I thought I'd practice some long exposure work. Included in this still life are my great-grandmother's clock from 1915, my grandmother's encyclopedias from the 1930s and a very old decoy that I gave as a gift to my parents.

For Macro Mondays' "Book" theme. About 1" (25mm) of the book is shown on each side of the lower spine.

From Wikipedia, the free encyclopedia

 

Pompeii (/pɒmˈpeɪ(i)/, Latin: [pɔmˈpeːjjiː]) was an ancient city located in what is now the comune of Pompei near Naples in the Campania region of Italy. Pompeii, along with Herculaneum and many villas in the surrounding area (e.g. at Boscoreale, Stabiae), was buried under 4 to 6 m (13 to 20 ft) of volcanic ash and pumice in the eruption of Mount Vesuvius in AD 79.

 

Largely preserved under the ash, the excavated city offered a unique snapshot of Roman life, frozen at the moment it was buried,[1] and an extraordinarily detailed insight into the everyday life of its inhabitants, although much of the evidence was lost in the early excavations. It was a wealthy town, enjoying many fine public buildings and luxurious private houses with lavish decorations, furnishings and works of art which were the main attractions for the early excavators. Organic remains, including wooden objects and human bodies, were entombed in the ash and decayed leaving voids which archaeologists found could be used as moulds to make plaster casts of unique and often gruesome figures in their final moments of life. The numerous graffiti carved on the walls and inside rooms provide a wealth of examples of the largely lost Vulgar Latin spoken colloquially at the time, contrasting with the formal language of the classical writers.

 

Pompeii is a UNESCO World Heritage Site and is one of the most popular tourist attractions in Italy, with approximately 2.5 million visitors annually.[2]

 

From Wikipedia, the free encyclopedia

Marken

 

Location of the municipality of Waterland in North Holland and the Netherlands.

Coordinates: 52°27′30″N 5°6′24″ECoordinates: 52°27′30″N 5°6′24″E

 

Marken (Dutch pronunciation: [ˈmɑrkə(n)]; Marken's dialect: Mereke) is a village with a population of 1,810 in the municipality of Waterland in the province of North Holland in the Netherlands. Marken forms a peninsula in the Markermeer and was formerly an island in the Zuiderzee. The characteristic wooden houses of Marken are a tourist attraction.

 

Marken was an island in the Zuiderzee

 

For some time during the later 19th and early 20th centuries, Marken and its inhabitants were the focus of considerable attention by folklorists, ethnographers and physical anthropologists, who regarded the small fishing town as a relic of the traditional native culture that was destined to disappear as the modernization of the Netherlands gained pace.[5] Among them was Johann Friedrich Blumenbach who examined a skull from the island of humans which he called Batavus genuinus; and was the Belgian painter Xavier Mellery who stayed in Marken at the request of Decoster. Mellery was asked to perform illustrative work and delivered several intimist works.

 

The projects of Cornelis Lely was to incorporated the island into the markerwaard. The dike, built in 1941 in the north, is the first phase of that project which was stopped by the war.

 

In 1983, the Marker Museum about the history of the island was opened.

  

20160624 4737Sunset at Marken

 

From Wikipedia, the free encyclopedia

Marken

 

Location of the municipality of Waterland in North Holland and the Netherlands.

Coordinates: 52°27′30″N 5°6′24″ECoordinates: 52°27′30″N 5°6′24″E

 

Marken (Dutch pronunciation: [ˈmɑrkə(n)]; Marken's dialect: Mereke) is a village with a population of 1,810 in the municipality of Waterland in the province of North Holland in the Netherlands. Marken forms a peninsula in the Markermeer and was formerly an island in the Zuiderzee. The characteristic wooden houses of Marken are a tourist attraction.

 

Marken was an island in the Zuiderzee

 

For some time during the later 19th and early 20th centuries, Marken and its inhabitants were the focus of considerable attention by folklorists, ethnographers and physical anthropologists, who regarded the small fishing town as a relic of the traditional native culture that was destined to disappear as the modernization of the Netherlands gained pace.[5] Among them was Johann Friedrich Blumenbach who examined a skull from the island of humans which he called Batavus genuinus; and was the Belgian painter Xavier Mellery who stayed in Marken at the request of Decoster. Mellery was asked to perform illustrative work and delivered several intimist works.

 

The projects of Cornelis Lely was to incorporated the island into the markerwaard. The dike, built in 1941 in the north, is the first phase of that project which was stopped by the war.

 

In 1983, the Marker Museum about the history of the island was opened.

  

201702030697_1-6

 

植物図鑑

 

Encyclopedia of bygone times.

Columbia Encyclopedia - PeopleChihuly, Dale Patrick (chĭhū'lē) 1941–, American glass artist, b. Tacoma, Wash.; grad. Univ. of Washington, Seattle (B.A., 1965), Rhode Island School of Design (RISD; M.F.A., 1967), Univ. of Wisconsin, Madison (M.S., 1967). Probably the foremost figure in the contemporary art-glass movement, Chihuly experimented with the medium while an undergraduate and studied the glassblower's art at a Venetian glass studio (1968). He founded (1969) the glass department at RISD, taught there for 11 years, and in 1971 established the influential Pilchuck Glass School near Seattle. Extremely prolific, Chihuly (working with a crew of technicians) creates glass sculptures in a rainbow of colors, sometimes opaque, translucent, or iridescent; and in an astonishing variety of semiabstract shapes, including baskets, sea and flower forms, globes, stumps, cylinders, and hanging garlands. His works range from miniatures to large architectural installations, such as the celebrated pieces in Chihuly over Venice (1996) and the works on the Bridge of Glass (2002) at the Museum of Glass: International Center for Contemporary Art in Tacoma, Wash.

