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Today two friends of mine share their birthday: my longtime friend Lorella ( Lella) and my Flickr friend Brenda (Step23).
This gorgeous orchid is dedicated to them.
This link www.youtube.com/watch?v=1cdkiWD--xE&feature=fvsr is dedicated to Lella. A memory from our wonderful winter holiday in Madrid... many years ago...
We went to see this movie, High Heels ( Tacones Lejanos), because we both love Almodovar and his genius... and we found out that this particular scene was shot in our favourite nightclub, Villa Rosa..
stereo parallel view
this picture is dedicated to the little man who not so kindly asked me to go away taking pictures.
hey you, regarde!
Not only as a free man I am allowed to take all the pictures I like, but I shoot them in 3D .
Furthermore, you little censor, those works in the port of catania are paid by the taxes of everyone and me, therefore if you know that there's something wrong you think must be hidden in what they are doing, please go inform the police, but don't ever try anymore to stop the spreading of evidence.
Anyway.. I was there just for I love to remember how things were before, so I felt obliged to shot some pictures to let future people remember (or know) of what has been done in our present that altered their future.
It is hard to understand, for you, I know.
Anyway.. here you'll find some memories for tomorrow of the port of Catania, a place I've known since I was a baby, a place I loved and enjoyed. I wish this place becomes even better for the future generations.
Paying my respects at the 9/11 Memorial, which was dedicated in September 2011 on the tenth anniversary of the tragic events.
Christine Lee Hanson, aged 2 1/2 years, was the youngest person killed on the tragic day. She was a passenger on United Airlines Flight 175, traveling from Boston to Los Angeles with her parents Peter and Sue Hanson. Peter Hanson was one of a few passengers who managed to make phone calls to loved ones between the time of the hijacking and the crash into Two World Trade Center; moreover, a piece of his pelvis was the largest piece of human remains recovered from United 175's passengers and crew, hinting to the degree of violence that took them away.
I have no personal ties to any of the nearly 3,000 people who were killed that day. But Flight 175 and Two World Trade Center do bring it home for me. Two World Trade Center (South Tower) had a great outdoor observation deck on the roof, which offered the best views of New York City I ever remember, and I used to be a regular on the very aircraft that was operating United 175 on that fateful day.
This is a lovely and respectful memorial, but for me, it feels so wrong for an empty void and a waterfall to be in front of me, when Two World Trade Center should still be towering over me. It is even more upsetting to think that the plane that crashed seventy-some floors above me that day is one that I used to fly on quite a bit. And Christine is not supposed to have her name engraved on this spot, but instead ought to have grown up into an early-pubescent teenager by now. I hope this tragedy will never be repeated again.
I made sure to touch the names of all passengers and crew of United 175, and this is the one part of the memorial that brought me to tears.
You picked this picture as one of your favorite and I can't see a better omage for you. Dec 31st I was climbing this volcano again. I'll always remember your happiness once we arrived on the top of Stromboli in 2007. Ciao Frodo.
Luly - at that time she was working in multimedia office, later she dedicated herself to video and now lives and works in Paris. Small, nice, sensitive heartbreaker. This picture was sort of homage to 80's aesthetics with David Bovie & Nina Hagen in my mind.
Dedicated to my youngest daughter. She seems to think that a spider follows her everyday. So in a 2 yr old voice shes says "Spida, Spida"
During the 2025 Dieppe International Kite Festival, we carried out a series of dedicated Kite Aerial Photography (KAP) sessions, capturing the city, the cliffs, and the festival grounds from unique vantage points that only a kite can reach.
Unlike drones, KAP relies solely on wind power and precise handling of the kite. The camera is suspended beneath the line using a Picavet rig or pendulum system, stabilized to reduce vibration and sway. This low-tech yet highly effective method provides wide panoramas and intimate perspectives without the intrusion of engine noise or batteries.
For these sessions, we used:
Kites: stable delta and f adapted to changing wind conditions on the seafront.
Cameras: high-resolution mirrorless bodies Ricoh GR III on a suptig platform.
Rigs: lightweight carbon and composite mounts allowing both automated interval shooting and manual adjustment.
The results document not just the festival arena and kite fields, but also the interaction between Dieppe’s natural landscape — cliffs, sea, and sky — and the temporary human patterns created by visitors, stalls, and the extraordinary designs flying overhead.
KAP is both heritage and innovation: a practice dating back to the late 19th century, yet still evolving with today’s optics and materials. At Dieppe, where the world gathers every two years to celebrate the art of the wind, it remains a fitting way to merge tradition, technology, and poetry in a single line stretching skyward.
The Arthurton Roman Catholic Church dedicated to St Agatha, Virgin and Martyr: foundation stone laid by the Reverend P A Enright AD May 1892.
On Sunday February 5 a most impressive and interesting ecclesiastical ceremony was witnessed at Arthurton.
The dedication of the church was performed by Archbishop Reynolds.
There was a large attended of people of all denominations from the surrounding districts and ceremonies were witnessed by a congregation that completely filled the church.
The edifice is most graceful in its proportions and is solidly built of limestone secured in the district.
The church when completed will consist of nave, sanctuary, sacristy and porch: it is the intention of the congregation to add the sanctuary when funds are available.
The nave is 40 feet x 25 wide. The ceiling is lined with match-board, stained and varnished which give the building a spacious appearance. The windows are of cathedral-tinted glass, in which the various hues are blended and add much to the interior effect.
The windows are the gifts of members of the congregation and the pastor of the church.
In the beautiful altar are seen good examples of tastefully executed workmanship which the painter's brush has painted artistically in pink, white, and gold. The front panels bear monograms in gold bordered with red very neatly executed. On the altar are to be seen a set of six large bronze candlesticks, which give the whole structure a most finished appearance. The entire ground floor of the church is seated very comfortably. The seats are of kauri wood stained and varnished. The confessional is also very neatly finished.
