View allAll Photos Tagged connotation
look at them, archangel. they're transfixed.
by you, lord. they're positively rapturous.
I doubt it. and I'd prefer you not to use that word, archangel.
oh?
it has certain inaccurate theological connotations invented by humans.
of course, lord.
another one of their many bad ideas.
if you say so.
anyway, we don't want to interfere with a perfectly good baseball game, so we?
not at all, lord.
ok then. batter up.
This one is an old one I got around to snapping a photo of..
Los locos kick your ass.. los locos kick your face.. los locos kick your ball into OUTERSPAAAACE!
You 90s babies don't know nothing about that..
Silver background blocks.. an old Ges Kem and Totem trick.. silver roller paint.
You know something.. white bricks.. how many rap lyrics talk about white bricks.. lemme see some silver bricks.. or some gold bricks.. I ain't never seen anyone rappin' about having "gold birds" yet.. unless you count Ghostface's wrist falcon or some shit.. he done flew away by that falcon like a lil kid getting bungied outta the candy isle by the wrist.
I miss rap that doesn't involve OBVIOUS cocaine connotations.. I mean when the old guys used to talk about cocaine it was rather subtle and didn't state having Pablo Escobar sniffing a line of your dick.. why would you want to admit you sprinkled cocaine on your dick to get across that your a baller?.. then having a man sniff it off.
please stop rapping about cocaine bricks.. even though I live here in ATL where we are a big cocaine hub and rapping about cocaine is like rapping about how good your Lumpia is in Manila.
we got that.
and this wall got Teror, Johnny5 in punk attire, and I.
OH YEA one more thing
check out my bboy video I made a couple of years ago.. finally thought about sharing it..
And the intro should explain perfectly why they call me Mr.Fangs.
(From my own archived photos, 2024)
On January 24, 1940, dictator Adolf Hitler gave dictator Francisco Franco a Mercedes Benz 540 G4 W31 car for his birthday, which was delivered by the then ambassador of the Third Reich in Spain, Eberhard von Stohrer, at the Royal Palace in Madrid.
The Führer had two of these models, and a fourth model was given to dictator Benito Mussolini.
With an eight-cylinder in-line engine, 5.4 liters and 115 horsepower, it was capable of moving its 3,840 kg. at a top speed of 67 km/h. With a consumption of 38 litres per 100 km in the city and ten litres less on the highway, with a 98 litre tank, two electric fuel pumps and one mechanical one
However, this Mercedes was not a pure off-roader.
Its four rear wheels propelled the car, but its front axle was not driven.
Even so, equipped with a gearbox with a reduction gear, two rigid rear axles, off-road tyres and a good height, it was really capable of going well off the asphalt.
Its braking system was hydraulic, with servo-assistance on the three axles of the vehicle.
The vehicle was equipped with a set of custom-made chains and six suitcases signed by Karl Baisch.
Franco was not completely convinced by this model, since due to a breakdown, the dictator, who had returned from a hunting trip, had to return to the palace in a Willys Jeep belonging to his personal guard.
However, the change in the Second World War and the defeat of the Third Reich led the Spanish Government to not use this and other vehicles due to the political connotations they entailed.
Mercedes, for its Stuttgart museum, offered the then enormous sum of 1,000 million pesetas for Franco's Mercedes, which at current exchange rates and inflation, we could be talking about more than seven million euros (or US dollars).
DISMANTLED PIECE BY PIECE: A few years later, already in the 21st century, Patrimonio Nacional accepted Mercedes' offer to overhaul the G4, despite the mechanics of the Royal Guard, who take care of it, as well as the rest of the fleet of official vehicles, manufacturing themselves parts for which there were no spare parts.
In the Mercedes workshops, the jewel was dismantled piece by piece in Stuttgart and for three years the German technicians drew the blueprint of the car and, took advantage of the opportunity to faithfully repair the only one of the lower series cars that is exhibited in their museum. (Source: Wikipedia and other websites).
(es.wikipedia.org/wiki/File:Mercedes-Benz_W_31_with_Hitler...)
UN MERCEDES MUY ESPECIAL, 2024
(De mis propias fotos archivadas, 2024)
El 24 de enero de 1940 el dictador Adolf Hitler le regaló al dictador Francisco Franco por su cumpleaños un coche Mercedes Benz 540 G4 W31, que lo entregó el entonces embajador del III Reich en España, Eberhard von Stohrer, en el Palacio de Oriente de Madrid.
El Führer tenía dos de estos modelos, y un cuarto modelo le fue regalado al dictador Benito Mussolini.
Con un motor de ocho cilindros en línea, 5,4 litros y 115 caballos de potencia, era capaz de mover sus 3.840 kg. a una velocidad punta de 67 km/h. con un consumo de 38 litros a los 100 km en ciudad y diez litros menos por carretera, contando con un depósito de 98 litros, con dos bombas eléctricas de combustible y una mecánica
Sin embargo este Mercedes no era un todoterreno puro.
Sus cuatro ruedas traseras impulsaban al coche, pero su eje delantero no era motriz.
Aún así, dotado de una caja de cambios con reductora, dos ejes rígidos traseros, neumáticos todoterreno y una buena altura, era realmente capaz de marchar bien por fuera del asfalto.
Su equipo de frenado era hidráulico, con servo-asistencia en los tres ejes del vehículo.
El vehículo iba equipado con un juego de cadenas hechas a medida y seis maletas firmadas por Karl Baisch.
A Franco no le acabó de convencer este modelo, ya que debido a una avería, el dictador, que venía de una jornada de caza, tuvo que volver al palacio en un Jeep Willys de su guardia personal.
Sin embargo el cambio de signo de la Segunda Guerra Mundial y la derrota del Tercer Reich llevaron al Gobierno español a no utilizar este y otros vehículos por los connotaciones políticas que conllevaban.
La casa Mercedes, para su museo de Stuttgart, ofreció la entonces enorme cantidad de 1.000 millones de pesetas por el Mercedes de Franco, que al cambio e inflacción actuales, podríamos estar hablando de más de siete millones de euros (o dólares USA).
DESMONTADO PIEZA A PIEZA: Unos años más tarde, ya en el siglo XXI, Patrimonio Nacional aceptó el ofrecimiento de Mercedes de revisar el G4, a pesar de los mecánicos de la Guardia Real, que cuidan de él, así como del resto de la flota de vehículos oficiales, fabricando ellos mismos piezas de las que no había repuesto.
En los talleres de Mercedes, la joya fue desmontada pieza a pieza en Stuttgart y durante tres años los técnicos alemanes dibujaron el plano del coche y, aprovecharon para reparar con fidelidad el único de los automóviles de la serie inferior que se exhibe en su museo. (Fuente: Wikipedia y otras webs).
(es.wikipedia.org/wiki/Archivo:Mercedes-Benz_W_31_with_Hit...)
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."
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© D.Godliman
Canon EOS 6D - f/5.6 - 1/250sec - 105mm - ISO 100
- Simple Definition of thumbs–up:
a gesture in which you hold your hand out with your thumb pointed up in order to say yes, to show approval, etc.
- The thumbs up signal has a generally positive connotation in English-speaking countries. However, its perceived meaning varies significantly from culture to culture.
- The sign has a pejorative meaning in parts of West Africa, the Middle East, parts of South America and Greece according to Roger E. Axtell's book 'Gestures: The Do's and Taboos of Body Language Around the World'.
This seemingly universal gesture is understood there as:
I'm going to jam my thumb in your a.us!"
- The Latin phrase 'pollice verso' is used in the context of gladiatorial combat for a hand gesture used by Ancient Roman crowds to pass judgment on a defeated gladiator. However, the precise type of gesture described by the phrase pollice verso and its meaning are unclear in the historical and literary record.
In modern popular culture, it is assumed that "thumbs down" was the signal that a defeated gladiator should be condemned to death; "thumbs up", that he should be spared.
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。
Les dones de certes ètnies de Moçambic solen portar la cara tintada de blanc amb musiro, un producte fabricat amb escorça, arrel mòlta i aigua que protegeix i suavitza la pell. De vegades té certes connotacions rituals.
Las mujeres de ciertas etnias de Mozambique suelen llevar la cara tintada de blanco con musiro, un producto fabricado con corteza, raíz molida y agua que protege y suaviza la piel. A veces tiene ciertas connotaciones rituales.
Women of certain ethnic groups in Mozambique usually wear tinted white face with musiro, a product made from bark, root, ground and water it protects and softens the skin. Sometimes it has certain connotations rituals.
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。
Chiesa di San Pietro a Gemonio (sec. X-XI)
La Chiesa di San Pietro a Gemonio, nata probabilmente come cappella in epoca carolingia (VIII sec.) subì varie fasi di rifacimento e ampliamento nel corso del X-XI secolo, fino a raggiungere nel XVI secolo l'attuale connotazione.
L'esterno presenta una facciata romanica, con tetto a capanna, affiancata da un imponente campanile romanico a cinque ordini.
L'interno è a tre navate asimmetriche, divise tra loro da archi di dimensioni e stili diversi, con relative absidi interamente affrescate.