Bibliography

 

   

From Wikipedia, the free encyclopedia

 

Until 1847 Roa Island was a true island, being accessible only by boat, or on foot across the sands at low tide. John Abel Smith, a London banker, bought Roa in 1840. He built a causeway to the mainland, completed in 1846, and an 810-foot (247 m) deep-water pier known as Piel Pier from where steamers sailed to Fleetwood. The pier connected with the Furness Railway line to Kirkby via Furness Abbey, making use of the causeway. Initially the line was open for goods traffic only, but on 24 August 1846 a passenger service was inaugurated.

 

Over the years there was much disagreement between Smith and the Furness Railway. At one point the railway company set up its own steamer service to Piel Pier, but following a dispute with Smith, diverted the sailings to nearby Barrow. Eventually Smith was able to obtain an injunction for its return to the pier. In due course, however, Smith and the Furness Railway settled their differences and in 1852 the railway agreed to buy the lease for the entire Roa Island estate. Before the deal could be completed a freak storm caused extensive damage to the pier. This allowed the railway to buy all the rights and the property for only £15,000. Piel Pier was demolished in 1891 following changes to the course of Piel Channel which resulted in silting up of the area around the end of the pier. The railway continued in use until July 1936.

 

Today there is little obvious trace of it, though many of the stones that form the sides of the causeway are actually square stone sleepers from the railway. A road linking Roa Island to Rampside has now taken the place of the railway tracks along the causeway.

Encyclopedias scattered throughout an abandoned house.

Ipê Amarelo, Tabebuia [chrysotricha or ochracea].

Ipê-amarelo em Brasília (UnB), Brasil.

This tree is in Brasília, Capital of Brazil.

 

Text, in english, from Wikipedia, the free encyclopedia

"Trumpet tree" redirects here. This term is occasionally used for the Shield-leaved Pumpwood (Cecropia peltata).

Tabebuia

Flowering Araguaney or ipê-amarelo (Tabebuia chrysantha) in central Brazil

Scientific classification

Kingdom: Plantae

(unranked): Angiosperms

(unranked): Eudicots

(unranked): Asterids

Order: Lamiales

Family: Bignoniaceae

Tribe: Tecomeae

Genus: Tabebuia

Gomez

Species

Nearly 100.

Tabebuia is a neotropical genus of about 100 species in the tribe Tecomeae of the family Bignoniaceae. The species range from northern Mexico and the Antilles south to northern Argentina and central Venezuela, including the Caribbean islands of Hispaniola (Dominican Republic and Haiti) and Cuba. Well-known common names include Ipê, Poui, trumpet trees and pau d'arco.

They are large shrubs and trees growing to 5 to 50 m (16 to 160 ft.) tall depending on the species; many species are dry-season deciduous but some are evergreen. The leaves are opposite pairs, complex or palmately compound with 3–7 leaflets.

Tabebuia is a notable flowering tree. The flowers are 3 to 11 cm (1 to 4 in.) wide and are produced in dense clusters. They present a cupular calyx campanulate to tubular, truncate, bilabiate or 5-lobed. Corolla colors vary between species ranging from white, light pink, yellow, lavender, magenta, or red. The outside texture of the flower tube is either glabrous or pubescentThe fruit is a dehiscent pod, 10 to 50 cm (4 to 20 in.) long, containing numerous—in some species winged—seeds. These pods often remain on the tree through dry season until the beginning of the rainy.

Species in this genus are important as timber trees. The wood is used for furniture, decking, and other outdoor uses. It is increasingly popular as a decking material due to its insect resistance and durability. By 2007, FSC-certified ipê wood had become readily available on the market, although certificates are occasionally forged.

Tabebuia is widely used as ornamental tree in the tropics in landscaping gardens, public squares, and boulevards due to its impressive and colorful flowering. Many flowers appear on still leafless stems at the end of the dry season, making the floral display more conspicuous. They are useful as honey plants for bees, and are popular with certain hummingbirds. Naturalist Madhaviah Krishnan on the other hand once famously took offense at ipé grown in India, where it is not native.

Lapacho teaThe bark of several species has medical properties. The bark is dried, shredded, and then boiled making a bitter or sour-tasting brownish-colored tea. Tea from the inner bark of Pink Ipê (T. impetiginosa) is known as Lapacho or Taheebo. Its main active principles are lapachol, quercetin, and other flavonoids. It is also available in pill form. The herbal remedy is typically used during flu and cold season and for easing smoker's cough. It apparently works as expectorant, by promoting the lungs to cough up and free deeply embedded mucus and contaminants. However, lapachol is rather toxic and therefore a more topical use e.g. as antibiotic or pesticide may be advisable. Other species with significant folk medical use are T. alba and Yellow Lapacho (T. serratifolia)

Tabebuia heteropoda, T. incana, and other species are occasionally used as an additive to the entheogenic drink Ayahuasca.

Mycosphaerella tabebuiae, a plant pathogenic sac fungus, was first discovered on an ipê tree.