Indeed everything in connection with the building bears evidence that great care and attention combined with decorative and artistic skill were bestowed in the erection of the handsome structure.
The music of the mass was rendered principally by the Maitland choir, while Miss Moloney presided at the organ. Great credit is due to Miss Moloney for the manner in which under the circumstances she conducted the choir, having had only one day's notice to prepare the music.
A collection realized over £110. [Ref: Kadina and Wallaroo Times 8-2-1993]
Dedicated in perpetual memory to the men of Simpson County who gave their lives in the Following Wars:
World War I
World War II
Korean War
Vietnam War
This is locate don the grounds of the Simpson County Courthouse in the town square of Franklin, KY.
This photo was uploaded in honor of Memorial Day 2017.
Dedicated to the designers, developers and engineers who build the world’s most engaging user interfaces. From the community, for the community.
Pics from the AuthentiCity Lounge, the dedicated space in NYC where the AuthentiCity exhibition took place.
“AuthentiCity” is a photography project conceived in cooperation with the School of Visual Arts (SVA), New York, aimed at young international artists who are SVA students or alumni.
The project theme – “Revealing purity and authenticity in urban life” – is an invitation to use the straightforward language of photography to explore signs of authenticity and purity in the urban setting.
The project began with more than 200 photographers, educated at SVA, who were charged with capturing their vision of urban life. The 19 works selected in the preliminary stage were presented last April in an open exhibition during the Milan Design Week. Five of the 19 photographers, Carlos Alvarez Montero, Igor Aronov, Matthew Baum, Giselle Behrens and Caroline Shepard, were then selected, through a series of juror selections, to continue their work and each received a cash prize of $3000.00. Project winners were then chosen to be featured in the dedicated exhibition at the illy issimo AuthentiCity Lounge in New York.
Pics from the AuthentiCity Lounge, the dedicated space in NYC where the AuthentiCity exhibition took place.
“AuthentiCity” is a photography project conceived in cooperation with the School of Visual Arts (SVA), New York, aimed at young international artists who are SVA students or alumni.
The project theme – “Revealing purity and authenticity in urban life” – is an invitation to use the straightforward language of photography to explore signs of authenticity and purity in the urban setting.
The project began with more than 200 photographers, educated at SVA, who were charged with capturing their vision of urban life. The 19 works selected in the preliminary stage were presented last April in an open exhibition during the Milan Design Week. Five of the 19 photographers, Carlos Alvarez Montero, Igor Aronov, Matthew Baum, Giselle Behrens and Caroline Shepard, were then selected, through a series of juror selections, to continue their work and each received a cash prize of $3000.00. Project winners were then chosen to be featured in the dedicated exhibition at the illy issimo AuthentiCity Lounge in New York.
More info about illy issimo and the AuthentiCity project @:
I bought this Lenten Rose on Thursday for the garden in Holland and I'm dedicating this plant to my lovely OU friend Liz Ayers , who sadly died on Thursday, as she was as beautiful, delicate, yet strong and light as the flowers.
More marriages equal more cake
Dedicated to my best friend Fadzrul, in the hope he'll get his wedding cake this year and eat it.
Prambanan is the ninth century Hindu temple compound in Central Java, Indonesia, dedicated to Trimurti, the expression of God as the Creator (Brahma), the Sustainer (Vishnu) and the Destroyer (Shiva). The temple compound is about 18km east of Yogyakarta city.
The temple is a UNESCO World Heritage Site, currently is the largest Hindu temple in Indonesia, and is one of the largest Hindu temples in south-east Asia. It is characterised by its tall and pointed architecture, typical of Hindu temple architecture, and by the towering 47m high central building inside a large complex of individual temples.
These are two of the smaller temples.
Dedicated to my wife, which has to endure a lot of waiting sometimes when I take my shots! But she is also very cooperative, like in this shot!
On 11th June 2019, ESCP Europe’s London campus hosted the 5th edition of its annual Summer Soirée, this year celebrating the School’s Bicentenary of forward-thinking business education.
The event is dedicated to reconnecting and networking amongst the School’s 55,000-strong Alumni network.
107 graduates spanning from 1954 to 2019 attended the event, which was hosted at the DoubleTree by Hilton Tower of London’s sophisticated rooftop terrace.
The School welcomed Laurence Hollobon (96), HR Vice President of the Bel Group, who gave an inspirational speech. This was accompanied by a welcome address by the London Campus Dean, Prof. Simon Mercado.
Dean of ESCP Europe, Prof. Frank Bournois, was proud to share with ESCP Europe’s community that on 11th June 2019, the EFMD extended ESCP Europe’s EQUIS accreditation for five more years. ESCP Europe is among the 1% of business schools worldwide to be triple-accredited. The Dean also spoke about other achievements during the past year, including an 11th place rankingt in the Financial Times' European Business School rankings, and a 5th, 2nd and 10th place global ranking for its Master in Management, Advanced Master in Finance, and Executive MBA respectively.
Since the 2018 Summer Soirée, ESCP Europe’s London School and Campus was named UK Business School of the Year at the prestigious Times Higher Education Awards – known as the Oscars of the Higher Education sector. This follows the recognition of Highly Commended in the same category at the 2017 awards.
The event was a collaboration between the ESCP Europe Alumni Association, the ESCP Europe Foundation and the School’s London Campus.
The School is dedicated to continuously building on each year’s successes with the support of its community. After the success of its inaugural Fundraising Gala in October 2018, which raised over £220k and greatly contributed to the ESCP Europe Scholarship Programme, the School is launching a new edition of this event in its Bicentenary year. The ESCP Europe Bicentenary Fundraising Gala Dinner will take place on 7th November 2019. The funds collected during this Gala will allow ESCP Europe to grant scholarships for tuition fees to outstanding and deserving students through its European Scholarship Programme. Save the date!
