to stone, with the forward direction of processing processing, types of hit device, a scraper, tip like device and dolabriform etc.. The scraper accounted for 76%, tip like device is small but fine processing. The axe is a symbol of the transformation of Neolithic culture. 27 pieces of polished stone, delicate process, a stone axe, stone adzes, stone spinning wheels, stone scraper, stone arrow head, small stones (spear) 8. The number of stone adzes, regular shape, with long oblique cutting tool representative. 79 pieces of bone, in addition to the 1 pieces of grinding residual bone scraper, are making bone, bone and bone shovel cone. The three notches in the teeth may be scratching the porcupine symbol. In addition to pottery and ball spinning round round cake 1, the rest are all pieces of artifacts. 1494 tablets. The uneven thickness, thickness of 1.2 cm, thickness of only 0.2 cm, high temperature, hard texture. About 70% of sand pottery, pottery sand shale pottery class accounted for 30%, very little. Sand and sand are mainly sand. Pottery ornamentation is complicated, there are thick rope lines and Fang Gewen cone, tattoo, carved lines and lines and other additional cone. There are 3 pieces of pottery pottery, which has 1 pieces of orange powder is subjected to pottery coating inside and outside the grey clay, on the exterior is painted with two parallel red bands. This is the first time in Guizhou, Guizhou is also the earliest pottery record.
The site has a new and old stone formation, and the cultural connotation is rich. Pottery appear more attractive, but considerable differences in advanced culture. These have great significance to the study of the relationship between the new and the old stone culture in Guizhou and the time continuity of the times.
In February 23, 1982, the Guizhou Provincial People's Government approved the publication of the provincial cultural relics protection units. 1981年10月，飞虎山古人类遗址由贵州省博物馆试掘，洞内堆积复杂，大致分早、晚两期。早期地层呈黄色或灰黄色，出土大熊猫、剑齿象等化石，石制品均为打制，文化时代为旧石器时代晚期。晚期地层呈黑色、灰黑色，出土动物遗髓为现生属种，并出人类下颌件和打制石器、磨制石器、磨制骨器、大量的陶片等，地质时代为全新世，文化时代属新石器时代，推测距今约4000年至6000年。
遗址出土打制的石制品共532件，原料以燧石为主，有是核、石片、石器等。石器以石片为主，加工方向以正向加工为主，类型有砸器、刮削器、尖状器和斧形器等。其中刮削器占76%，尖状器虽少但加工精细。斧形器似为向新石器文化转化的象征。磨制石器27件，加工精致，有石斧、石锛、石纺轮、石刮刀、石箭(矛)头、小石块等8种。石锛数量多，形制规整，以长形斜刃具代表性。骨器79件，除1件残的磨制骨刮刀外，均为打制骨器，有骨锥和骨铲。其中豪猪牙上的三道刻痕可能是刻划符。陶器除圆饼式及圆珠纺轮各1件外，其余全是器物碎片。计1494片。其厚度不匀，厚者达1.2厘米，薄者仅0.2厘米，火候高，质地坚硬。夹砂灰陶约占70%，夹砂黑陶占30%，泥质类陶极少。夹砂陶以夹细砂为主。陶片纹饰复杂多样，有粗细绳纹、方格纹、锥刺纹、刻划纹和附加锥纹等。陶片中有3片彩陶，其中有1片是在泥质灰陶的内外施以粉澄色陶衣，再于外表绘有两条平行的红色条带。这是贵州首次发现，也是贵州迄今最早的彩陶记录。
遗址具有新、旧石器地层叠压，文化内涵丰富。彩陶的出现更引人瞩目，但中、晚期文化差异颇大。这些对研究贵州新、旧石器文化的相互关系和时代延续问题具有重要的意义。
1982年2月23日，经贵州省人民政府批准公布为省级文物保护单位。