Tabebuia alba

Tabebuia anafensis

Tabebuia arimaoensis

Tabebuia aurea – Caribbean Trumpet Tree

Tabebuia bilbergii

Tabebuia bibracteolata

Tabebuia cassinoides

Tabebuia chrysantha – Araguaney, Yellow Ipê, tajibo (Bolivia), ipê-amarelo (Brazil), cañaguate (N Colombia)

Tabebuia chrysotricha – Golden Trumpet Tree

Tabebuia donnell-smithii Rose – Gold Tree, "Prima Vera", Cortez blanco (El Salvador), San Juan (Honduras), palo blanco (Guatemala),duranga (Mexico)

A native of Mexico and Central Americas, considered one of the most colorful of all Central American trees. The leaves are deciduous. Masses of golden-yellow flowers cover the crown after the leaves are shed.

Tabebuia dubia

Tabebuia ecuadorensis

Tabebuia elongata

Tabebuia furfuracea

Tabebuia geminiflora Rizz. & Mattos

Tabebuia guayacan (Seem.) Hemsl.

Tabebuia haemantha

Tabebuia heptaphylla (Vell.) Toledo – tajy

Tabebuia heterophylla – roble prieto

Tabebuia heteropoda

Tabebuia hypoleuca

Tabebuia impetiginosa – Pink Ipê, Pink Lapacho, ipê-cavatã, ipê-comum, ipê-reto, ipê-rosa, ipê-roxo-damata, pau d'arco-roxo, peúva, piúva (Brazil), lapacho negro (Spanish); not "brazilwood"

Tabebuia incana

Tabebuia jackiana

Tabebuia lapacho – lapacho amarillo

Tabebuia orinocensis A.H. Gentry[verification needed]

Tabebuia ochracea

Tabebuia oligolepis

Tabebuia pallida – Cuban Pink Trumpet Tree

Tabebuia platyantha

Tabebuia polymorpha

Tabebuia rosea (Bertol.) DC.[verification needed] (= T. pentaphylla (L.) Hemsley) – Pink Poui, Pink Tecoma, apama, apamate, matilisguate

A popular street tree in tropical cities because of its multi-annular masses of light pink to purple flowers and modest size. The roots are not especially destructive for roads and sidewalks. It is the national tree of El Salvador and the state tree of Cojedes, Venezuela

Tabebuia roseo-alba – White Ipê, ipê-branco (Brazil), lapacho blanco

Tabebuia serratifolia – Yellow Lapacho, Yellow Poui, ipê-roxo (Brazil)

Tabebuia shaferi

Tabebuia striata

Tabebuia subtilis Sprague & Sandwith

Tabebuia umbellata

Tabebuia vellosoi Toledo

 

Ipê-do-cerrado

Texto, em português, da Wikipédia, a enciclopédia livre.

Ipê-do-cerrado

Classificação científica

Reino: Plantae

Divisão: Magnoliophyta

Classe: Magnoliopsida

Subclasse: Asteridae

Ordem: Lamiales

Família: Bignoniaceae

Género: Tabebuia

Espécie: T. ochracea

Nome binomial

Tabebuia ochracea

(Cham.) Standl. 1832

Sinónimos

Bignonia tomentosa Pav. ex DC.

Handroanthus ochraceus (Cham.) Mattos

Tabebuia chrysantha (Jacq.) G. Nicholson

Tabebuia hypodictyon A. DC.) Standl.

Tabebuia neochrysantha A.H. Gentry

Tabebuia ochracea subsp. heteropoda (A. DC.) A.H. Gentry

Tabebuia ochracea subsp. neochrysantha (A.H. Gentry) A.H. Gentry

Tecoma campinae Kraenzl.

ecoma grandiceps Kraenzl.

Tecoma hassleri Sprague

Tecoma hemmendorffiana Kraenzl.

Tecoma heteropoda A. DC.

Tecoma hypodictyon A. DC.

Tecoma ochracea Cham.

Ipê-do-cerrado é um dos nomes populares da Tabebuia ochracea (Cham.) Standl. 1832, nativa do cerrado brasileiro, no estados de Amazonas, Pará, Maranhão, Piauí, Ceará, Pernambuco, Bahia, Espírito Santo, Goiás, Mato Grosso, Mato Grosso do Sul, Minas Gerais, Rio de Janeiro, São Paulo e Paraná.

Está na lista de espécies ameaçadas do estado de São Paulo, onde é encontrda também no domínio da Mata Atlântica[1].

Ocorre também na Argentina, Paraguai, Bolívia, Equador, Peru, Venezuela, Guiana, El Salvador, Guatemala e Panamá[2].

Há uma espécie homônima descrita por A.H. Gentry em 1992.

Outros nomes populares: ipê-amarelo, ipê-cascudo, ipê-do-campo, ipê-pardo, pau-d'arco-do-campo, piúva, tarumã.

Características

Altura de 6 a 14 m. Tronco tortuso com até 50 cm de diâmetro. Folhas pilosas em ambas as faces, mais na inferior, que é mais clara.

Planta decídua, heliófita, xerófita, nativa do cerrado em solos bem drenados.

Floresce de julho a setembro. Os frutos amadurecem de setembro a outubro.

FloresProduz grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em menos de 90 dias após coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978). As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A germinação ocorre após 30 dias e de 80%. As sementes são ortodoxas e há aproximadamente 72 000 sementes em cada quilo.

O desenvolvimento da planta é rápido.

Como outros ipês, a madeira é usada em tacos, assoalhos, e em dormentes e postes. Presta-se também para peças torneadas e instrumento musicais.