Nell'abside centrale, antico altare (X sec.) in muratura intonacata e decorata da disegni e simboli non ancora decifrati.
Alle pareti affreschi del XIV-XVI sec. di varia fattura e di autori ignoti ma verosimilmente di scuola lombarda.
The Church of San Pietro in Gemonio, most likely originally built as a chapel in the Carolingian period (VIII sec.), has undergone various phases of renovation and expansion during the X-XI century, until reaching the current connotation in the sixteenth century,
The exterior features a Romanesque façade, with a gabled roof, flanked by an imposing Romanesque bell tower of five orders.
The interior has three asymmetric naves, divided by arches of different sizes and styles, with their frescoed apses.
In the main aspe,an ancient altar (X sec.) with plastered masonry decorated with drawings and symbols still to be deciphered.
Various unknown artists, presumably of the Lombard school, painted the XIV-XVI century frescoes.
The Aston Martin Valkyrie (also known by its code-names as AM-RB 001 and Nebula) is a limited production hybrid sports car collaboratively built by British automobile manufacturers Aston Martin, Red Bull Racing Advanced Technologies and several others. The sports car is a product of collaboration between Aston Martin and Red Bull Racing to develop a track-oriented car entirely usable and enjoyable as a road car, conceived by Adrian Newey, Dr Andy Palmer, Christian Horner and Simon Spoule. An incredibly special car with an equally remarkable name. One that immediately evokes connotations of power and honor, of being chosen by the Gods.
#AbFav_SHARE_LOVE_<3
A kiss is the touch or pressing of one's lips against another person or an object.
Cultural connotations of kissing vary widely.
Depending on the culture and context, a kiss can express sentiments of love, passion, romance, sexual attraction, sexual activity, sexual arousal, affection, respect, greeting, friendship, peace and good luck, among many others.
In some situations, a kiss is a ritual, formal or symbolic gesture indicating devotion, respect, or sacrament.
The word came from Old English cyssan (“to kiss”), in turn from coss (“a kiss”).
Here two mini pink roses, kissing…
Thank you, M, (*_*)
For more: www.indigo2photography.com
Please do not use this image on websites, blogs or any other media without my explicit permission. © All rights reserved
LOVE, Roses mini, flowers, pink, two, kissing, touching, black-background, studio, "conceptual art", colour, square, design, "Nikon D7000", "Magda indigo"
I had a photo invited to a group tonight that has the word tranny in its title and in the discussions someone had asked if people liked the term Tranny, Needless to say so far everyone is fine with it.
I however am not but then I am a bit odd!
I really do think it depends in what context the word is used . People in the street seeing or talking about a crossdresser will say tranny! its just a shortened version of transvestite. We know about the guys who like us (tranny chasers) Harmless guys who are attracted to us and we use the word ourselves when talking to others if we are in the closet.
The problem is within the community it has a negative connotation. a tranny is a either a not very convincing at all dresser and/or very accommodating in the hotel room. OK if that's what float your boat great As for the not convincing we all have to start somewhere but its not aimed at the actual transgender/gender dysphoric girl
Personally I dislike the term Tranny being used to describe transgender people just as i dislike the term Gurl, sissy, and such like.
I have friends on here who call themselves a tranny and are proud to do so and I have no problem with that. Its when the term is being used to make our community seem seedy, dirty, perverted , and to give people the idea that we are free and easy a toy to used and discarded at will.
Playing devils advocate again,
What's your view?
And would you describe the woman in the photo as a tranny? You can be honest about that I won't be offended, well may be a little , yeah i might block you. Not really I wouldn't do that,
Just interested at what point does someone cross the line from crossdresser (tranny) to transgender then to being seen as in our case a woman and a woman first?
The word "jungle" carries connotations of untamed and uncontrollable nature and isolation from civilisation, along with the emotions that evokes: threat, confusion, powerlessness, disorientation and immobilisation.
In a small town in the North East corner of Iceland ascends the Arctic Henge. The monument consist of four six meter tall gates and one ten meter high column. The gates function as a sundial, as they capture the sunlight and cast shadows on precise locations. They are inspired by the four cardinal dwarves of Norse mythology, Austri, Norðri, Suðri and Vestri, that befittingly face their namesake, east, north, south and west. These four dwarfs are acknowledged in the Prose Edda book, and assigned a role by Odin, the god of wisdom, to hold up the sky. In this piece the dwarfs are assigned an additional role, along with the sixty eight dwarfs mentioned in Völuspá and together they form a calendar. Old and new merges as the dwarfs, who all have rather peculiar names, are aligned together to form a chronological circle. This circle is based on their names which relate to the four seasons. Up until this point, the reason for mentioning these sixty eight dwarves in Völuspá has remained a mystery but their names have a clear connotation to the structure of the year. Theories aside, close to the Arctic Circle, the lighting in this remote part of the country is a natural phenomenon. The arctic henge is still under construction.
The Arctic Henge
Set in Raufarhöfn, one of the most remote and northernmost villages in Iceland where the Arctic Circle lies just off the coast, the Arctic Henge (Heimskautsgerðið) is under construction. Similar to its ancient predecessor, Stonehenge, the Arctic Henge is like a huge sundial, aiming to capture the sunrays, cast shadows in precise locations and capture the light between aligned gateways.
History
Heimskautsgerðið (The Arctic-Henge) has it s roots in the innovators Erlingur Thoroddsen’s speculations about the possibility of making use of the endless expanse with nothing on the horizon and the midnight sun.The idea to use the dwarf names from the eddic poem Völuspá (Prophecy of the Seeress) and modernize some aspects of the old world of the Sagas, soon became a part of these speculations. The first version of the idea is from 1998 but in 2004 it was finalized, with allusions to mythology and folklore, designed to interact with the unique natural light. The artist Haukur Halldórsson worked with Erlingur on the ideas for the Heimskautsgerði and made sketches and models that were useful in the work that followed.
No one has been able to explain the dwarfs in the Völuspá, apart from Austri (East), Vestri (West), Norðri (North) and Suðri (South), who carry the sky. By connecting the names of the dwarfs to the season, as for example Bjartur (Bright) Blíður (Sweet) and Svásuður (Gengle) to the summer, it is possible to fit the names of the dwarfs to a yearly circle of 72 weeks. The year-circle of the dwarfs becomes a kind of almanac, where each dwarf controls a five day period. All the dwarfs have been given a role and they have all have their own personalities. This means that the dwarfs can be connected to birthdays and people can connect to their personal dwarf.
Around this made up world rises the Heimskautsgerði (Arctic-Henge) on the Melrakkaás in Raufarhöfn. The Heimskautsgerði is around 50 meters in diameter, with 6 meter high gates that face the main directions. Between the gates is a high wall with a small opening at the top. Inside the circle stands 10 meter high column on four pillars. The column will be topped with cut prism-glass that splits up the sunlight unto the primary colors. The opening between the pillar look towards the main directions, so example the midnight sun can be seen from the south gate through the middle column and the north gate. The play of light and shadow will follow the time of the day. The openings on the wall will let in the sunrays so when the building is completed a sundial can be set up.
Inside the circle there will be 68 dwarfs who stand around a circular dwarf trail. Inside the trail will also be the polar star pointer, which does exactly what its name says. There you will eventually also be able to find the throne of the sun that is meant to be a place where the traveler can sit down to have his picture taken. Also a hall of rays, which is a sort of sanctuary between high columns, with one seat, where the guest can empty his mind an renew his energy. An altar of fire and water, that reminds us of the power of the elements, where events can be performed, for examples weddings, oath taking and so forth. However, as stated above, the Arctic Henge is still under construction. (arctichenge.is)
"Tolling" has a more sonorous connotation to it than the pretty tinkling of the bells of Venlo as I pottered about on the bank of the Meuse, Limburg's Jordan. I was intrigued by great patches of pretty mauve Bellflowers. Recalling Robert Jordan in Ernest Hemingway's (1899-1961), For Whom the Bell Tolls, I thought of John Donne's famous meditation (1624), later made into a poem:
"No man is an iland, intire of it selfe; every man is a peece of the Continent, a part of the maine; if a clod bee washed away by the Sea, Europe is the lesse, as well as if a Promontorie were, as well as if a Mannor of thy friends or of thine owne were; any mans death diminishes me, because I am involved in Mankinde; And therefore never send to know for whom the bell tolls; It tolls for thee."
The sentiments, too, of Robert Jordan, fighting and dying on the side of Spain's republicans.
And the island analogy is apt here as well. Tradition has it that Venlo was founded by one Valuas (Flujas) in 95 CE on an island - 'De Weerd' - in the Meuse opposite of what is now Blerick. Soon a community arose, and here we are...
Taman Sari was a mid 18th century, fortified palace surounded inside and outside with water. It was a pleasure palace for the sultans of Yogjakarta, who rested, bathed, meditated, or watched women bathing there. It also housed workshops and had a defence function.
