"They don't make them like they used to"
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This is a view across the dale to Bank House Brow Plantation and Egton High Moor in the beautiful Glasidale.
Glaisdale is a beautiful dale set in the North York Moors National Park arguably displaying God’s craftsmanship at its best
The scenic hillside village of Glaisdale is on the Esk Valley Railway and sits at the mouth of the dale.
Within the dale is Glaisdale Head Methodist Church (note church not chapel) which was built in 1821 It appears more like a house
The Methodist Church is situated in a very peaceful and tranquil place towards the upper part of the valley and has its own graveyard, a very unusual feature for a Methodist place of worship
A Russian craftsman is making shingles on Kizhi Island, Russia. Notice his hands and boots which have seen a lot of work.
Stresa - Isola Bella (Verbania-Cusio-Ossola - Piemonte): saper trasmettere armonia, pace e bellezza è un'arte.
Stresa - 'Bella' Island (Verbania-Cusio-Ossola - Piedmont): knowing how to transmit harmony, peace and beauty is an art.
Aesthetic framing of intricately carved wooden figurines closely arranged.
The collection of carvings depict various figures and stylized creatures or characters, some with intricate details and expressions.
The sculptures are made from wood, showcasing detailed carving work that suggests a high level of craftsmanship and skill in manipulating the material to create distinct forms and expressions for each figure.
The arrangement allows for a detailed view of individual pieces while also presenting them as a cohesive collection.
The variations in wood tone and texture are visible, adding to the aesthetic appeal.
The carving techniques create varying textures, from smooth, polished surfaces to rougher, more intricate details, adding depth and visual interest.
Horezu ceramics is a unique type of Romanian pottery that is traditionally produced by hand around the town of Horezu in northern Oltenia (Vâlcea County), close to the famous Horezu Monastery. It reflects many generations of knowledge and skills development of pottery, which is why the craftsmanship of Horezu pottery was inscribed on UNESCO Intangible Cultural Heritage Lists in December 2012.[
Info (E/D):
Sculptures in battle with the sea? Can you comb the wind? Or grasp the sea? Three steel monuments attempt the impossible again and again. Eduardo Chillida (1924-2002) built his "Wind Combs" into the rocky coast of San Sebastián. They stretch down from craggy cliffs towards the roaring, foaming, swirling waves.
Chillida, one of the most important sculptors of the 20th century, was a passionately avowed Basque who was born and also died in San Sebastián. With the "Wind Combs", three sculptures made of rusty steel, each weighing twelve tonnes, he created a moving monument to his home town, the sea and not least to himself.
Chillida admired the physical strength and precision craftsmanship of the blacksmiths, which also influenced his art. Each of these huge sculptures, created in 1977, looks as if titans had forged them with tremendous forces, splitting, twisting and bending the metal. In doing so, he puts the "Wind Combs" to the ultimate test, confronts the sculptures with the raw forces of nature, opposes the chaos of waves and spray with the form of his steel sculptures. The "Wind Combs" stage the coast and the sea.
(c) Leppin
Skulpturen im Kampf mit dem Meer? Kann man den Wind kämmen? Oder das Meer ergreifen? Drei stählerne Monumente versuchen das Unmögliche immer wieder. Eduardo Chillida (1924-2002) hat seine „Windkämme“ in die Felsenküste von San Sebastián gebaut. Sie recken sich von schroffen Felsen herab den tosenden, schäumenden, wirbelnden Wogen entgegen.
Chillida, einer der wichtigsten Bildhauer des 20. Jahrhunderts, war leidenschaftlich bekennender Baske, der in San Sebastián geboren wurde und auch starb. Mit den „Windkämmen“, drei jeweils zwölf Tonnen schweren Skulpturen aus rostigem Stahl, setzte er seiner Heimatstadt, dem Meer und nicht zuletzt sich selbst ein bewegendes Denkmal.
Chillida bewunderte die physische Kraft und handwerkliche Präzision der Schmiede was auch seine seine Kunst prägte. Jede dieser 1977 geschaffenen riesigen Skulpturen wirkt, als hätten Titanen sie mit gewaltigen Kräften geschmiedet, dabei das Metall zerspalten, gewunden und gebogen. Dabei setzt er die “Windkämme” einer äußersten Belastungsprobe aus, konfrontiert die Plastiken mit den rohen Gewalten der Natur, setzt dem Chaos aus Wellen und Gischt die Form seiner Stahlplastiken entgegen. Die „Windkämme“ inszenieren Küste und Meer.