 

Tabebuia alba (Ipê-Amarelo)

Texto, em português, produzido pela Acadêmica Giovana Beatriz Theodoro Marto

Supervisão e orientação do Prof. Luiz Ernesto George Barrichelo e do Eng. Paulo Henrique Müller

Atualizado em 10/07/2006

 

O ipê amarelo é a árvore brasileira mais conhecida, a mais cultivada e, sem dúvida nenhuma, a mais bela. É na verdade um complexo de nove ou dez espécies com características mais ou menos semelhantes, com flores brancas, amarelas ou roxas. Não há região do país onde não exista pelo menos uma espécie dele, porém a existência do ipê em habitat natural nos dias atuais é rara entre a maioria das espécies (LORENZI,2000).

A espécie Tabebuia alba, nativa do Brasil, é uma das espécies do gênero Tabebuia que possui “Ipê Amarelo” como nome popular. O nome alba provém de albus (branco em latim) e é devido ao tomento branco dos ramos e folhas novas.

As árvores desta espécie proporcionam um belo espetáculo com sua bela floração na arborização de ruas em algumas cidades brasileiras. São lindas árvores que embelezam e promovem um colorido no final do inverno. Existe uma crença popular de que quando o ipê-amarelo floresce não vão ocorrer mais geadas. Infelizmente, a espécie é considerada vulnerável quanto à ameaça de extinção.

A Tabebuia alba, natural do semi-árido alagoano está adaptada a todas as regiões fisiográficas, levando o governo, por meio do Decreto nº 6239, a transformar a espécie como a árvore símbolo do estado, estando, pois sob a sua tutela, não mais podendo ser suprimida de seus habitats naturais.

Taxonomia

Família: Bignoniaceae

Espécie: Tabebuia Alba (Chamiso) Sandwith

Sinonímia botânica: Handroanthus albus (Chamiso) Mattos; Tecoma alba Chamisso

Outros nomes vulgares: ipê-amarelo, ipê, aipê, ipê-branco, ipê-mamono, ipê-mandioca, ipê-ouro, ipê-pardo, ipê-vacariano, ipê-tabaco, ipê-do-cerrado, ipê-dourado, ipê-da-serra, ipezeiro, pau-d’arco-amarelo, taipoca.

Aspectos Ecológicos

O ipê-amarelo é uma espécie heliófita (Planta adaptada ao crescimento em ambiente aberto ou exposto à luz direta) e decídua (que perde as folhas em determinada época do ano). Pertence ao grupo das espécies secundárias iniciais (DURIGAN & NOGUEIRA, 1990).

Abrange a Floresta Pluvial da Mata Atlântica e da Floresta Latifoliada Semidecídua, ocorrendo principalmente no interior da Floresta Primária Densa. É característica de sub-bosques dos pinhais, onde há regeneração regular.

Informações Botânicas

Morfologia

As árvores de Tabebuia alba possuem cerca de 30 metros de altura. O tronco é reto ou levemente tortuoso, com fuste de 5 a 8 m de altura. A casca externa é grisáceo-grossa, possuindo fissuras longitudinais esparas e profundas. A coloração desta é cinza-rosa intenso, com camadas fibrosas, muito resistentes e finas, porém bem distintas.

Com ramos grossos, tortuosos e compridos, o ipê-amarelo possui copa alongada e alargada na base. As raízes de sustentação e absorção são vigorosas e profundas.

As folhas, deciduais, são opostas, digitadas e compostas. A face superior destas folhas é verde-escura, e, a face inferior, acinzentada, sendo ambas as faces tomentosas. Os pecíolos das folhas medem de 2,5 a 10 cm de comprimento. Os folíolos, geralmente, apresentam-se em número de 5 a 7, possuindo de 7 a 18 cm de comprimento por 2 a 6 cm de largura. Quando jovem estes folíolos são densamente pilosos em ambas as faces. O ápice destes é pontiagudo, com base arredondada e margem serreada.

As flores, grandes e lanceoladas, são de coloração amarelo-ouro. Possuem em média 8X15 cm.

Quanto aos frutos, estes possuem forma de cápsula bivalvar e são secos e deiscentes. Do tipo síliqua, lembram uma vagem. Medem de 15 a 30 cm de comprimento por 1,5 a 2,5 cm de largura. As valvas são finamente tomentosas com pêlos ramificados. Possuem grande quantidade de sementes.

As sementes são membranáceas brilhantes e esbranquiçadas, de coloração marrom. Possuem de 2 a 3 cm de comprimento por 7 a 9 mm de largura e são aladas.

Reprodução

A espécie é caducifólia e a queda das folhas coincide com o período de floração. A floração inicia-se no final de agosto, podendo ocorrer alguma variação devido a fenômenos climáticos. Como a espécie floresce no final do inverno é influenciada pela intensidade do mesmo. Quanto mais frio e seco for o inverno, maior será a intensidade da florada do ipê amarelo.

As flores por sua exuberância, atraem abelhas e pássaros, principalmente beija-flores que são importantes agentes polinizadores. Segundo CARVALHO (2003), a espécie possui como vetor de polinização a abelha mamangava (Bombus morio).

As sementes são dispersas pelo vento.

A planta é hermafrodita, e frutifica nos meses de setembro, outubro, novembro, dezembro, janeiro e fevereiro, dependendo da sua localização. Em cultivo, a espécie inicia o processo reprodutivo após o terceiro ano.

Ocorrência Natural

Ocorre naturalmente na Floresta Estaciobal Semidecicual, Floresta de Araucária e no Cerrado.