This gate symbolized the mythical mountain Neru which had a divine connotation, even more seen the wings at the sides refer to the mythical bird Garuda. The gate reflects pre-islamic (hindu, indigenous animist) elements that survived into 18th century muslim Java.
The founder of this palace was said to have visited Dutch colonial Batavia (modern Jakarta) to learn more from the European architecture. Taman Sari integrates neatly traditional Javanese, muslim, Chinese and Dutch architectural influences. Today it is still beautifully preserved.
A Walk In The Underground Malls - My Real Dreams About The Future
Although Artificial Intelligence allowed me to transpose my real dreams about the future into images, it is clear that they are only an approximation of what I experienced. In them, even the smells, the light was more real, clearer and the white clothes always present seemed to be a fashion that everyone wore at that time.
I asked myself several times why the color white, it didn't seem reasonable for today.
In the first dream, it reminds me that before going to the underground shopping center, my partner and I had been enjoying that very fresh air in the middle of a very clean square of futuristic buildings like residential towers.
The square was wide, clean and with only a few trees, but the air was so fresh that it seemed like it smelled like spring, very different from the air that is common in our cities nowadays!
At the beginning, at the entrance to that shopping center (in the real dream) there were decorative objects and furniture and it reminds me of leaving the central area in motion to see.
I was enchanted and imagined how well they would look in our future home; apparently we both lived in the same house and it had only been a short time.
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My Real Dreams About The Future
As strange as it may seem for many decades, most of my dreams are strange, almost always set in a distant future that I don't recognize.
Dreams that are recurring and although they seem to be at different times, they all seem distant, but I experience them as if I had lived them!
In this series and thanks to Artificial Intelligence I will show what I saw approximately in these dreams of mine, some things have already appeared in our days, others have not yet...
Because they have been strange and somewhat unsettling visions for me, I have only talked about them with a few friends or family, this will be the first time I have shown them...
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Shot on Agfa VistaPlus ISO 200 with a Smena Symbol, 26 March
2018
I recently finished watching a tv series called The Terror, a fictionalized telling of a real naval expedition to the Arctic in the mid-19th century. It's a profoundly affecting piece of television and I'm still haunted by it.
One of the men on board, called Peglar, had a set of notes wherein a poem called The Sea by Barry Cornwall is briefly recounted (slightly differently from the original, written as, "'The C the C the open C it grew so fresh the Ever free") and that has a lot of connotations for me right now.
Graffiti
Graffiti (plural of graffito: "a graffito", but "these graffiti") are writing or drawings that have been scribbled, scratched, or painted illicitly on a wall or other surface, often within public view. Graffiti range from simple written words to elaborate wall paintings, and they have existed since ancient times, with examples dating back to Ancient Egypt, Ancient Greece, and the Roman Empire.
In modern times, paint (particularly spray paint) and marker pens have become the most commonly used graffiti materials. In most countries, marking or painting property without the property owner's permission is considered defacement and vandalism, which is a punishable crime.
Graffiti may also express underlying social and political messages and a whole genre of artistic expression is based upon spray paint graffiti styles. Within hip hop culture, graffito has evolved alongside Turntablism , b-boying, b-girling and MCing.Unrelated to hip-hop graffiti, gangs use their own form of graffiti to mark territory or to serve as an indicator of gang-related activities.
Controversies that surround graffiti continue to create disagreement amongst city officials, law enforcement, and writers who wish to display and appreciate work in public locations. There are many different types and styles of graffiti; it is a rapidly developing art form whose value is highly contested and reviled by many authorities while also subject to protection, sometimes within the same jurisdiction.
Both "graffiti" and its occasional singular form "graffito" are from the Italian word graffiato ("scratched"). "Graffiti" is applied in art history to works of art produced by scratching a design into a surface. A related term is "sgraffito"which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into it. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν — graphein — meaning "to write."
The term graffiti referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Use of the word has evolved to include any graphics applied to surfaces in a manner that constitutes vandalism.
The only known source of the Safaitic language, a form of proto-Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
The first known example of "modern style" graffiti survives in the ancient Greek city of Ephesus (in modern-day Turkey). Local guides say it is an advertisement for prostitution. Located near a mosaic and stone walkway, the graffiti shows a handprint that vaguely resembles a heart, along with a footprint and a number. This is believed to indicate that a brothel was nearby, with the handprint symbolizing payment.
The ancient Romans carved graffiti on walls and monuments, examples of which also survive in Egypt. Graffiti in the classical world had different connotations than they carry in today's society concerning content. Ancient graffiti displayed phrases of love declarations, political rhetoric, and simple words of thought, compared to today's popular messages of social and political ideals[6] The eruption of Vesuvius preserved graffiti in Pompeii, which includes Latin curses, magic spells, declarations of love, alphabets, political slogans, and famous literary quotes, providing insight into ancient Roman street life. One inscription gives the address of a woman named Novellia Primigenia of Nuceria, a prostitute, apparently of great beauty, whose services were much in demand. Another shows a phallus accompanied by the text, mansueta tene ("handle with care").
Disappointed love also found its way onto walls in antiquity:
Ancient tourists visiting the 5th century citadel at Sigiriya in Sri Lanka scribbled over 1800 individual graffiti there between 6th and 18th centuries. Etched on the surface of the Mirror Wall, they contain pieces of prose, poetry, and commentary. The majority of these visitors appear to have been from the elite of society: royalty, officials, professions, and clergy. There were also soldiers, archers, and even some metalworkers. The topics range from love to satire, curses, wit, and lament. Many demonstrate a very high level of literacy and a deep appreciation of art and poetry.Most of the graffiti refer to the frescoes[ of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
It was 1968 when the terrible earthquake in Belice hit Gibellina, changing forever the connotations of the territory. A destruction to which the city reacted thanks to a project of enlightened and visionary reconstruction by a group of intellectuals, which has transformed it into an extraordinary venue for Land Art. In addition to the environmental works that have remained permanently in its fabric, since 2016 the town hosts Images Gibellina, the first festival of photography and visual arts open air and site-specific in Italy, which this year returns from 30 July to 29 August, organized and produced by the Cultural Association On Image and the Swiss Biennale Images Vevey. An event that is identified not only as a photographic exhibition - widespread in the main centers of Gibellina, such as Piazza Beuys, Consagra Theatre, Mother Church, Fondazione Orestiadi, Botanical Garden, the Great Cretto Burri and others - but that expands to become an urban workshop with exhibitions, events, screenings, guided tours, talks and workshops.
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 all these instances, the Hebrew word for “mercy” is hesed, which has the connotation of undeserved kindness or grace. In Exodus 34, the word for “merciful” is rachom, derived from rechem (“ womb”), and implies caring for another in the way that a woman cares for the child in her womb. The pervasive sense that Scripture gives of God’s maternal compassion makes the fifth Beatitude a summons to imitate it.
-Evolving humanity and biblical wisdom : reading scripture through the lens of Teilhard de Chardin, Marie Noonan Sabin.
The palm is a symbol of triumph. I found this one dying with red needles in it. I couldn't help but think about the religious connotations this image holds.
Grace de Berker, 2010. 'Honesty Collar'. Honesty Seed Pods, Silver thread.
'Honesty Collar' is formed from the seed pods of the Lunaria plant, otherwise known as; the Honesty plant, due to the transparency of the pods; or the Money or Dollar plant, in reference to the coin-like appearance of the pods. The connotation that honesty can coexist with money hints towards the challenging dichotomy of economy and justice, of morals and desires and the choices and values, that humans must decide on.
This piece of art near Termunterzijl (bij Chris Verbeek) resonated with something I had seen before but could not connect the two at that stage.
But now I know, a Russian donation to Angola in Luanda, I once saw while there for work quite a while ago, came to mind and the connection was made.
www.trekearth.com/gallery/Africa/Angola/North/Luanda/Luan...
Hope Verbeek is not offended, his "sailboat" sailing into the Zijl (sluice) has no political connotations I suppose...
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。
Manufacturer: Jaguar Cars Ltd., Whitley, Coventry - England
Type: 3.5 Litre Saloon / Mark IV
Engine: 3486 cc straight-6
Power: 126 bhp / 4.250 rpm
Speed: 148 km/h
Production time: 1938 - 1948
Production outlet: 5,424
Curb weight: 1600 kg
Special:
- This postwar model is unofficially called Mark IV, as its successor as Mark V (torsional springs and hydraulic brakes) was presented in 1948.
- William Lyons' SS (Swallow Sidecar) Cars Ltd. was renamed Jaguar Cars Ltd. after World War II, to avoid the unfavourable connotations of the SS initials.
- It is designed by William Lyons, technically supported by Chief Engineer W. M. Haynes.
- The Lucas headlights are very far to the grille, the interior is made of wood (inlaid walnut) and leather: very British.
- This kind of luxurious and well-appointed interior would become a Jaguar hallmark.
- This top model from SS-Jaguar has a revolution counter and tilt steering.
- A bad design fault of the first series was that fumes could escape through the internal central partition, perhaps due to a (too) tight adjustment of the engine.
- It has a Moss four-speed synchronized gearbox and rear wheel drive.