We would like to thank all alumni, faculty and staff who joined us at this event. It was a true pleasure to spend time with you on an early Summer evening, and we look forward to welcoming you back to the ESCP Europe London campus soon!
İbadethane Arkası Sokak, İbadethane Sokak & Fazilet Sokak, Zeyrek
(1118-1136)
In 1118, Empress Irene of Hungary founded a monastery dedicated to the Christ Pantocrator on an eastern slope of the Fourth Hill of Constantinople. To the north of its katholikon, Emperor John II Komnenos soon added another church, dedicated to the Theotokos Eleousa (the Merciful Mother of God). He also built a large funerary chapel, dedicated to Archangel Michael, to connect the two churches. All this must have been completed by October 1136, when the typikon of the monastery, one of the very few surviving, was issued. According to the typikon, the monastery complex included a 50-bed hospital, a home for 24 elderly men, a medical school, and a leprosarium. The library of the monastery may have been located some hundred metres south-west, in the Byzantine building known today as the Şeyh Süleyman Mosque.
The monastery is special in that no other Byzantine church, only the Church of the Holy Apostles excluded, received as many imperial burials. Both John II and Irene were buried here (in 1143 and 1134, respectively), followed by Emperor Manuel I (1180) and Empress Bertha of Sulzbach (1159). The tradition was continued in the Palaiologan era, when emperors Manuel II (1425) and John VIII (1448) were laid to rest here. The typikon of the monastery describes the funerary chapel as a heroon, a term reserved for the mausoleum of Constantine the Great and his successors at the Church of the Holy Apostles, showing the imperial ambitions of the Komnenoi. The reputation of the monastery was further raised, when the icon of the Theotokos Hodegetria – the city's most revered icon – was brought here.
The complex of the Monastery of Christ Pantocrator is the second largest religious edifice built by the Byzantines still standing. It is a typical example of the middle-period Byzantine architecture. The both churches have a cross-in-square plan, with a nine-bay naos, a central dome supported by four columns (replaced by piers in the Ottoman era), a tripartite bema, and a narthex. The both had a matroneum, or a women's gallery, above the narthex. In the south church, the central bay of the matroneum is also covered by a dome. The north church has only one dome, which is oval. The chapel has two bays. It is possible that the bay on the east functioned as a liturgical area, while the one on the west was a funerary space. The both bays of the chapel are capped by an elliptical dome. The churches communicate with the chapel through three doors. All the three structures have polygonal apses with windows and niches. The south church, which is larger, also has an exonarthex and a courtyard, which were added together with the north church and the chapel. It was at that time that the narthex of the south church was extended up to the imperial chapel.
The masonry shows the use of the recessed-brick technique. This technique means the placement of a band of bricks in a way that it is slightly recessed, while placing another band, as usual, on the outer line of the wall. The recessed bricks are covered with mortar, which creates the alternation of red (brick) and light-coloured (mortar) bands on the walls. In these buildings, the masonry is slightly sloppy, incorporating bricks of different sizes. This may be explained by the fact that the building material comes from a much older structure, as hinted by the many Early Byzantine brick stamps that have been found here.
The two churches and the chapel were richly decorated. The most beautiful decorative element that remains is the colourful opus sectile floor, covering the naos of the southern church. Motifs that are commonly found in imperial palaces can be seen here, such as birds of prey, fantastic beasts and the wheel of the zodiac. Scenes from the life of Samson are also displayed. Fragments of coloured glass have been found from this church as well, suggestesting the presence of stained-glass windows. The north church has intricate sculptural decorations, for example, on the cornices, which show traces of Armenian bole and gold leaf. Some traces of mosaics can also be found in the complex.
It has been suggested that, during the Fourth Crusade, the treasury of the monastery was raided and its contents was carried off to Venice. It may be that some panels of the Pala d'Oro, now serving as the altar retable in Saint Mark's Basilica in Venice, comes from the Monastery of Christ Pantocrator. During the Latin occupation in 1204-1261, the monastery served as the Venetian headquarters of Constantinople. Shortly after 1453 it was converted to a mosque, and the monastic buildings were turned into a medrese, with Molla Zeyrek Efendi acting as its first müderris. Several alterations were made to the churches following the conversion.
dedicated to my very best friend Mariam :)
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bad quality, i can see !!!!
but had to txt someone :)
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ehda2 :
(8952zionlutherancemeterycorvallissign) My first visit there was today. I didn't try to photograph indivual headstones, but rather to get a sense of the place. Small, quaint, hillside cemetery, about an acres I would think from the sign saying "DEDICATED 1909 - GOD'S ACRE"
For the ABCs and 123s (pool) *Z* is for Zion
Hibiscus rosa-sinensis Linn. (family Malvaceae), known colloquially as the Chinese hibiscus, is an evergreen flowering shrub native to East Asia. It is also known as China rose and shoe flower. It is widely grown as an ornamental plant throughout the tropics and subtropics. The flowers are large, generally red in the original varieties, and firm, but generally lack any scent. Numerous varieties, cultivars, and hybrids are available, with flower colors ranging from white through yellow and orange to scarlet and shades of pink, with both single and double sets of petals.
Hibiscus rosa-sinensis viene coltivato in piena terra solo nelle zone a clima invernale mite.Ha foglie ovali persistenti, di colore verde scuro lucido, fiori ad imbuto che fioriscono dalla primavera all'estate.
Hibiscus rosa-sinensis (famiglia Malvaceae), noto anche come ibisco cinese, è un arbusto sempreverde nativo dell'Asia orientale. E 'ampiamente coltivato come pianta ornamentale. I fiori sono grandi e senza profumo. Numerose le varietà, cultivar e ibridi con fiori dai colori che vanno dal bianco,al giallo e all'arancione,al rosso scarlatto e a tutte le sfumature del rosa, con doppie e singole serie di petali.