Segundo o IBGE, a Tabebuia alba (Cham.) Sandw. é uma árvore do Cerrado, Cerradão e Mata Seca. Apresentando-se nos campos secos (savana gramíneo-lenhosa), próximo às escarpas.

Clima

Segundo a classificação de Köppen, o ipê-amarelo abrange locais de clima tropical (Aw), subtropical úmido (Cfa), sutropical de altitude (Cwa e Cwb) e temperado.

A T.alba pode tolerar até 81 geadas em um ano. Ocorre em locais onde a temperatura média anual varia de 14,4ºC como mínimo e 22,4ºC como máximo.

Solo

A espécie prefere solos úmidos, com drenagem lenta e geralmente não muito ondulados (LONGHI, 1995).

Aparece em terras de boa à média fertilidade, em solos profundos ou rasos, nas matas e raramente cerradões (NOGUEIRA, 1977).

Pragas e Doenças

De acordo com CARVALHO (2003), possui como praga a espécie de coleópteros Cydianerus bohemani da família Curculionoideae e um outro coleóptero da família Chrysomellidae. Apesar da constatação de elevados índices populacionais do primeiro, os danos ocasionados até o momento são leves. Nas praças e ruas de Curitiba - PR, 31% das árvores foram atacadas pela Cochonilha Ceroplastes grandis.

ZIDKO (2002), ao estudar no município de Piracicaba a associação de coleópteros em espécies arbóreas, verificou a presença de insetos adultos da espécie Sitophilus linearis da família de coleópteros, Curculionidae, em estruturas reprodutivas. Os insetos adultos da espécie emergiram das vagens do ipê, danificando as sementes desta espécie nativa.

ANDRADE (1928) assinalou diversas espécies de Cerambycidae atacando essências florestais vivas, como ingazeiro, cinamomo, cangerana, cedro, caixeta, jacarandá, araribá, jatobá, entre outras como o ipê amarelo.

A Madeira

A Tabebuia alba produz madeira de grande durabilidade e resistência ao apodrecimento (LONGHI,1995).

MANIERI (1970) caracteriza o cerne desta espécie como de cor pardo-havana-claro, pardo-havan-escuro, ou pardo-acastanhado, com reflexos esverdeados. A superfície da madeira é irregularmente lustrosa, lisa ao tato, possuindo textura media e grã-direita.

Com densidade entre 0,90 e 1,15 grama por centímetro cúbico, a madeira é muito dura (LORENZI, 1992), apresentando grande dificuldade ao serrar.

A madeira possui cheiro e gosto distintos. Segundo LORENZI (1992), o cheiro característico é devido à presença da substância lapachol, ou ipeína.

Usos da Madeira

Sendo pesada, com cerne escuro, adquire grande valor comercial na marcenaria e carpintaria. Também é utilizada para fabricação de dormentes, moirões, pontes, postes, eixos de roda, varais de carroça, moendas de cana, etc.

Produtos Não-Madeireiros

A entrecasca do ipê-amarelo possui propriedades terapêuticas como adstringente, usada no tratamento de garganta e estomatites. É também usada como diurético.

O ipê-amarelo possui flores melíferas e que maduras podem ser utilizadas na alimentação humana.

Outros Usos

É comumente utilizada em paisagismo de parques e jardins pela beleza e porte. Além disso, é muito utilizada na arborização urbana.

Segundo MOREIRA & SOUZA (1987), o ipê-amarelo costuma povoar as beiras dos rios sendo, portanto, indicado para recomposição de matas ciliares. MARTINS (1986), também cita a espécie para recomposição de matas ciliares da Floresta Estacional Semidecidual, abrangendo alguns municípios das regiões Norte, Noroeste e parte do Oeste do Estado do Paraná.

Aspectos Silviculturais

Possui a tendência a crescer reto e sem bifurcações quando plantado em reflorestamento misto, pois é espécie monopodial. A desrrama se faz muito bem e a cicatrização é boa. Sendo assim, dificilmente encopa quando nova, a não ser que seja plantado em parques e jardins.

Ao ser utilizada em arborização urbana, o ipê amarelo requer podas de condução com freqüência mediana.

Espécie heliófila apresenta a pleno sol ramificação cimosa, registrando-se assim dicotomia para gema apical. Deve ser preconizada, para seu melhor aproveitamento madeireiro, podas de formação usuais (INQUE et al., 1983).

Produção de Mudas

A propagação deve realizada através de enxertia.

Os frutos devem ser coletados antes da dispersão, para evitar a perda de sementes. Após a coleta as sementes são postas em ambiente ventilado e a extração é feita manualmente. As sementes do ipê amarelo são ortodoxas, mantendo a viabilidade natural por até 3 meses em sala e por até 9 meses em vidro fechado, em câmara fria.

A condução das mudas deve ser feita a pleno sol. A muda atinge cerca de 30 cm em 9 meses, apresentando tolerância ao sol 3 semanas após a germinação.

Sementes

Os ipês, espécies do gênero Tabebuia, produzem uma grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em poucos dias após a sua coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978).

As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A quebra natural leva cerca de 3 meses e a quebra na câmara leva 9 meses. A germinação ocorre após 30 dias e de 80%.

As sementes são ortodoxas e há aproximadamente 87000 sementes em cada quilo.

Preço da Madeira no Mercado

O preço médio do metro cúbico de pranchas de ipê no Estado do Pará cotado em Julho e Agosto de 2005 foi de R$1.200,00 o preço mínimo, R$ 1509,35 o médio e R$ 2.000,00 o preço máximo (CEPEA,2005).

these two are just a sneak preview of the upcoming set: Jerusalem Follies.