- It has two fuel pumps, two SU carburetors and 14 x 1.3 / 4 inch Girling brakes with dual brake shoes four-wheels, operated by rods, with hydraulic shock absorbers.
- The Standard straight-6 engine with pushrods and seven main bearings was maintained after WWII, just like the old and familiar semi-elliptical springs (front and rear).
- This 3.5 Litre Saloon is shipped to Fergus Motors Inc. in New York on April 11, 1947 and sold new to S.J. Pingree, Vice President U.S. Government Alaska Sealskin Dept. ☺☺!
The Starry Night is an oil-on-canvas painting by the Dutch Post-Impressionist painter Vincent van Gogh. Painted in June 1889, it depicts the view from the east-facing window of his asylum room at Saint-Rémy-de-Provence, just before sunrise, with the addition of an imaginary village. It has been in the permanent collection of the Museum of Modern Art in New York City since 1941, acquired through the Lillie P. Bliss Bequest. Widely regarded as Van Gogh's magnum opus, The Starry Night is one of the most recognizable paintings in Western art.
In the aftermath of the 23 December 1888 breakdown that resulted in the self-mutilation of his left ear, Van Gogh voluntarily admitted himself to the Saint-Paul-de-Mausole lunatic asylum on 8 May 1889. Housed in a former monastery, Saint-Paul-de-Mausole catered to the wealthy and was less than half full when Van Gogh arrived, allowing him to occupy not only a second-story bedroom but also a ground-floor room for use as a painting studio.
During the year Van Gogh stayed at the asylum in Saint-Rémy-de-Provence, the prolific output of paintings he had begun in Arles continued. During this period, he produced some of the best-known works of his career, including the Irises from May 1889, now in the J. Paul Getty Museum, and the blue self-portrait from September, 1889, in the Musée d'Orsay. The Starry Night was painted mid-June by around 18 June, the date he wrote to his brother Theo to say he had a new study of a starry sky.
Although The Starry Night was painted during the day in Van Gogh's ground-floor studio, it would be inaccurate to state that the picture was painted from memory. The view has been identified as the one from his bedroom window, facing east, a view which Van Gogh painted variations of no fewer than twenty-one times,[citation needed] including The Starry Night. "Through the iron-barred window," he wrote to his brother, Theo, around 23 May 1889, "I can see an enclosed square of wheat ... above which, in the morning, I watch the sun rise in all its glory."
Van Gogh depicted the view at different times of the day and under various weather conditions, such as the sunrise, moonrise, sunshine-filled days, overcast days, windy days, and one day with rain. While the hospital staff did not allow Van Gogh to paint in his bedroom, he was able there to make sketches in ink or charcoal on paper; eventually, he would base newer variations on previous versions. The pictorial element uniting all of these paintings is the diagonal line coming in from the right depicting the low rolling hills of the Alpilles mountains. In fifteen of the twenty-one versions, cypress trees are visible beyond the far wall enclosing the wheat field. Van Gogh exaggerated their size in six of these paintings, most notably in Wheat Field with Cypresses and The Starry Night, bringing the trees closer to the picture plane.
One of the first paintings of the view was Mountainous Landscape Behind Saint-Rémy, now in Copenhagen. Van Gogh made a number of sketches for the painting, of which. The Enclosed Wheatfield After a Storm is typical. It is unclear whether the painting was made in his studio or outside. In his 9 June letter describing it, he mentions he had been working outside for a few days. Van Gogh described the second of the two landscapes he mentions he was working on, in a letter to his sister Wil on 16 June 1889. This is Green Wheat Field with Cypress, now in Prague, and the first painting at the asylum he definitely painted en plein air. Wheatfield, Saint-Rémy de Provence, now in New York, is a study for it. Two days later, Vincent wrote to Theo stating that he had painted "a starry sky".
The Starry Night is the only nocturne in the series of views from his bedroom window. In early June, Vincent wrote to Theo, "This morning I saw the countryside from my window a long time before sunrise with nothing but the morning star, which looked very big". Researchers have determined that Venus (sometimes referred to as the "morning star") was indeed visible at dawn in Provence in the spring of 1889, and was at that time nearly as bright as possible. So the brightest "star" in the painting, just to the viewer's right of the cypress tree, is actually Venus.
The Moon is stylized, as astronomical records indicate that it actually was waning gibbous at the time Van Gogh painted the picture, and even if the phase of the Moon had been its waning crescent at the time, Van Gogh's Moon would not have been astronomically correct. (For other interpretations of the Moon, see below.) The one pictorial element that was definitely not visible from Van Gogh's cell is the village, which is based on a sketch made from a hillside above the village of Saint-Rémy. Pickvance thought F1541v was done later, and the steeple more Dutch than Provençal, a conflation of several Van Gogh had painted and drawn in his Nuenen period, and thus the first of his "reminisces of the North" he was to paint and draw early the following year. Hulsker thought a landscape on the reverse was also a study for the painting.
Despite the large number of letters Van Gogh wrote, he said very little about The Starry Night. After reporting that he had painted a starry sky in June, Van Gogh next mentioned the painting in a letter to Theo on or about 20 September 1889, when he included it in a list of paintings he was sending to his brother in Paris, referring to it as a "night study." Of this list of paintings, he wrote, "All in all the only things I consider a little good in it are the Wheatfield, the Mountain, the Orchard, the Olive trees with the blue hills and the Portrait and the Entrance to the quarry, and the rest says nothing to me"; "the rest" would include The Starry Night. When he decided to hold back three paintings from this batch in order to save money on postage, The Starry Night was one of the paintings he did not send. Finally, in a letter to painter Émile Bernard from late November 1889, Van Gogh referred to the painting as a "failure."
Van Gogh argued with Bernard and especially Paul Gauguin as to whether one should paint from nature, as Van Gogh preferred, or paint what Gauguin called "abstractions": paintings conceived in the imagination, or de tête. In the letter to Bernard, Van Gogh recounted his experiences when Gauguin lived with him for nine weeks in the autumn and winter[clarification needed] of 1888: "When Gauguin was in Arles, I once or twice allowed myself to be led astray into abstraction, as you know. . . . But that was delusion, dear friend, and one soon comes up against a brick wall. . . And yet, once again I allowed myself to be led astray into reaching for stars that are too big—another failure—and I have had my fill of that." Van Gogh here is referring to the expressionistic swirls which dominate the upper center portion of The Starry Night.
Theo referred to these pictorial elements in a letter to Vincent dated 22 October 1889: "I clearly sense what preoccupies you in the new canvases like the village in the moonlight [The Starry Night] or the mountains, but I feel that the search for style takes away the real sentiment of things." Vincent responded in early November, "Despite what you say in your previous letter, that the search for style often harms other qualities, the fact is that I feel myself greatly driven to seek style, if you like, but I mean by that a more manly and more deliberate drawing. If that will make me more like Bernard or Gauguin, I can't do anything about it. But am inclined to believe that in the long run you'd get used to it." And later in the same letter, he wrote, "I know very well that the studies drawn with long, sinuous lines from the last consignment weren't what they ought to become, however I dare urge you to believe that in landscapes one will continue to mass things by means of a drawing style that seeks to express the entanglement of the masses."
But although Van Gogh periodically defended the practices of Gauguin and Bernard, each time he inevitably repudiated them and continued with his preferred method of painting from nature. Like the impressionists he had met in Paris, especially Claude Monet, Van Gogh also favored working in series. He had painted his series of sunflowers in Arles, and he painted the series of cypresses and wheat fields at Saint-Rémy. The Starry Night belongs to this latter series, as well as to a small series of nocturnes he initiated in Arles.
Van Gogh's Starry Night Over the Rhône, 1888, oil on canvas
The nocturne series was limited by the difficulties posed by painting such scenes from nature, i.e., at night. The first painting in the series was Café Terrace at Night, painted in Arles in early September 1888, followed by Starry Night (Over the Rhône) later that same month. Van Gogh's written statements concerning these paintings provide further insight into his intentions for painting night studies in general and The Starry Night in particular.
Soon after his arrival in Arles in February 1888, Van Gogh wrote to Theo, "I need a starry night with cypresses or—perhaps above a field of ripe wheat; there are some really beautiful nights here." That same week, he wrote to Bernard, "A starry sky is something I should like to try to do, just as in the daytime I am going to try to paint a green meadow spangled with dandelions." He compared the stars to dots on a map and mused that, as one takes a train to travel on Earth, "we take death to reach a star." Although at this point in his life Van Gogh was disillusioned by religion, he appears not to have lost his belief in an afterlife. He voiced this ambivalence in a letter to Theo after having painted Starry Night Over the Rhône, confessing to a "tremendous need for, shall I say the word—for religion—so I go outside at night to paint the stars."
He wrote about existing in another dimension after death and associated this dimension with the night sky. "It would be so simple and would account so much for the terrible things in life, which now amaze and wound us so, if life had yet another hemisphere, invisible it is true, but where one lands when one dies. "Hope is in the stars," he wrote, but he was quick to point out that "earth is a planet too, and consequently a star, or celestial orb." And he stated flatly that The Starry Night was "not a return to the romantic or to religious ideas."