Font : Wikipedia
**Dodd, David O., Memorial** - National Register of Historic Places Ref # 96000454, date listed 19960426
300 W. Markham St.
Little Rock,AR(Pulaski County)
The David O. Dodd Memorial (dedicated November 1923) at Little Rock in Pulaski County faces east on the south lawn of the west side of the Old State House, located at 300 West Markham. It was ordered from the Vermont Marble Company of Proctor, Vermont, but the actual artist is unknown. It is a relief portrait of a young male with longish hair looking straight ahead.
David O. Dodd had only recently turned 17 when, on the night 05 December 29, 1863, he was stopped and questioned by Union troops as he passed through heir lines on the Military Road, 10 miles west of Little Rock. Since his trave1 pass had been confiscated by a Federal soldier earlier in the day, he had no form of identification other than a notebook containing odd symbols. When it was discovered that these symbols were a code that revealed Union troop strength and location in Little Rock, Dodd was immediately arrested and jailed in the McHenry House on Stagecoach Road (NR 6/22/70). After a six-day trial by a military tribunal, he was found guilty and sentenced to death. On the eve of his execution, Union General Fredrick L. Steele visited Dodd and offered to release him if he would reveal the source of the encoded information. Dodd refused, allegedly saying, "I thank you for your good wishes and kind offers, but I must say that I will not betray a friend, and like Nathan Hale, I regret that I only have but one life to give to my
country. "
Dodd's hanging took place at St. John's College, near what is now 11th and McAlmont Streets, at 3 P.M. on January 8, 1864. A crowd of 5,000 showed up to watch the proceedings, exceeding Little Rock's total populatipn of 4,800. The execution was a bungled affair from the start, as the executioners forgot a blindfold (Dodd himself provided a handkerchief). He was too light far the hanging rope to break his neck, and a replacement rope was so elastic that his feet touched the ground. After an agonizing eight minutes of dangling, Union soldiers pulled on his feet to end his pain. (1)
References (1) NRHP Nomination Form www.arkansaspreservation.com/National-Register-Listings/P...
This temple is dedicated to Sri Ranganatha (Lord Vishnu), as is the famous temple in Sri Rangam. Also worshiped here is Lakshmi, the consort of Lord Vishnu. There are many side temples including ones dedicated to the Alwars (Tamil Nadu Vaishnava saints), Sesa-sayi Ananta Sayanam with Lord Vishnu reclining on him, and Tirupati Balaji. Also worshiped in this temple are Lord Narasimha, Sita-Rama and Laksman, Venugopala and Ramanujacarya. This temple is managed by priests of the Sri Sampradaya, which begins from Sri Lakshmi, the goddess of fortune. This temple is constructed in the South Indian Dravidian style.
HISTORY
The construction of this temple began in 1845 and was completed in 1851, at the cost of 45 lakhs (4.5 million) rupees. It was built by Seth Radha Krishna and Seth Govindadasa of Chennai (Madras). This is the biggest temple in Vrindavana. The outer wall is 231m by 132m. This wall encloses a nice tank and garden. This temple has eight South Indian style gopurams. The main entrance to this temple is the western gate. There is a six-storey (31m) gopuram, which is completely covered by carvings. There is an 18m high flag staff (dhwaja stamba.
Worship Method The style of worship in this temple is the system established by Ramanujacarya and the worship is done by South Indian brahmanas.Earlier Non-Hindus (non-Indians) were not allowed enter the main temple area where the Deity is located, but now they can enter the courtyard If you are not an Indian, you can only enter the first two gateways.
In the month of Chaitra from the 2nd to 12th days of Krishna Chaitra (March-April) there is the huge Brahmotsava Festival of Sri Ranganatha. It is a ten-day festival in which the utsava murti (festival deity) is taken out on procession twice a day in the morning and evening. Over a hundred thousand people come to this festival. On the eighth day of Krishna Chaitra the processional Deity is pulled by devotees on a large 14m (45 ft) high cart from the Ranganath temple to Rangaji Garden, about 700m. The procession takes about 2½ hours. The cart festival is known as Ratha ka Mela. On the days when the main cart is not used, other vehicles are used to carry the Deities. There are fire-works on the tenth day of Krishna Chaitra. There is a variety of asanas (thrones) that are used to carry Lord Vishnu, which are placed on a smaller chariot. There is a Garuda, Hanuman, Surya (the Sun god), Chandra (the Moon god), a lion, an elephant and a horse.
MathuraVisit
Saint Faith's in Hospital
One of the more unusual churches dedicated to the patron saint was the chapel of Stanley Royd Hospital in Wakefield, which previously rejoiced in the name of the West Riding Pauper Lunatic Asylum: the name inscribed on the church silver. It has been closed for some years now, and abandoned, but it was, according to a history of the institution, a place of refuge and peace, big, but never frightening or impersonal.
Patients came down there from the wards, into a church with two lofty naves and no transepts. The organ was at the end of one nave and at the other a magnificent stained-glass window, picturing members of various hospital professions with patients. Beneath it, a real patient had painted an unforgettable Last Supper, with the thirteen figures all bearing the same haunted face.
Social segregation was built into the architecture of this St Faith’s. The arches separating the twin naves strictly separated male patients and staff from female ones. In later years, all this changed, and the far smaller congregation used only part of one nave. But to the end, as the chaplain relates, ‘the church never changed, so that all the time, at every service, you would be conscious of the special role of this particular church – to be a focal point for the hospital’s purpose of caring and healing. It is abandoned now. Then it was the heart of the asylum.'