This was shot on my brother Sagi's Porch, somewhere in Jerusalem.

Old encyclopedia ( 1917) with an old ribbon bookmark.

A little under 4cm.

 

I really struggled with this theme, I took a LOT of photo's !

 

Happy Macro Monday.

 

Thank you for your views, faves and or comments, they are greatly appreciated !!!

 

Don't use this image on websites, blogs or other media without my explicit permission !!!

 

© all rights reserved Lily aenee

From Wikipedia, the free encyclopedia

Bristol MMB 43 SS Great Britain.jpg

SS Great Britain in dry dock at Bristol in 2005.

History

 

Name:SS Great Britain

Owner:Great Western Steamship Company

Builder:William Patterson

Cost:

Projected: £70,000

Actual: £117,000

Laid down:July 1839

Launched:19 July 1843

Completed:1845

Maiden voyage:26 July 1845

In service:1845–1886

Homeport:Bristol, England

General characteristics

Type:Passenger steamship

Displacement:3,674 tons load draught

Length:322 ft (98 m)

Beam:50 ft 6 in (15.39 m)

Draught:16 ft (4.9 m)[1]

Installed power:2 × twin 88-inch (220 cm) cylinder, 6 ft (1.8 m) stroke, 500 hp (370 kW), 18 rpm inclined direct-acting steam engines

Propulsion:Single screw propeller

Sail plan:

Original: Five schooner-rigged and one square-rigged mast

After 1853: Three square-rigged masts

Speed:10 to 11 knots (19 to 20 km/h; 12 to 13 mph)

Capacity:

360 passengers, later increased to 730

1,200 tons of cargo

Complement:130 officers and crew (as completed)

SS Great Britain is a museum ship and former passenger steamship, which was advanced for her time. She was the longest passenger ship in the world from 1845 to 1854. She was designed by Isambard Kingdom Brunel for the Great Western Steamship Company's transatlantic service between Bristol and New York. While other ships had been built of iron or equipped with a screw propeller, Great Britain was the first to combine these features in a large ocean-going ship. She was the first iron steamer to cross the Atlantic, which she did in 1845, in the time of 14 days.

 

The ship is 322 ft (98 m) in length and has a 3,400-ton displacement. She was powered by two inclined 2 cylinder engines of the direct-acting type, with twin 88 in (220 cm) bore, 6-foot (1.8 m) stroke cylinders. She was also provided with secondary sail power. The four decks provided accommodation for a crew of 120, plus 360 passengers who were provided with cabins and dining and promenade saloons.

 

When launched in 1843, Great Britain was by far the largest vessel afloat. However, her protracted construction and high cost had left her owners in a difficult financial position, and they were forced out of business in 1846 having spent all their funds re-floating the ship after she was run aground at Dundrum Bay after a navigational error. In 1852 she was sold for salvage and repaired. Great Britain carried thousands of immigrants to Australia from 1852 until converted to sail in 1881. Three years later, she was retired to the Falkland Islands where she was used as a warehouse, quarantine ship and coal hulk until scuttled in 1937.[2]

 

In 1970, following a cash donation by Sir Jack Hayward that paid for the vessel to be towed back to the UK, Great Britain was returned to the Bristol dry dock where she was built. Now listed as part of the National Historic Fleet, she is an award-winning visitor attraction and museum ship in Bristol Harbour, with between 150,000 and 200,000 visitors annually.

From Wikipedia, the free encyclopedia,

Science Mall

 

Glasgow Science Centre from the west

The largest of the three main, titanium-clad buildings takes a crescent shape structure and houses a Science Mall. In architectural terms it represents the canted hull of a ship, a reference to the adjacent 'canting basin', where vessels were brought to have the marine growth removed from their hulls. Internally, there are three floors of over 250 science-learning exhibits. As is usual for science centres, the exhibits aim to encourage interaction, and can be used or played with as part of the informal learning experience the centre aims to deliver. The building was designed by BDP.

 

On Floor 1, amongst the many interactive exhibits that demonstrate scientific principles, visitors can access a Science Show Theatre and the Glasgow Science Centre Planetarium.]The planetarium contains a Zeiss optical-mechanical projector that projects images of the night sky onto a 15m diameter dome. There is an area specifically aimed at young children called, The Big Explorer.

 

On Floor 2, visitors can explore opportunities in STEM careers in the My World of Work Live interactive exhibition space. There is also The Lab, primarily used as an educational workshop space.

 

Floor 3 was refurbished in 2012 and reopened to the public on 28 March 2013. It now houses an interactive exhibition about human health and wellbeing in the 21st century called, BodyWorks. Visitors are invited to consider their bodies, health and lifestyle from a new perspective through 115 interactive exhibits, research capsules and live laboratory experiences.[7]

 

The Ground Floor of the Science Mall contains the Ticket desk, Cafes, Gift Shop, and a cloakroom. There are a number of flexible room spaces on the Ground Floor that are used for a variety of educational and corporate purposes: an education space called, The Egg; a lecture-theatre space called, The Auditorium; and The Clyde Suite. Access to Glasgow Tower for the public is also via the Ground Floor.