Noted art historian Meyer Schapiro highlights the expressionistic aspects of The Starry Night, saying it was created under the "pressure of feeling" and that it is a "visionary [painting] inspired by a religious mood." Schapiro theorizes that the "hidden content" of the work makes reference to the New Testament Book of Revelation, revealing an "apocalyptic theme of the woman in pain of birth, girded with the sun and moon and crowned with stars, whose newborn child is threatened by the dragon." (Schapiro, in the same volume, also professes to see an image of a mother and child in the clouds in Landscape with Olive Trees, painted at the same time and often regarded as a pendant to The Starry Night.)
Art historian Sven Loevgren expands on Schapiro's approach, again calling The Starry Night a "visionary painting" which "was conceived in a state of great agitation." He writes of the "hallucinatory character of the painting and its violently expressive form," although he takes pains to note that the painting was not executed during one of Van Gogh's incapacitating breakdowns. Loevgren compares Van Gogh's "religiously inclined longing for the beyond" to the poetry of Walt Whitman. He calls The Starry Night "an infinitely expressive picture which symbolizes the final absorption of the artist by the cosmos" and which "gives a never-to-be-forgotten sensation of standing on the threshold of eternity." Loevgren praises Schapiro's "eloquent interpretation" of the painting as an apocalyptic vision and advances his own symbolist theory with reference to the eleven stars in one of Joseph's dreams in the Old Testament Book of Genesis. Loevgren asserts that the pictorial elements of The Starry Night "are visualized in purely symbolic terms" and notes that "the cypress is the tree of death in the Mediterranean countries."
The drawing Cypresses in Starry Night, a reed pen copy executed by Van Gogh after the painting in 1889. Originally held at Kunsthalle Bremen, today part of the disputed Baldin Collection.
Art historian Lauren Soth also finds a symbolist subtext in The Starry Night, saying that the painting is a "traditional religious subject in disguise" and a "sublimated image of [Van Gogh's] deepest religious feelings." Citing Van Gogh's avowed admiration for the paintings of Eugène Delacroix, and especially the earlier painter's use of Prussian blue and citron yellow in paintings of Christ, Soth theorizes that Van Gogh used these colors to represent Christ in The Starry Night. He criticizes Schapiro's and Loevgren's biblical interpretations, dependent as they are on a reading of the crescent moon as incorporating elements of the Sun. He says it is merely a crescent moon, which, he writes, also had symbolic meaning for Van Gogh, representing "consolation."
It is in light of such symbolist interpretations of The Starry Night that art historian Albert Boime presents his study of the painting. As noted above, Boime has proven that the painting depicts not only the topographical elements of Van Gogh's view from his asylum window but also the celestial elements, identifying not only Venus but also the constellation Aries. He suggests that Van Gogh originally intended to paint a gibbous Moon but "reverted to a more traditional image" of the crescent moon, and theorizes that the bright aureole around the resulting crescent is a remnant of the original gibbous version. He recounts Van Gogh's interest in the writings of Victor Hugo and Jules Verne as possible inspiration for his belief in an afterlife on stars or planets. And he provides a detailed discussion of the well-publicized advances in astronomy that took place during Van Gogh's lifetime.
Boime asserts that while Van Gogh never mentioned astronomer Camille Flammarion in his letters, he believes that Van Gogh must have been aware of Flammarion's popular illustrated publications, which included drawings of spiral nebulae (as galaxies were then called) as seen and photographed through telescopes. Boime interprets the swirling figure in the central portion of the sky in The Starry Night to represent either a spiral galaxy or a comet, photographs of which had also been published in popular media. He asserts that the only non-realistic elements of the painting are the village and the swirls in the sky. These swirls represent Van Gogh's understanding of the cosmos as a living, dynamic place.
Harvard astronomer Charles A. Whitney conducted his own astronomical study of The Starry Night contemporaneously with but independent of Boime (who spent almost his entire career at U.C.L.A.). While Whitney does not share Boime's certainty with regard to the constellation Aries, he concurs with Boime on the visibility of Venus in Provence at the time the painting was executed. He also sees the depiction of a spiral galaxy in the sky, although he gives credit for the original to Anglo-Irish astronomer William Parsons, 3rd Earl of Rosse, whose work Flammarion reproduced.
Sketch of the Whirlpool Galaxy by Lord Rosse in 1845, 44 years before Van Gogh's painting
Whitney also theorizes that the swirls in the sky could represent wind, evoking the mistral that had such a profound effect on Van Gogh during the twenty-seven months he spent in Provence. (It was the mistral which triggered his first breakdown after entering the asylum, in July 1889, less than a month after painting The Starry Night.) Boime theorizes that the lighter shades of blue just above the horizon show the first light of morning.
The village has been variously identified as either a recollection of Van Gogh's Dutch homeland, or based on a sketch he made of the town of Saint-Rémy. In either case, it is an imaginary component of the picture, not visible from the window of the asylum bedroom.
Cypress trees have long been associated with death in European culture, though the question of whether Van Gogh intended for them to have such a symbolic meaning in The Starry Night is the subject of an open debate. In an April 1888 letter to Bernard, Van Gogh referred to "funereal cypresses," though this is possibly similar to saying "stately oaks" or "weeping willows." One week after painting The Starry Night, he wrote to his brother Theo, "The cypresses are always occupying my thoughts. I should like to make something of them like the canvases of the sunflowers, because it astonishes me that they have not yet been done as I see them." In the same letter he mentioned "two studies of cypresses of that difficult shade of bottle green." These statements suggest that Van Gogh was interested in the trees more for their formal qualities than for their symbolic connotation.
Schapiro refers to the cypress in the painting as a "vague symbol of a human striving." Boime calls it the "symbolic counterpart of Van Gogh's own striving for the Infinite through non-orthodox channels." Art historian Vojtech Jirat-Wasiutynski says that for Van Gogh the cypresses "function as rustic and natural obelisks" providing a "link between the heavens and the earth." (Some commentators see one tree, others see two or more.) Loevgren reminds the reader that "the cypress is the tree of death in the Mediterranean countries."
Art historian Ronald Pickvance says that with "its arbitrary collage of separate motifs," The Starry Night "is overtly stamped as an 'abstraction'." Pickvance claims that cypress trees were not visible facing east from Van Gogh's room, and he includes them with the village and the swirls in the sky as products of Van Gogh's imagination.Boime asserts that the cypresses were visible in the east, as does Jirat-Wasiutyński. Van Gogh biographers Steven Naifeh and Gregory White Smith concur, saying that Van Gogh "telescoped" the view in certain of the pictures of the view from his window, and it stands to reason that Van Gogh would do this in a painting featuring the Morning Star. Such a compression of depth serves to enhance the brightness of the planet.
Soth uses Van Gogh's statement to his brother, that The Starry Night is "an exaggeration from the point of view of arrangement" to further his argument that the painting is "an amalgam of images." However, it is by no means certain that Van Gogh was using "arrangement" as a synonym for "composition." Van Gogh was, in fact, speaking of three paintings, one of which was The Starry Night, when he made this comment: "The olive trees with white cloud and background of mountains, as well as the Moonrise and the Night effect," as he called it, "these are exaggerations from the point of view of the arrangement, their lines are contorted like those of the ancient woodcuts." The first two pictures are universally acknowledged to be realistic, non-composite views of their subjects. What the three pictures do have in common is exaggerated color and brushwork of the type that Theo referred to when he criticized Van Gogh for his "search for style [that] takes away the real sentiment of things" in The Starry Night.
On two other occasions around this time, Van Gogh used the word "arrangement" to refer to color, similar to the way James Abbott McNeill Whistler used the term. In a letter to Gauguin in January 1889, he wrote, "As an arrangement of colours: the reds moving through to pure oranges, intensifying even more in the flesh tones up to the chromes, passing into the pinks and marrying with the olive and Veronese greens. As an impressionist arrangement of colours, I’ve never devised anything better." (The painting he is referring to is La Berceuse, which is a realistic portrait of Augustine Roulin with an imaginative floral background.) And to Bernard in late November 1889: "But this is enough for you to understand that I would long to see things of yours again, like the painting of yours that Gauguin has, those Breton women walking in a meadow, the arrangement of which is so beautiful, the colour so naively distinguished. Ah, you’re exchanging that for something—must one say the word—something artificial—something affected."
While stopping short of calling the painting a hallucinatory vision, Naifeh and Smith discuss The Starry Night in the context of Van Gogh's mental illness, which they identify as temporal lobe epilepsy, or latent epilepsy. "Not the kind," they write, "known since antiquity, that caused the limbs to jerk and the body to collapse ('the falling sickness', as it was sometimes called), but a mental epilepsy—a seizing up of the mind: a collapse of thought, perception, reason, and emotion that manifested itself entirely in the brain and often prompted bizarre, dramatic behavior." Symptoms of the seizures "resembled fireworks of electrical impulses in the brain."