"Disko, disco duck...Dii-iiscooo - disco duck"
So I drove my mountainbike over this flagstone path next to the church, passed by the boy-scouts shack and clubhouse and saw that the path turned.Near the turn the flagstone path ran alongside a small brooke with a couple of ducks sitting besides the brooke.I drove on (or is it I rode on when your driving a mountainbike?) and I saw a green lawn with hellish green,wet grass and little ducklings with a couple of their elders sleeping on the grass.At first, I didn't thought anything of it ( you've gotta know that my camera was strapped around my neck and was dangling around when I drove my bike...) I stopped and looked at the cuddly sleeping ducklings but the moment I had stopped, the little ducklings (and a few of their elders) started quacking, got up their feet (?) and started walking towards me.Maybe they wanted to be fed.Anyways, they where used to people thats for sure ! I grabbed the camera and started clicking away kinda franticly.The result is beautiful.These ducklings came nearly as close as my feet !!
Sun Temple, Modhera
The Sun Temple is a Hindu temple dedicated to the solar deity Surya located at Modhera village of Mehsana district, Gujarat, India. It is situated on the bank of the river Pushpavati. It was built in 1026-27 AD during the reign of Bhima I of the Chaulukya dynasty. No worship is offered now and is protected monument maintained by Archaeological Survey of India. The temple complex has three components: Gudhamandapa, the shrine hall; Sabhamandapa, the assembly hall and Kunda, the reservoir. The halls have intricately carved exterior and pillars. The reservoir has steps to reach bottom and numerous small shrines.
The Sun Temple was built during the reign of Bhima I of Chaulukya dynasty in 1026-1027 (Vikram Samvat 1083). Earlier, during 1024-25, Mahmud of Ghazni had invaded Bhima's kingdom, and a force of around 20,000 soldiers had unsuccessfully tried to check his advance at Modhera. Historian A. K. Majumdar theorizes that the Sun Temple might have been built to commemorate this defence.
The temple is built on 23.6° latitude (approximately near Tropic of Cancer). The place was later known as Sita ni Chauri and Ramkund locally. No worship is offered here now. The temple is Monument of National Importance and is maintained by Archeological Survey of India.
The temple complex is built in Maru-Gurjara style (Chaulukya style). The temple complex has three axially aligned components; the shrine proper (garbhagriha) in a hall (gudhamandapa), the outer or assembly hall (sabhamandapa or rangamandapa) and a sacred reservoir (kunda).
The sabhamandapa is not in continuation with gudhamandapa but is placed little away as a separate structure. Both are built on paved platform. Their roofs have collapsed long ago leaving behind few lower-most courses. Both roofs are 15' 9" in diameter but are constructed differently. The platform or plinth is inverted lotus shaped.
Gudhamandapa and garbhagriha
The Gudhamandapa measures 51 feet 9 inches by 25 feet 8 inches. It is almost equally divided into Gudhamandapa, the hall and garbhgriha, the shrine proper. Both are rectangular in plan with one projection on each of the smaller sides and two projections on each of the longer sides. This projections on the smaller sides form the entrance and the back of shrine. The three projections of outer wall of Gudhamandapa had windows on each side and the east projection had the doorway. These windows had perforated stone screens; the northern is in ruins and the southern is missing. Pradakshinamarga is formed by the passage between the walls of garbhgriha and the outer walls of gudhamandapa. The roof of passage has stones slabs carved with rosettes. The Shikhara of the it no longer exists.
Garbhagriha
The Garbhagriha, the shrine proper or sanctum sanctorum is square measuring 11 feet from inside.
The shrine had two cells; a cell below the level of upper cell. The floor of upper cell is now fallen which once housed the image of deity. The seat of image is now in pit. The lower cell was probably used for storage.
The walls inside shrine is plain and outer wall is decorated. The doorway has carved figures of seated Surya in panels surrounded by dancers and amorous couples. All figures are mutilated and the images on the door-lintel is completely destroyed.
The sanctum sanctorum is designed in a way that the first rays of rising sun lit up the image of Surya during solar equinox days and on summer solstice day, the sun shines directly above the temple at noon casting no shadow.
Base mouldings
The outer walls of shrine is highly decorated. The base and walls of the shrine and hall are divided into several stretches with unique carvings. the pitha or adhisthana, base has the two square members called bhat followed by a cymarecta carving (lower part convex and upper part concave). It is followed by padma or padmaka, the moulding in form of inverted lotus. The next is antarita, a fillet or an astragal with a sharp edge between two recesses. Above this is patta having thin moulding called chhaja at its lower edge. The next is another chhaja separated by neck, alinga. The next broad band, patti, is gajathara carved with elephants. The following band narathara has figures of men in different attitudes.
Mandovara or wall mouldings
Mandovara, the wall mouldings starts with kumbha, a pitcher. It has a broad undecorated band at lower part while middle part is decorated with oval discs. It is followed by kalasha, a pitcher. The next is broad band with chaitya-windows called kevala followed by similar called manchi. These two bands are separated by a deep band. There is a thin fillet above which the major paneled face of wall called jangha exist. This panels are decorated with figures of gods but the figures of Surya are placed prominently than others as the temple is dedicated to him. Other panels are decorated with dancers and other figures.
The figures of Surya are prominently carved on three niches of shrine proper as well as on the each side of three windows in the outer wall of Gudhamandapa. The figures of Surya is in standing position with two arms holding lotuses and driven by seven horses. It has some Persian influences. The walls have 12 niches showing the different aspects of Surya in each month. Other figures include eight Dikpals, Vishwakarma, Varuna, Agni, Ganesha, Saraswati.
Every figure in panel has a small cornice over it surmounted with triangular pediment consisting of chaitya-window which is called udgam. The next projecting band with chaitya-window and kirtimukha is called malakval. The top most is the major cornice called chhajli.
This is followed by shikhara which no longer exist. The Vimana had horizontal geometrical and figurative bands which rising to create the Mount Meru-like shikhara. The central spire had Urushringa, the miniature shrines. It is judged by the shrines on the steps of Kunda.
Mandapa
The Mandapa, a hall was roofed by a dome which probably rose in concentric manner. It is supported by eight principal pillars below arranged in an octagon, four pillars in front of shrine proper and two each in the recesses of windows and door.