(c) Leppin
The wooden church of Urnes is a 12th-century stave church at Ornes, listed as a World Heritage Site by UNESCO. It is the oldest of its kind in Norway, bringing together traces of Celtic art, Viking traditions and Romanesque spatial structures, according to whc.unesco.org/en/list/58.
There have been numerous attempts to interpret the iconography of the church's most remarkable part, the old portal in the northern wall, a carved decoration of interlaced, fighting animals. Some believe it portrays the eternal fight between good and evil. Others – that it shows scenes from Norse mythology, with the intertwined snakes and dragons representing the end of the world according to the Norse legend of Ragnarök.
We knew that the church is a must see on our trip to Norway, and it has definitely exceeded my expectations. It is difficult to convey that with photos, but I had to try. This is No.3 (of 3) where you can appreciate the amazing details of the entrance door.
from the series: b/w impressions of South Limburg
Thank you everyone for your visit, favorites and comments.
from the series: b/w impressions of South Limburg
Thank you everyone for your visit, favorites and comments.
The Basílica i Temple Expiatori de la Sagrada Família English: Basilica and Expiatory Church of the Holy Family is a large Roman Catholic church in Barcelona, Catalonia (Spain), designed by Catalan architect Antoni Gaudí (1852–1926).
Although incomplete, the church is a UNESCO World Heritage Site, and in November 2010 Pope Benedict XVI consecrated and proclaimed it a minor basilica, as distinct from a cathedral, which must be the seat of a bishop.
Construction of Sagrada Família had commenced in 1882 and Gaudí became involved in 1883, taking over the project and transforming it with his architectural and engineering style, combining Gothic and curvilinear Art Nouveau forms. Gaudí devoted his last years to the project, and at the time of his death at age 73 in 1926, less than a quarter of the project was complete. Sagrada Família's construction progressed slowly, as it relied on private donations and was interrupted by the Spanish Civil War, only to resume intermittent progress in the 1950s. Construction passed the midpoint in 2010 with some of the project's greatest challenges remaining and an anticipated completion date of 2026, the centenary of Gaudí's death.
photo rights reserved by B℮n
The Sanctuary of Truth is a magnificent temple in Pattaya, Thailand, that stands as a tribute to traditional Thai architecture and craftsmanship. The temple is entirely made of wood, with intricate carvings depicting various Hindu and Buddhist deities, as well as ancient Thai mythological figures. The construction of the Sanctuary of Truth began in 1981 and is still ongoing. The temple covers an area of over two hectares and is over 100 meters tall. It was designed by a local businessman named Lek Viriyaphant. The Sanctuary of Truth is not affiliated with any specific religion, but rather serves as a symbol of the unity of all religions and beliefs. It is a peaceful and tranquil place where visitors can reflect and appreciate the beauty of Thai culture and tradition. The Sanctuary of Truth also serves as a cultural and educational center. It hosts various workshops and events throughout the year, aimed at promoting traditional Thai arts and crafts.
The main hall of the Sanctuary of Truth is a prominent feature of this beautiful wooden structure in Pattaya, Thailand. The balcony is located on the first floor of the sanctuary and offers a nice view of the surroundings and the sea. The balcony itself is decorated with beautiful carvings and statues of mythological creatures and gods from Thai, Indian and Chinese traditions. Taoism and Confucianism find their place on one of four sides to the exterior facade. The carvings are made by talented craftsmen who master the traditional techniques of woodworking and who have perfected the art of woodcarving to perfection. The main hall is designed as a place where visitors can admire the elaborate carvings. It also offers a chance to contemplate the complexity of the architecture and the philosophy behind the shrine. The windows of the main hall are decorated with intricate carving patterns typical of traditional Thai and Asian architecture. Inspired by religious and mythological stories and symbols, these patterns are handcrafted by artisans renowned for their woodcarving skills. Overall, the windows of the main hall add to the majestic aura of the Sanctuary of Truth and serve as a tribute to the rich cultural heritage of Thailand and Asia.