Van Gogh experienced his second breakdown in seven months in July 1889. Naifeh and Smith theorize that the seeds of this breakdown were present when Van Gogh painted The Starry Night, that in giving himself over to his imagination "his defenses had been breached." On that day in mid-June, in a "state of heightened reality," with all the other elements of the painting in place, Van Gogh threw himself into the painting of the stars, producing, they write, "a night sky unlike any other the world had ever seen with ordinary eyes."
My sweetie is so cute. He wanted to make grilled cheese sandwiches earlier this week, so he went to the store and got all the ingredients, but forgot the cheese. Ha!
(10/365)
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.
Sergiyev Posad
is a city and the administrative center of Sergiyevo-Posadsky District of Moscow Oblast, Russia.
It grew in the 15th century around one of the greatest of Russian monasteries, the Trinity Lavra established by St. Sergius of Radonezh.
The town status was granted to it in 1742.
As the town's name, alluding to St. Sergius, had strong religious connotations, the Soviet authorities changed first to just Sergiyev in 1919, and then to Zagorsk in 1930, in memory of the revolutionary Vladimir Zagorsky.
@Wikipedia
Actually listed as "Untitled" this large work by the German artist Anselm Kiefer is dated 1945.
"This work belongs to a series of images that Kiefer created by juxtaposing the dark fossilized forms of sunflowers with images of a naked man. For Kiefer, dead sunflowers with their heads packed with seeds are potent symbols of death and rebirth. Here, they are joined by a figure who resembles the artist but may be Robert Fludd, a sixteenth-century English occultist who believed that every plant in the world had its own equivalent star in the firmament. In this dramatic woodcut presentation, with its attendant nationalistic connotations, Kiefer suggests a link between the individual and the cosmos."
On view at The Met Fifth Avenue in Gallery 915.
💐Everyone knows that this holiday originates in the struggle for women's rights. Earlier, seeking the right to vote and shortening the working day, the holiday had a political connotation, but it has now lost that.
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Surely many people have already congratulated our beautiful women and girls in honor of the holiday. I also want to do this. 🎊
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💐I think that the fair sex on this day should wish only the best and pamper with gifts. 🎁 I wish our women good health and always remain so beautiful and wise with us. 👸
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💐I urge you to repost this post to all men and in order to congratulate your loved ones, you can leave comments with the hashtag #Postopen8 Also, if you want to congratulate someone specific, leave a link to the account @!
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Ph: @safronoviv_photo
Md: @makeup_style_irina
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#black #blackandwhite #flashphotography #happy #peopleinnature #photograph #plant #tree #water #white #congratulation8march #NikonD800 #safronoviv_photo
Il bacio is an 1859 painting by the Italian artist Francesco Hayez. It is possibly his best known work. This painting conveys the main features of Italian Romanticism and has come to represent the spirit of the Risorgimento. It was commissioned by Alfonso Maria Visconti di Saliceto, who donated it to the Pinacoteca di Brera after his death.
After the defeat of Napoleonic France in the 19th century, the Congress of Vienna was held in 1815 to redraw the map of Europe. Italy had a very marginal role compared to other European countries and was slated to be divided into several states. Every state was either ruled directly, or strongly influenced, by the Habsburgs of the Austrian Empire. That fragmentation went against the growing nationalist sentiment for Italy's unification, and caused the creation of secret societies with democratic-radical orientations, such as the Carboneria and Young Italy. Although those associations were unsuccessful, their role was fundamental in shaping public opinion.
The first war of Italian independence (1848) was a failure but, by 1859, the secret agreement between Napoleon III and Camillo Benso, Count of Cavour stipulated the formation of an anti-Austrian alliance. The contribution of France was considered crucial, because the Austrian armies were defeated by the alliance in the Kingdom of Lombardy–Venetia. That victory initiated the unification process, and the Kingdom of Italy was proclaimed a few years later, in 1861.
It was during that period that Francesco Hayez painted The Kiss. Mindful of the bloody repression of the nationalist movement, the artist decided to disguise the ideals of conspiracy and the struggle against the invaders under a representation of past events. The use of ambiguous, opaque metaphors allowed the artist to avoid censorship by the authorities.
The first version of The Kiss was commissioned by Count Alfonso Maria Visconti of Saliceto. Hayez, who was very well known amongst Milanese patriots, was asked by the Count to depict the hopes associated with the alliance between France and the Kingdom of Sardinia.
The artwork was created in 1859 and presented at the Pinacoteca di Brera on 9 September. It was hung as a decoration in the luxurious residence of the Visconti family for more than twenty-five years. It was only in 1886, a year before his death, that the Count presented the canvas to the Pinacoteca di Brera, where it is still exhibited today, in Room XXXVII.
Although the oil version is the most famous, Hayez produced two other versions of the painting, one in oil and one watercolor. The second version was painted in 1861 for the Mylius family, and was sent to Paris to be exhibited in the Exposition Universelle in 1867. In 2008, that version was sold at Sotheby's for 780,450 pounds. The difference between the second painting and the previous one is that the woman’s dress is colored white. The third version is the only one to have been rendered in watercolor on paper. Painted in 1859, it has an oval shape, and was donated by Hayez to Carolina Zucchi. It is now exhibited at the Pinacoteca Ambrosiana in Milan.
The last painting differs from the original because of the addition of a white cloth lying on the steps beside the couple, and the bright green paint used for the man's mantle.
The painting represents a couple from the Middle Ages, embracing while they kiss each other. It is among the most passionate and intense representations of a kiss in the history of Western art. The girl leans backwards, while the man bends his left leg so as to support her, simultaneously placing a foot on the step next to him as though poised to go at any moment. The couple, though at the center of the painting, are not recognizable, as Hayez wanted the action of the kissing to be at the center of the composition. In the left part of the canvas shadowy forms lurk in the corner to give an impression of conspiracy and danger.
The geometric and perspective scheme of the Kiss is set on a series of diagonals which follow the course of the steps and converge to the vanishing point, placed to the left of the two lovers. These lines represent the framework of the painting and brings the observer’s attention to the couple.
The chromatism of the painting is inherited from the Renaissance schools of the Venetian masters where Hayez conducted his first studies. The brown of the cloak and the red of the boy's tights blend harmoniously with the light blue in the dress of the girl, while the neutral shades of the background help the couple stand out. A light, coming from an external source placed to the left of the picture, hits the whole scene homogeneously: its reflections enhances the silky dress of the girl, emphasizing also the pavement and the bricks on the wall.
This painting has been regarded as a symbol of Italian Romanticism, of which it encompasses many features. On a more superficial level, the painting is the representation of a passionate kiss, which puts itself in accordance with the principles of Romanticism. Therefore, it emphasizes deep feelings rather than rational thought, and presents a reinterpretation and reevaluation of the Middle Ages in a patriotic and nostalgic tone. Some art historians also suggest that one of the political meanings that Il Bacio can carry is that a young Italian soldier, going off to fight for Italy against the Austro-Hungarian Empire, says goodbye to his love kissing her for one last time.
On a deeper level, the painting symbolizes the romantic, nationalist and patriotic ideals of the Risorgimento; this interpretation is endorsed by several iconographic elements.
The imminent farewell between the lovers is suggested by the man’s foot temporarily resting on the step and the tight grasp with which his beloved is holding him. This represents both the necessity that he must leave whilst showing the danger of being a patriot. Other elements are the dagger hidden in the mantle, a sign of the imminent rebellion against the Habsburg invader, and the date of the painting (1859), the year of the second war of independence. However the most obvious allegory in the painting is its chromatic range, which summarizes the political changes that involved Italy in the 19th century. In the Brera version, the blue of the woman's dress and the bright red of the young man's tights allude to the colors in the French flag.
Hayez intended to pay tribute to the French nation, now allied with Italy. In the three subsequent versions the allegorical-patriotic connotations became even more obvious: in the 1861 version, the dress of the girl assumed a neutral white tone, as a tribute to the proclamation of the Kingdom of Italy. In the fourth version, Italy manifests itself instead in the clothes of the man, who now wears a green cloak, symbolizing the Italian national banner.
The Kiss has enjoyed extensive popularity from its exhibition onward, especially in Italy, and has been the subject of much commentary. In the 1920s the art director of Perugina, one of Italy's leading chocolate manufacturers, revised the image of the painting and created the typical blue box of the popular "Baci" chocolates with the picture of two lovers. In 1954 the great Italian director Luchino Visconti took inspiration from the painting for one of the leading scenes of his masterpiece movie, Senso.
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。
Commentary.
The cliffs north of Newquay at Watergate Bay are epic, dramatic and magnificent.
No part is more iconic than the legendary cliffs, stacks and beaches of Bedruthan Steps.
There are actual steps down to the beach, that need regular repair, due to storm damage.
However, the word “steps” has another connotation.
Bedruthan, so the legend goes, was a local giant.
He used the stacks on the beach as mere stepping stones to cross the bay and summit the cliffs.
The surf here is exhilarating but the tide and rip currents are particularly dangerous.