Sabhamandapa
Sabhamandapa or Rangamandapa, the assembly hall or dancing hall is parallelogram in plan with rows of pillars opening entrance on each side diagonally. The extensively carved exterior has series of recessed corners giving impression of the star like plan of it. There are 52 intricately carved pillars. Madhusudan Dhaky has suggested that the sabhamandapa may has been later addition based on style and construction.
Base mouldings
The pitha is almost similar to the Gudhamandapa but smaller as two courses of fillets are omitted. The padma is carved richly here with floral ornamentation.
Wall mouldings
Above the Narathara, there is a band with figures of dancers and gods known as rajasena. The next is vedi which correspond to jangha of mandovara decorated with large panels of gods, goddesses and floral designs. The next is cornice called asinot. It followed by kakshasana which slopes outwards and forms the back-rests of the bench, asana which runs round the hall. There are erotic figures on it interrupted by rail-patterns.
Ceiling and torana
The roof was in shape of stepped pyramid but it no longer exists. Inside, the walnut-shaped ceiling rises in tiers which has numerous floral girdles. It is 23 feet high. It is supported by pillars arranged in an octagon. These pillars have stilts which supports the lintels. Torana or the decorated cusped arches arise from the lower brackets of the pillars and touch the lintels in middle. There are two types; semicircular and triangular. The semicircular arches has cusped arches with tips while triangular arches has round apex and wavy sides. Both types has broad band decorated with figures and tips which are now defaced and damaged. The lower brackets has makara which gives the name of makara-torana while decoration gives name of chitra-torana.
Pillars
The pillars of Sabhamandapa and Gudhamandapa are of two types; short and tall. The short pillars rests on walls and supports the roof. The tall pillars rise from the floor.
Short pillars
The shaft is square in shape till half of its height followed by vase and then followed by octagonal shaft. It is surmounted by a capital and a bracket. The square part has floral design in circle on each side of faces. The vase is decorated similarly on its corners. The octagonal part have four bands; the top most has kirtimukha. The capital has three annulets.
Tall pillars
They arise from square or octagonal base, kumbhi, with triangular ornamentation on each face. Above it is kalasha. It is followed by a deep band and the next is kevala decorated with chaitya-windows. the next is kirtimukha. The next is triangular pediment with chaitya-windows.
The next is beginning of shaft. It is first decorated with standing figures, mostly dancers, on all eight faces enclosed in ringed pilasters. The next band with scenes of men and beasts is separated from it by round pillow-like band. It is followed by still smaller band with sixteen standing human figures separated by small annultet below. The next is band of leaves. Then the shaft becomes circular and had three or four bands having row of male warriors, lozenges, circles and kirtimukha at last. The kirtimukhas are separated by chain and bell ornamentation.
It follows capital similar to small pillars crowned with makara brackets if eight stilted pillar and dwarfs in the rests. the eight stilted pillars have one more shaft and similar type of capital which is crowned with brackets of volutes and pendant leaves.
Iconography
The panels on the Gudhamandapa is decorated with Surya centrally which indicates that the temple is dedicated to Surya. These images wears peculiar West Asian (Persian) boots and belt. The other corners and niches are decorated with figures of Shiva and Vishnu in various forms, Brahma, Nāga and goddesses. The depicted scenes on small flat ceilings and lintels of sabhamandapa are from epics like Ramayana.
Kirti-torana
There was a kirti-torana, the triumphant arch, in front of sabhamandapa. The pediment and torana no longer exists but two pillars remains. The moulding and decoration is similar to that of walls of sabhamandapa and pillars. There were two more kirti-torana on each side of the kunda of which only one exists without upper part.
Kunda, a tank or reservoir is known as Ramakunda or Suryakunda. The flight of steps through kirti-torana leads to the reservoir. It is rectangular. It measures 176 feet from north to south and 120 feet from east to west. It is paved with stones all around. There are four terraces and recessed steps to descend to reach the bottom of the tank. The main entrance lies on west. There are steps to reach from one terrace to another on right angle to terrace. These steps are rectangular or square except the first step of each flight of steps which is semicircular. Several miniature shrines and niches in front of terrace-wall have images of gods including many Vaishnavite deities and goddesses such as Shitala.
Stepwell
The stepwell on the west of Kunda has one entrance and two pavilion-towers. It is moderately ornamented. The door-frame has lotus and leaves and the ruchaka type pilasters indicate it belongs to 11th century. The small mandapa above the ground level and located on the second kuta of stepwell may belong to 10th century.
Finally continuing a little series I started 5 years ago (see the set). I admire Maria Sibylla Merian's art and biography. Read more about her here: en.wikipedia.org/wiki/Maria_Sibylla_Merian
(I know, it's not really the same kind of iris as illustrated, but we just have this one in our garden ;-) )
Dedicated to Tonx, the roaster that helped bring Victrola from goodness to greatness. This is an HDR shot taken with a D200 on nine-shot bracket, one stop bracket jumps. Deleted the four in-between shots to end up with five shots spanning a nine-stop range. Opened these five in CS2 automated HDR, set white balance, converted to 8-bit compressing highlights and shadows as I went. I've had very mixed luck with HDR, but this one I like. Oh, and mounted the camera on a tripod and held down the shutter button - anyone have a better way to press the button once and get all 9 shots - tried reprogramming FUNC but no luck - still makes me hold the button down.
This beautiful event is dedicated to Lord Narasimha. Together with Sri Swami Vishwananda and devotees from all around the world we celebrated the appearance day of Lord Narasimha with Kalash puja, Yagna, and two Abishekams for the Lord's fierce, Ugra form and His calm, Shanta form. All the celebrations were accompanied by lively kirtan.
The celebrations took place at different Bhakti Marga centres around the world, including: Bhakti Marga's Headquarters Shree Peetha Nilaya in Germany, as well as the Maha Jwala Narasimha Temple in Johannesburg, South Africa; the Sri Bhakti Lakshmi Narasimha Temple in London, UK; the Sri Vara Lakshmi Narasimha Temple in Warsaw, Poland; and Kenya.