 

IMAX Cinema

The IMAX cinema was the first IMAX cinema to be built in Scotland. The single auditorium seats 370 in front of a rectangular screen measuring 80 feet (24 m) by 60 feet (18 m) and has the capability to show 3D films as well as standard 2D films in IMAX format. It opened to the public in October 2000 Premiered The First Film Entitled "Dolphins", several months prior to the opening of the two other buildings. On 6 September 2013, Cineworld agreed a 10-year lease to operate the IMAX cinema and opened a Starbucks on site.

Het kunstwerk op de afbeelding is een sculptuur genaamd The Encyclopedia of Human Rights, gemaakt door de Belgische kunstenaar Koen Vanmechelen. Het is een permanent onderdeel van zijn levenswerk LABIOMISTA in Genk, België.

Het sculptuur bestaat uit een marmeren beeld van een zittend kind bovenop een stapel boeken, die elk een "Encyclopedia of Human Rights" vertegenwoordigen, met verschillende historische verdragen en verklaringen.

De boeken vermelden onder andere de "Rechten van het Kind 1989", "Afrikaans Handvest 1981", "Amerikaanse Conventie 1969", "Europese Conventie 1950" en "Universele Verklaring en Verbonden 1948 - 1966".

LABIOMISTA, wat letterlijk 'mix van het leven' betekent, is een 24 hectare groot park dat dient als een evoluerend kunstwerk en ontmoetingsplaats voor kunst, wetenschap en natuur.

Het project, een samenwerking tussen Vanmechelen en de stad Genk, opende in 2019 voor het publiek op de voormalige locatie van de Limburgse Zoo van Zwartberg.

"Discover The Complete And Up-To-Date Encyclopedia That Shows How To Use The Healing Power Of Plants With Scientific, Accurate And Reliable Accuracy"

 

Introducing:

 

The Encyclopedia Of Medicinal Plants With a List of Medicinal Plants That Heal

Over 470 plants botanically described and classified by diseases.

From: James Luke

Tuesday, 11:24 a.m.

 

Dear Friend,

 

Inside of this encyclopedia is a large number of natural treatments described in a simple, clear language, correctly illustrated, placing the healing virtues of medicinal plants and their practical application methods within the reach of everyone. Experienced advice for the therapeutic preparation of fomentations, infusions, ointments, baths... Many charts describing the most frequent disorders and the plants endowed with the active agents that can heal them.

     

In each chapter the most important plants for the treatment of the diseases of a certain organ or system appear. When a single plant has several applications, as often happens, it is included in the chapter corresponding to its main application.

 

"Look at what people are saying about these Encyclopedia's"

 

I wanted to personally thank you for sharing those incredible encyclopedia books "THE FOODS WITH THEIR HEALING POWER and MEDICINAL PLANTS". They are an awesome source of reference especially when I talk about lifestyle change and health to my listeners. Praise 97.5FM is the #3 rated station in Atlanta so image how many thousands of listeners are blessed by the information they get from these books.

 

They and you are truly a God sent.

 

-Mellissa, Atlanta

 

...There is detailed information on the use and preparation for each plant.

 

In this encyclopedia you will find...

 

Plants for the eyes

 

The ___, raw or in juices is very good for the sight and for the skin in infusions and poultices.

 

Plants for the nervous system

 

___: The flowers and the leaves of this plant taken in infusions help to control and heal stress, insomnia, depressions, alcoholism, and drug addiction.

 

___: This plant also calms the nerves, beautifies the skin and protects the heart, using its flowers in infusions, or adding an infusion of it to bath water is very effective for insomnia or nervousness. Steam baths of its flowers also soften and beautify the skin.

 

Plants for the throat

 

___: Its flowers and its leaves in infusions, mouth rinse, mouth gargles and compresses are medicine for tonsillitis, pharyngitis and laryngitis.

 

___: Anti-inflammatory and astringent, the decoction of ___ or crushed ___, may be applied in any of the following ways:

 

Mouth rinses and gargles for ailments of the mouth and the throat.

 

Eye washes or blocked up noses

 

Vaginal irrigations

 

Sitz baths, for ailments of the anus or rectum

 

Arm baths, for chilblains

 

Plants for the heart

 

___: In infusions and under medical supervision, all the parts of this plant have properties to strengthen the heart, increase the strength of the cardiac contractions and to fight angina pectoris.

 

___: The infusion of its flowers and also its fruit are very effective for the treatment of palpitations, hypertension and other nervous cardio circulatory ailments.

 

Plants for the arteries

 

____: The decoction of the leaves of this plant is a powerful vasodilator of the arteries to the brain, to fight senile ailments, ageing and memory loss. ____ that is extracted from this prodigious plant is one of the most frequently used drugs today in the treatment of failure of the blood supply to the brain, migraines, hemorrhages, etc.

 

____: In mexico, and many other parts of the world, infusions of ____ and their young stems are used for bronchial colds and respiratory ailments. The oil from its seeds is rich in unsaturated fatty acids, as well as in vitamin E, A, and B. Therefore, it is particularly indicated for reducing the cholesterol levels in the blood, as well as for diabetes, kidneys and skin diseases.

 

Plants for the veins

 

___: A decoction of ____ nuts or wood is indicated to fight varicose veins, hemorrhoids and the disorders of menopause, using it in decoctions. In sitz baths it also alleviates urination disorders, pertaining to the prostate syndrome, cystitis or urinary incontinence. Likewise, it can be highly advisable for cases of hemorrhoids.

 

____: The oil of this plant is recommended for oily skin and for cases of acne. A decoction of the bark of the young branches and the leaves is used as a medicine in the case of heavy legs, varicose veins, phlebitis, in tisanes, compresses, hip baths and friction massages.