It is an excellent place to view the best of Cornwall, but it is probably best advised to leave swimming to the many safer beaches around this marvellous coastline.
Commentary.
The cliffs north of Newquay at Watergate Bay are epic, dramatic and magnificent.
No part is more iconic than the legendary cliffs, stacks and beaches of Bedruthan Steps.
There are actual steps down to the beach, that need regular repair, due to storm damage.
However, the word “steps” has another connotation.
Bedruthan, so the legend goes, was a local giant.
He used the stacks on the beach as mere stepping stones to cross the bay and summit the cliffs.
The surf here is exhilarating but the tide and rip currents are particularly dangerous.
It is an excellent place to view the best of Cornwall, but it is probably best advised to leave swimming to the many safer beaches around this marvellous coastline.
I'm fresh out of titles, so any suggestions are welcome!
But I did feel the need to share with you the trailer for my current favorite movie. I'm a sucker for a musical.
ETA: This is the same daisy I posted yesterday. The red one.
The floral crown is completely open now!
"Amaryllis belladonna was introduced into cultivation at the beginning of the eighteenth century. It reproduces slowly by either bulb division or seeds and has gradually naturalized from plantings in urban and suburban areas throughout the lower elevations and coastal areas in much of the West Coast of the US since these environments mimic their native South African habitat. Hardiness zones 6–8. It is also naturalized in Australia."
"There is an Amaryllis belladonna hybrid which was bred in the 1800s in Australia. No one knows the exact species it was crossed with to produce color variations of white, cream, peach, magenta and nearly red hues. The hybrids were crossed back onto the original Amaryllis belladonna and with each other to produce naturally seed-bearing crosses that come in a very wide range of flower sizes, shapes, stem heights and intensities of pink. Pure white varieties with bright green stems were bred as well. The hybrids are quite distinct in that the many shades of pink also have stripes, veining, darkened edges, white centers and light-yellow centers, also setting them apart from the original light pink. In addition, the hybrids often produce flowers in a fuller circle rather than the "side-facing" habit of the "old-fashioned" pink. The hybrids are able to adapt to year-round watering and fertilization but can also tolerate completely dry summer conditions if need be."
"A. belladonna has gained the Royal Horticultural Society's Award of Garden Merit. (Wikipedia)
Red Amarillis Flower, the Meaning, Symbolism, & Spiritual Significance. (Written by Foliage Friend)
"Some of the content shared in this post is derived from myth, folklore, ancient traditions & legends. The information here should not be considered life or medical advice. Do not consume, expose animals or handle any flowers or plants based on the content of this post."
“The red amaryllis flower is a stunningly beautiful flower that has a rich and complex symbolism and spiritual significance. In this article, we will dive deep into the spiritual meaning of these flowers, their symbolism in literature and art, what they represent in dreams, and the legends, folklore, and mythology associated with them. We will also explore how seeing red amaryllis flowers can impact you spiritually, what they mean in numerology and astrology, and whether they are considered lucky.”
“The red amaryllis flower holds a powerful spiritual meaning. It is associated with love, passion, and creativity. The deep red color of these flowers symbolizes the intensity of emotions and the fire of the spirit. They are also a potent symbol of transformation, growth, and renewal, and are often used in spiritual rituals and ceremonies to invoke these energies.”
“In addition to their spiritual symbolism, red amaryllis flowers have a rich cultural history. In Greek mythology, the amaryllis flower was said to have sprung from the blood of a love-struck shepherd who pierced his heart with an arrow. This legend has contributed to the flower’s association with love and passion.”
“Red amaryllis flowers are also popular in the world of gardening and horticulture. They are known for their striking beauty and are often used in floral arrangements and as decorative plants. In fact, the amaryllis is one of the most popular flowers grown indoors during the winter months, as it can bloom for several weeks and add a touch of color to any space.”
“In literature and art, red amaryllis flowers are often used to symbolize beauty, strength, and elegance. They are a common motif in poetry, where they are used to evoke powerful emotions and a sense of longing. In paintings, they are often depicted as a dramatic and breathtaking centerpiece, symbolizing the radiance and beauty of nature.”
“According to Greek mythology, the amaryllis flower is said to have originated from a love story between a shepherd and a nymph. The shepherd, named Amaryllis, was deeply in love with the nymph, but she did not return his affections. In an attempt to win her over, he pierced his heart with a golden arrow and then walked to her doorstep every day for a month, leaving a trail of blood behind him. On the thirtieth day, a beautiful red flower bloomed where his blood had fallen, and he presented it to the nymph as a symbol of his undying love. Thus, the red amaryllis flower also represents passionate love and devotion.”
“When you dream of red amaryllis flowers, they may represent your deepest desires and passions. They are also a symbol of transformation, growth, and creative energy. Seeing these flowers in your dreams may be a sign that you are ready to embark on a new journey or pursue a new project or passion.”
“Furthermore, red amaryllis flowers are often associated with love and romance. If you dream of these flowers, it may be a sign that you are ready to open your heart to new possibilities in your love life. Alternatively, it could also mean that you are experiencing a deep connection with someone special in your life.”
“These flowers have a long and rich history in legends, folklore, and mythology. In Greek mythology, the amaryllis flower is said to have sprung from the blood of Adonis, the lover of Aphrodite. In Christian tradition, these flowers symbolize the strength and beauty of the Virgin Mary. In Celtic mythology, the amaryllis flower represents the fiery energy of the sun.”
“In addition to these myths and legends, red amaryllis flowers have also been associated with love and passion. In Victorian times, giving someone a red amaryllis was seen as a declaration of love. The flower’s bold and striking appearance was thought to represent the intensity of the giver’s feelings.”
“Red amaryllis flowers are also known for their medicinal properties. In traditional Chinese medicine, the bulbs of the amaryllis plant are used to treat respiratory problems, such as coughs and bronchitis. The plant is also believed to have anti-inflammatory and anti-tumor properties.”
“Seeing red amaryllis flowers can have a powerful impact on you spiritually. They are a potent symbol of love, passion, and creative energy and can help you connect with these energies on a deep level. They can also help you tap into your own inner strength and beauty, helping you to grow and transform on a spiritual level.”
“Red amaryllis flowers are also associated with the root chakra, which is located at the base of the spine and represents our foundation and sense of security. By meditating on or simply admiring these flowers, you can activate and balance your root chakra, promoting feelings of stability and grounding. This can be especially beneficial during times of stress or uncertainty.”
“In numerology, red amaryllis flowers are associated with the number 6. This number is considered to be a symbol of harmony, balance, and energy. It represents the creative energy of the universe and the power of manifestation. It is also associated with the heart chakra, which is the center of love and compassion.”
“The number 6 is also believed to bring a sense of stability and responsibility. It is often associated with family, home, and community. Red amaryllis flowers can be used to enhance these aspects of life and bring a sense of grounding and connection to those around you.”
“Additionally, the color red is often associated with passion and desire, making red amaryllis flowers a great gift for a romantic partner or to enhance feelings of love and intimacy in a relationship.”
“In astrology, red amaryllis flowers are associated with the sign of Aries. This sign is known for its fiery and passionate energy, and its ability to bring about change and transformation. The red amaryllis flower is a symbol of these qualities and can help you connect with the powerful energies of this sign.”
“They are often used in love spells, rituals and are believed to enhance passion and desire or can be used to attract a new lover or strengthen an existing relationship.”
“In some cultures, red amaryllis flowers are also associated with Christmas and the holiday season. They are often used in festive decorations and symbolize love, beauty, and prosperity.”
“Yes, in many cultures, the red amaryllis flower is considered to be a lucky flower. It is said to bring good luck and prosperity and is often used in rituals and ceremonies to invite these energies into one’s life. It is also a popular gift during the holiday season, as it symbolizes love, warmth, and friendship.”
“Aside from its lucky connotations, the red amaryllis flower is also known for its medicinal properties. It contains a compound called lycorine, which has been found to have anti-cancer and anti-inflammatory effects. Additionally, the flower has been used in traditional medicine to treat respiratory illnesses and skin conditions.”
“In conclusion, the red amaryllis flower holds a rich and complex symbolism and spiritual significance. These flowers represent love, passion, creativity, transformation, growth, and renewal. They are a powerful symbol of connection to the universe and can help you tap into your own inner strength and beauty. Whether you see them in your dreams, in literature and art, or in nature, the red amaryllis flower is a potent reminder of the power of the spirit.”
One of my net studies - I found a large net and decided it would look good with beauty shots because of it's texture and also because the many connotations of a net I thought could create quite a chilling image.
Model; Rosie Archer
The term graffiti referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Use of the word has evolved to include any graphics applied to surfaces in a manner that constitutes vandalism.
The only known source of the Safaitic language, a form of proto-Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Modern-style graffiti
The first known example of "modern style" graffiti survives in the ancient Greek city of Ephesus (in modern-day Turkey). Local guides say it is an advertisement for prostitution. Located near a mosaic and stone walkway, the graffiti shows a handprint that vaguely resembles a heart, along with a footprint and a number. This is believed to indicate that a brothel was nearby, with the handprint symbolizing payment.