The Sanctuary of Truth is een prachtige tempel in Pattaya, Thailand, die een eerbetoon is aan de traditionele Thaise architectuur en vakmanschap. De tempel is volledig gemaakt van hout, met ingewikkeld houtsnijwerk dat verschillende hindoeïstische en boeddhistische godheden uitbeeldt, evenals oude Thaise mythologische figuren. De bouw van het Sanctuary of Truth begon in 1981 en is nog steeds aan de gang. De tempel heeft een oppervlakte van ruim twee hectare en is meer dan 100 meter hoog. Het is ontworpen door een lokale zakenman genaamd Lek Viriyaphant. The Sanctuary of Truth is niet gelieerd aan een specifieke religie, maar dient eerder als een symbool van de eenheid van alle religies en overtuigingen. Het is een vredige en rustige plek waar bezoekers de schoonheid van de Thaise cultuur en traditie kunnen overdenken en waarderen. The Sanctuary of Truth doet ook dienst als cultureel en educatief centrum. Het organiseert het hele jaar door verschillende workshops en evenementen, gericht op het promoten van traditionele Thaise kunsten en ambachten. Er is geen vastgestelde datum voor wanneer de bouw van de Sanctuary of Truth in Pattaya zal worden voltooid, omdat het project voortdurend in ontwikkeling is en wordt uitgebreid met als doel om de tempel zo authentiek en gedetailleerd mogelijk te maken. Het doel van de bouwers is om de tempel over te dragen aan de volgende generatie, zodat deze kan worden voortgezet en onderhouden als een cultureel erfgoed en als een symbool van de Thaise traditionele waarden en geschiedenis. De centrale hal zelf is versierd met prachtig houtsnijwerk en beelden van mythologische wezens en goden uit de Thaise, Indiase en Chinese tradities. De houtsnijwerken zijn gemaakt door getalenteerde ambachtslieden die de traditionele technieken van houtbewerking beheersen en die de kunst van houtsnijden tot in de perfectie hebben geperfectioneerd. De ramen van de hoofdhal zijn versierd met complexe houtsnijwerkpatronen die typisch zijn voor de traditionele Thaise en Aziatische architectuur. Deze patronen zijn geïnspireerd op religieuze en mythologische verhalen en symbolen, en zijn met de hand vervaardigd door ambachtslieden die bekend staan om hun vaardigheid in houtsnijwerk.
Intricate sandstone details on the Nand Bhavan in the Jal Mahal premises at Deeg, showcasing the elegant architecture of the Bharatpur State.
«The International Cast Iron project was born in 1998 as photographic documentation by Stefano Bottoni and in 2002 it transformed into the largest collection of manhole covers in the world.
MIT museum - Massachusetts institute of technology.
The International Cast Iron project, also known as the International Manhole Museum, was born in 1998 as photographic documentation by Stefano Bottoni and in 2002 it transformed into the largest collection of manholes in the world.
Stefano Bottoni is also the creator of the Ferrara Buskers Festival and during his travels in search of musicians he began to notice how each manhole told the story of the city in which it was placed.
The donations began thanks to the Mayor of Prague - Vladimir Vihan - who sent the first manhole cover from the collection, now made up of over 150 specimens from all over the world, each with its own story, depiction and effigy.
We can characterize these artefacts from a stylistic point of view, reflect on the functional design of the different types of roofing.
Bottoni opened our eyes to that craftsmanship, that industry, and above all that art that lies beneath our feet.»
/Gary Van Zante, Curator of Architecture and Design/
www.manholemuseum.it/en/collections/collezione
Музей MIT - Массачусетський технологічний інститут.
Міжнародний проєкт «Чавун» народився в 1998 році як фотодокументація Стефано Боттоні, а в 2002 році він перетворився на найбільшу колекцію кришок люків у світі.
Міжнародний проєкт чавунного лиття, також відомий як Міжнародний музей каналізаційних люків, зародився у 1998 році як фотодокументація Стефано Боттоні, а у 2002 році він перетворився на найбільшу колекцію каналізаційних люків у світі.
Стефано Боттоні також є творцем Фестивалю вуличних музикантів Феррари, і під час своїх подорожей у пошуках музикантів він почав помічати, як кожен каналізаційний люк розповідає історію міста, в якому він знаходиться.
Пожертви розпочалися завдяки меру Праги Володимиру Віхану, який надіслав першу кришку каналізаційного люка з колекції, яка зараз складається з понад 150 зразків з усього світу, кожен зі своєю історією, зображенням та формою.
Ми можемо охарактеризувати ці артефакти зі стилістичної точки зору, поміркувати над функціональним дизайном різних типів люків.
Боттоні відкрив нам очі на ту майстерність, ту промисловість і, перш за все, на те мистецтво, яке лежить під нашими ногами.
/Гері Ван Занте, Куратор архітектури та дизайну/
Люк знаходиться на «зеленій» смузі між проїзною частиною та пішохідною по вулиці Академіка Доброхотова після маркету АТБ.
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Craftsmanship found in antique shop in Santa Rosa, Northern California, USA.
A narrow passage winds through the souq of Marrakech, bathed in soft sunlight filtering through the brightly decorated stalls. Ornate lamps and handcrafted artifacts line the narrow alley, each telling its own story of Moroccan craftsmanship.
The scent of spices and intricate fabrics hangs in the air, while mysterious figures of shadowed people move through this labyrinth. The magic is tangible.