Two days after Chaturthi, Swamiji visited London and performed another Narasimha abishekam for the devotees present.
Find out more visit:
Hoysaleswara temple (Kannada: ಹೊಯ್ಸಳೇಶ್ವರ ದೇವಸ್ಥಾನ) (also spelt "Hoysaleshwara" or Hoysaleshvara") is a temple dedicated to Hindu god Shiva. It was built in Halebidu (in modern Karnataka state, India) during the rule of King Vishnuvardhana of the Hoysala Empire in the 12th century. The construction was started around 1120 CE and completed in 1150 CE. During the early 14th century, Halebidu was sacked and looted by Muslim invaders from northern India and the temple fell into a state of ruin and neglect. Previously known as Dorasamudra or Dwarasamudra, Halebidu is 16 km from Belur, 31 km from Hassan and 149 km from Mysore, in the state of Karnataka, India.
HISTORY
According to art critic and historian S. Settar, from contemporary inscriptions it is known that the temple derives its name from the Hoysala ruler at that time, King Vishnuvardhana Hoysaleswara, though interestingly, the construction of the temple was initiated and financed by wealthy Shaiva (a Hindu sect) citizens of the city, prominent among who were Ketamala and Kesarasetti. The temple building activity was taken up in competition to the construction of the Chennakesava Temple at Belur, a Vaishnava (a Hindu sect) temple. Surrounded by numerous tanks, ponds and mantapas, the temple is built in the vicinity of the large Dorasamudhra lake. The tank preceded the temple by nearly 75 years. It is one of the largest temples dedicated to the god Shiva in South India.
TEMPLE PLAN
The temple is a simple dvikuta vimana (plan with two shrines and two superstructures), one for "Hoysaleswara" (the king) and the other for "Shantaleswara" (named after Shantala Devi, queen of King Vishnuvardhana) and is built with chloritic chist (more commonly known as Soapstone or potstone). The temple complex as a whole is elevated on a jagati (platform), which according to historian Kamath, is a feature that became popular in contemporary Hoysala constructions. According to art historian Foekema, the two shrines which are adjoining, face east and each have a mantapa (hall) in front. The two mantapas are connected giving a large and imposing view of the hall. Individually, each shrine is smaller than the one at the Chennakesava Temple at Belur and contains a simple linga, the universal symbol of the god Shiva. The plan of the inside of the temple is simple but the exterior looks different because of the introduction of many projections and recesses in the walls. The towers of the shrines that are missing must have followed the star shape of the shrine, just as in many existing well-preserved towers in other Hoysala temples. The superstructure over the vestibule which connects the shrine to the mantapa, called sukanasi (a low tower that looks like an extension of the main tower), and the row of decorated miniature roofs above the eaves of the hall are all missing. The temple was built at a height that provided the architects sufficient horizontal and vertical space to depict large and small sculptures. According to the art critic James Fergusson, the overall effect of the vertical and horizontal lines, the play of the outline, the effect of light and shade and the plan of the projections and recesses all amounts to a "marvellous exhibition of human labor to be found even in the patient east and surpasses anything in Gothic art". The outer walls of these temples contain an intricate array of stone sculptures. The temple of Halebidu, has been described by art critics James Fergusson and Percy Brown as an "outstanding example of Hindu architecture" and as the "supreme climax of Indian architecture".
The temple has four porches for entry and the one normally used by visitors as main entry is actually a lateral entrance (north). There is one entry on the south side and two on the east side, facing two large detached open pavilions whose ceiling is supported by lathe turned pillars. All entry porches have miniature shrines as flanking. In addition there is a sanctuary for the Sun god Surya, whose image stands 2.1 m tall. The pavilions enshrine large images of Nandi, the bull, an attendant of Shiva. The pavilions share the same jagati as the main temple. As in the Chennakesava temple, this temple originally had an open mantapa to which outer walls with pierced window screens made with the same material were erected, making the mantapa a closed one. The window screens are devoid of any art work. The interior of the temple is quite plain except for the lathe turned pillars that run in rows between the north and south entrances. According to Settar, the four pillars in front of each shrine are the most ornate and the only ones that have the madanika (chaste maidens) sculptures in their pillar brackets. There are no other madanikas in the temple.
SCULPTURES
The Hoysaleswara temple is most well known for its sculptures that run all along the outer wall, starting with an dancing image of the god Ganesha on the left side of the south entrance and ending with another image of Ganesha on the right hand side of the north entrance. In all there are two hundred and forty such images. According to the art critic Gerard Foekema, perhaps no other Hoysala temple is as articulate in sculpture as this is and these sculptures are "second to none in all of India". The most intricate of all sculptures are found in the lintels over two of the doorways, one on the south side doorway and the other on one of the eastern doorways.
HORIZONTAL TREATMENT
In this temple the Hoysala architects have broken from the tradition of using five moldings with friezes (which is the "old stlye") at the base of the temple, below the large wall sculptures and the window screens. The outer walls have two eaves that run around the temple. The top eaves is at the roof of the temple where the superstructure meets the wall, and the second eaves is about a meter below. In between there are decorated miniature towers (aedicule). Below the lower eaves are the wall sculptures and below them, the eight moldings. Historian Kamath calls this type of relief work "horizontal treatment". Each of the eight friezes carries an array of decoration. Going from the bottom where the temple wall meets the platform, the lowest frieze depicts charging elephants which symbolize strength and stability, above which, in order, are friezes with lions which symbolize courage, floral scrolls as decoration, horses symbolizing speed, another band of floral scrolls, depictions from the Hindu epics, mythical beasts called makara and finally a frieze with hansas (swans). According to Foekema, no two animals are alike in a total frieze span of over 200 m. In the epic frieze, the epics are not continuous as they are mixed with other depictions. After the construction of this temple, Hoysala architects used this new kind of horizontal treatment only fifty years later, making it a standard style, though they reduced it to six molding friezes.