The ancient Romans carved graffiti on walls and monuments, examples of which also survive in Egypt. Graffiti in the classical world had different connotations than they carry in today's society concerning content. Ancient graffiti displayed phrases of love declarations, political rhetoric, and simple words of thought, compared to today's popular messages of social and political ideals The eruption of Vesuvius preserved graffiti in Pompeii, which includes Latin curses, magic spells, declarations of love, alphabets, political slogans, and famous literary quotes, providing insight into ancient Roman street life. One inscription gives the address of a woman named Novellia Primigenia of Nuceria, a prostitute, apparently of great beauty, whose services were much in demand. Another shows a phallus accompanied by the text, mansueta tene ("handle with care").
Disappointed love also found its way onto walls in antiquity:
Quisquis amat. veniat. Veneri volo frangere costas
fustibus et lumbos debilitare deae.
Si potest illa mihi tenerum pertundere pectus
quit ego non possim caput illae frangere fuste?
Whoever loves, go to hell. I want to break Venus's ribs
with a club and deform her hips.
If she can break my tender heart
why can't I hit her over the head?
Ancient tourists visiting the 5th century citadel at Sigiriya in Sri Lanka scribbled over 1800 individual graffiti there between 6th and 18th centuries. Etched on the surface of the Mirror Wall, they contain pieces of prose, poetry, and commentary. The majority of these visitors appear to have been from the elite of society: royalty, officials, professions, and clergy. There were also soldiers, archers, and even some metalworkers. The topics range from love to satire, curses, wit, and lament. Many demonstrate a very high level of literacy and a deep appreciation of art and poetry. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
More candids here : www.flickr.com/…/23502939@…/albums/72157622769131641
More Antwerp here :https://www.flickr.com/…/23502939@…/albums/72157623956089399
The pendant of Country Wedding shows the banquet that follows the wedding procession. The bride sits under a straw canopy at the center of the scene, which Brueghel sets under four leafy trees, revealing the great importance he gave to landscapes. The presence of the Archduke Alberto de Austria and the Infanta Isabel Clara Eugenia, then governors of the Low Countries, makes this work an illustration of their harmonious rule and of the union of the sovereigns with their subjects. Thus, Brueghel paints an everyday scene, but with evident political connotations. This work is first documented at Madrid´s Alcázar Palace in 1666.
Khalil Chishtree’s installation of ethereal life-sized figures offers an upbeat and humanitarian take on plastic pollution and our threatened ecosystem. Chishtree wields one of the most ordinary and ubiquitous materials of our era, the plastic bag, to explore both the material’s possibilities and connotations for the well-being of the human race. Realizing only one figure in its entirety, and leaving the others incomplete, Chishtree accentuates the importance of progress and change as we encounter the challenges of that plastic pollution has wrought on our land and oceans. We greet his figures holding hands in a circle facing towards us in an expression of mutual support and empathy. Composed entirely of white plastic garbage bags, their material denotes man’s responsibility to the environment, and the need to act together towards a cleaner ecosystem.
History of the daisy flower
In 1884, the gerbera was discovered in South Africa by the Scotsman Richard Jameson, however, daisies are believed to be over 4,000 years old. In the history of England, the daisy is known as Day's Eye, and this name is a reference to the way the flower opens and closes in the sun. The way the daisy followed the pattern of the sun led early physicians to believe that the daisy was a cure for eye problems. Not only have daisies been thought to cure eye problems, but apparently King Henry V111 ate daisies to heal his stomach ulcers. It has also been said that a cure for insanity was to drink crushed margaritas sprinkled with wine over a period of 15 days. And it was the Assyrians who used daisies to re-darken gray hair by mixing daisies with oil - today's hairdressers could argue this method! Daisies have long been the flower associated with spring, and there's an expression that spring hasn't come until you've set foot in 12 daisies!
In French, daisy means Marguerite and curiously comes from the Greek word for Pearl. Francis I called his sister Marguerite de Marguerites because she would use them as her device. According to Celtic legend, if children died in childbirth, their spirits scattered daisies on the ground to cheer up their grieving parents. Daisies have all the positive connotations, and their meanings include innocence, purity, and beauty, and due to their dizzying array of bright colors, they also signify joy. The Netherlands and Colombia are today large producers of margaritas.
*Working Towards a Better World
I have been thinking long and hard about why our present day psyche has changed so drastically and have come to the conclusion that we are bringing up our children to focus on the ego, rather than the community. It seems to me that we put too much emphasis on material things and not enough on the spiritual or the whole. Yes, we need to teach our children to succeed and do their best but not at any cost without caring about others. We seem to encourage greed rather than sharing, perhaps we need to concentrate more on cherishing each other, our climate and the environment. When we work as a team we produce more through the sharing of ideas and creativity.
We need to coexist better, be more understanding, less critical, more open, less closed. Together we can achieve a great deal more than alone.
I have chosen the colours black and green because of their meaning found on the Color Pro: Color Meaning website:
www.color-wheel-pro.com/color-meaning.html
"Green
Green is the color of nature. It symbolizes growth, harmony, freshness, and fertility. Green has strong emotional correspondence with safety. Dark green is also commonly associated with money.
Green
"Green has great healing power. It is the most restful color for the human eye; it can improve vision. Green suggests stability and endurance. Sometimes green denotes lack of experience; for example, a 'greenhorn' is a novice. In heraldry, green indicates growth and hope. Green, as opposed to red, means safety; it is the color of free passage in road traffic.
Use green to indicate safety when advertising drugs and medical products. Green is directly related to nature, so you can use it to promote 'green' products. Dull, darker green is commonly associated with money, the financial world, banking, and Wall Street.
Dark green is associated with ambition, greed, and jealousy.
Yellow-green can indicate sickness, cowardice, discord, and jealousy.
Aqua is associated with emotional healing and protection.
Olive green is the traditional color of peace".
Black
"Black is associated with power, elegance, formality, death, evil, and mystery.
Black is a mysterious color associated with fear and the unknown (black holes). It usually has a negative connotation (blacklist, black humor, 'black death'). Black denotes strength and authority; it is considered to be a very formal, elegant, and prestigious color (black tie, black Mercedes). In heraldry, black is the symbol of grief".
Black gives the feeling of perspective and depth, but a black background diminishes readability. A black suit or dress can make you look thinner. When designing for a gallery of art or photography, you can use a black or gray background to make the other colors stand out. Black contrasts well with bright colors. Combined with red or orange – other very powerful colors – black gives a very aggressive color scheme.
Interestingly I have followed a few articles written by the New York Times columnist, David Brooks, who has written recently 3 interesting articles about this subject, On April 7th he wrote an article entitled
"What Candidates Need",
www.nytimes.com/2015/04/07/opinion/david-brooks-what-cand...
then on April 11th he wrote an article entitled
"The Moral Bucket List"
www.nytimes.com/2015/04/12/opinion/sunday/david-brooks-th...
and finally today he wrote an article entitled
"When Cultures Shift"
www.nytimes.com/2015/04/17/opinion/david-brooks-when-cult...
I find that David addresses many of my concerns quite well in these articles so decided to share them with you.
Thank you for your kind visit. Have a wonderful and beautiful day! xo❤️
Me or him (it's actually a her)? You decide. Going for a fine art aesthetic here and the simple scene and twlight sky cooperated nicely.
Dedicated to my Dad, Russell M. Garrigus, of whom I am immensely proud and for whom I feel a love as bright as that sky before you. View from the pier at Ludington, Michigan.
Cheers!
Bob G.
Mural entitled "The Space Between" by Ally Grimm aka @a.i._grime for SprayseeMO 2025, seen at 1407 West 11th Street in Kansas City, Missouri.
The artist states: "'The Space Between' creates conversation around the passage of Time (represented through the male figure “Saturn”) and the search for Truth or Unconcealment (represented through the female figure “VERITAS”). As a resilient Saturn reflects stoically on the past, VERITAS looks hopefully towards a future in which righteousness leads communities forward // Around them, the Sun and Moon cycle, representing the inevitable passage of Time.
In an age where “old” often has a negative connotation, my hope is that we can carry on Veritas’ legacy of accountability and consideration. that we can learn to respect and preserve history without compromising on innovation. Time never stops moving, but we can choose how we value quality, history, and creation. When humans can learn to detach from an addiction to convenience, we can learn to take pride in process, honor the inevitability of time, and appreciate the gifts of the present moment."
Drone photo by James aka Urbanmuralhunter on that other photo site.
Edit by Teee.
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。
Why is October’s full moon called the full Hunter’s Moon?
Hunter’s Moon traditionally refers to a full moon that appears during October. From the perspective of Native Americans and early colonial settlers who lived closer to nature and named the moons, the seasonal connotations are obvious. October is for preparing for colder weather, which means increased hunting in leafless forests and crop-less fields. No wonder, then, that October’s full moon is also traditionally termed the Dying Grass Moon, the Travel Moon, and the Blood Moon (though the latter is also slang for a total lunar eclipse). ---Travel and Leisure