GARUDA PILLAR
Another interesting object in the temple complex is the rare Garuda Sthamba (Garuda pillar). According to Settar, these are different from virgals (Hero stone). Garudas were elite bodyguards of the kings and queens. They moved and lived with the royal family and their only purpose was to protect their master. Upon the death of their master, they committed suicide. The rare pillar on the south side depicts heroes brandishing knives and cutting their own heads. The inscription honors Kuruva Lakshma, a bodyguard of Veera Ballala II. A devoted officer, he took his life and that of his wife and other bodyguards after the death of his master. This event is narrated in an old Kannada inscription on the pillar. A 2.4 m tall sculpture of Ganesha including the platform rests at the South entrance
WIKIPEDIA
American linden or bassword (Tilia americana). Dedicated to the memory of Jean Hillery and Thomas Quadros, Food Safety and Inspection Service Compliance Officers, who lost their lives in the line of duty June 21, 2000.
Plaque identifying a tree outside the U.S. Department of Agriculture headquarters (Jamie L. Whitten Federal Building), Washington, DC
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Used by Federal Register to accompany story ("National Organic Program:
A Rule by the Agricultural Marketing Service" - December 13, 2010) at www.federalregister.gov/business-and-industry
Used by Federal Register to accompany story ("Designation of Biobased Items for Federal Procurement: A Rule by the Agriculture Department" - February 4, 2011) at www.federalregister.gov/science-and-technology
Used by Federal Register to accompany story ("BioPreferred Program: A Rule by the Agriculture Department" - August 29, 2011) at www.federalregister.gov/
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The Dream Rocket Team is collecting nearly 8,000 artworks from participants around the globe. The artwork will be assembled together to create a massive cover in which will wrap a 37 story Saturn V Moon Rocket at the U.S. Space & Rocket Center in Huntsville, Alabama. We will also be displaying submitted artwork in dozens of national venues prior to the wrapping of the Saturn V. Additionally, we are posting images of submitted artwork & their stories on our Website, Flickr, and Facebook.The Dream Rocket project uses the Saturn V Moon Rocket as a symbolism of universal values of the human spirit. Optimism, hope,
caring for our natural resources, scientific exploration, and harnessing technological advancements for a better quality of life while safeguarding our communities, are all common desires across national and international boundaries. Participants are able to express and learn about these values through this creative collaboration. With the completion of each artwork, participants are asked to write an essay explaining their artwork, and the dream theme in which they chose.
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The Dream Rocket project would like to challenge you to ‘Dare to Dream’. To dream about your future and the future of our world through dream themes such as health, community, conservation, science, technology, space, peace, and so on. We would like you to use your selected Dream Theme to express, explore, and create your vision on your section of the wrap. We hope that you are able to express and learn through this creative collaboration. With the completion of each artwork, you are asked to write a brief essay explaining your artwork, and the dream theme in which you chose.
“The Saturn V is the ideal icon to represent a big dream. This rocket was designed and built as a collaboration of nearly half-a-million people and allowed our human species to venture beyond our world and stand on ANOTHER - SURELY one of the biggest dreams of all time. ENABLING THE DREAMS of young people to touch this mighty rocket sends a powerful message in conjunction with creating an educational curriculum to engage students to embrace the power of learning through many important subjects”
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The Frank Sinatra Starkey Hearing Technologies Celebrity Invitational is dedicated to the memory and music of Frank Sinatra and benefits the Barbara Sinatra Center for Abused Children. The Frank Sinatra Starkey Hearing Technologies Celebrity Invitational enjoys a rich history as one of the marquee golf and fundraising events in the Palm Springs, California desert. Each year, celebrities, amateur contestants, loyal sponsors and enthusiastic spectators from all over the country look forward to returning to this unique "celebrity friendly" event.
Known as "Frank's little party in the desert," Barbara and Frank Sinatra founded the Frank Sinatra Celebrity Invitational in 1988 to raise funds for the Barbara Sinatra Center for Abused Children at Eisenhower Medical Center, which opened in 1986. Through their efforts, and those of supporters throughout the world, the Frank Sinatra Starkey Hearing Technologies Celebrity Invitational is now one of the most successful events of it's kind.
The mission of the Barbara Sinatra Center for Abused Children is to provide counseling for victims of physical, sexual and emotional abuse and to focus on prevention, community education and breaking the generational cycle of abuse. Barbara Sinatra is quick to thank supporters of the "Frank Sinatra Starkey Hearing Technologies Celebrity Invitational, and she is proud to say "The children who come to us for help continue to receive the therapy they need and deserve; no child is turned away due to a family's inability to pay."
The Frank Sinatra Starkey Hearing Technologies Celebrity Invitational is a five (5) player team gross and net scramble golf tournament held at Eagle Falls Golf Course in Indio, California. The Fantasy Springs Resort Casino, also in Indio, is the tournament's hotel and venue for three nights of parties and a spectacular luncheon and fashion show.
One (1) celebrity and four (4) contestants are a team. The team of four (4) amateur players remains together for two (2) consecutive days. The celebrity contestant changes teams for the second day. Current USGA handicaps are verified and applied to all contestants.
Gibraltar Airport is unusual not only due to its proximity to the city centre resulting in the airport terminal being within walking distance of much of Gibraltar but also because the runway intersects Winston Churchill Avenue, the main north-south street, requiring movable barricades to close when aircraft land or depart. When this happens the whole of the in-bound and out-bound traffic is stopped beforehand and armed guards patrol the closed road.
Here I am cycling across the runway on probably the only dedicated cycle lane in the whole of Gibraltar (apart from the other direction of course!).
It must be one of the strangest places to cycle in the world.