 

Plants for the respiratory system

 

____: The decoction of the leaves and the flowers has extraordinary properties, using it in infusions or essences to calm coughs, respiratory and digestive ailments. In baths, rinses, gargles, compresses and friction massages, it heals mouth and anal ailments, rheumatism and headaches, depression, asthenia and exhaustion.

 

____: Infusions of the dried leaves and flowers, used in tisanes give results in the cases of voice loss, acute bronchitis, bronco-pneumonia, asthma, and emphysema. ____ is also very helpful when stopping smoking, since it cleans the bronchial tubes of secretions, encouraging their elimination.

 

Plants for the digestive system

 

____: The infusions and essences of this plant are very appropriate for digestive ailments, colic's, flatulence, etc. Compresses, washes and friction massages are highly indicated for rheumatism, healing of wounds and eye washes.

 

____: Infusions of its leaves and flowered tops have properties to calm pain, they are invigorating and aphrodisiacs. It is recommended in cases of dyspepsia, intestinal wind, digestive spasms and colic, gastric atonia, hepatitis and physical exhaustion.

 

Plants for the stomach

 

____: The juice from this plants leaves heals peptic ulcers. Poultices of the leaves heal skin ulcers. It also improves acne.

 

____: The whole plant in infusions, mouth rinses and cleansing's help digestion increasing the gastric juices, it fights bad breath, it expulses intestinal parasites and calms menstrual pains.

 

Plants for the intestine

 

____: The leaves and seeds are a laxative par excellence, efficient and safe, it stimulates the motility of the large intestine and decreases the permeability of the intestine mucus.

 

____: The leaves and fruit, in infusions, irrigations, gargles, sitz baths and compresses reduce inflammation of the skin and the mucus. It heals digestive disorders, diarrhea, colitis and other ailments of the female genital system.

 

Plants for the anus and the rectum

 

____: All the parts of this vine hold healing properties: The leaves in infusions are medicine for vein circulatory ailments, hemorrhoids, chilblains, varicose veins, and diarrhea. The sap of the vine shoots heals skin irritations and irritated eyes. The ____ cure is very suitable for cleaning the blood. The oil from ____ seeds is highly applicable for excess of cholesterol.

 

____: It improves hemorrhoids taking a sitz bath with the decoction of the leaves and young buds, which also decreases the desire to smoke when chewed slowly. Also in poultices it is very useful to heal wounds, ulcers and boils.

 

Plants for the male sexual organ

 

____: The seeds reduce inflammation of the bladder and the prostate and expel intestinal parasites. The pulp of baked or boiled ____ is ideal for those suffering from digestive problems and kidney ailments.

 

____: This plant is normally presented in pharmaceutical preparations, it invigorates without exciting and without creating dependence increasing the energy production in the cells, therefore it increases sexual capacity and spermatozoid production, invigorating the organism in general.

 

Plants for the metabolism

 

____: infusions of the leaves are very useful in slimming diets due to its diuretic, depurative and anti cholesterol action.

 

____: It fights obesity and cellulite. Its algae have the property of removing the appetite and it is a gentle laxative.

 

Plants for the locomotive system

 

____: Poultices of fresh leaves alleviate rheumatic pain and inflammatory of the joints.

 

____: In infusions, essences, baths, frictions massages, fomentations and compresses it has invigorating properties for exhaustion, kidney colic, and rheumatism.

 

Plants for the skin

 

____: From the pulp of its leaves, the gel or juice is obtained which, when applied locally, in compresses, lotions, creams or pharmaceutical preparations, exercises beneficial effects on: wounds, burns, eczema, psoriasis, acne, fungi and herpes. It beautifies the skin and improves the appearance of scars.

 

____: The leaves and flowers in infusions or oil are an excellent remedy for burns, it moderates the inflammatory reaction, it has a local anesthetic effect, digestive, balancer of the nervous system and antidepressant.

 

Plants for infectious diseases

 

____: All the parts of this plant are natural antibiotics against respiratory and urinary infections. It encourages the functions of the skin. It acts against baldness.

 

____: It is a plant that has multiple anti-infectious properties with healing powers for the nervous system, digestive, respiratory and genital-urinary systems.

 

More Testimonials

 

Thank you for the encyclopedia books "The Foods With Their Healing Power and Medicinal Plants". I am Learning lots of information from them. This will be of great benefit to me when referring to the healing powers of foods. I will use this information in my chiropractic office when teaching about healthy eating to my patients. It is good to know that there are books that can provide this type of vital information to those who are willing to benefit from the information. Again thanks for these incredible books.

 

-Dr. Malcolm Hill

 

The Encyclopedia "Foods And Their Healing Power," Whose author is Dr. Jorge Pamplona Roger is a complete work, well structured, didactic and easy to understand for any kind of reader and of great value both for professionals and students in this field.

 

-Maria D Lopez-Martinez

 

It is my pleasure to recommend a set of books that I used and believe to be quite informational: Foods And Their Healing Power and Medicinal Plants. As a Fellow, in the Medical Fellowship Program at Wildwood Lifestyle Center and Hospital, I have found these books to be quite helpful. They provide accurate nutritional information for a wide array of foods found throughout the world and they include a list of medicinal plants with their properties and mechanisms of action. In addition, they are written without the usual heavy jargon, which makes them appealing to healthcare professionals, non-health care persons and children. The quality is superb and the material is presented in a colorful way. I have recommended them, on numerous occasions, to guests and patients at the Wildwood Lifestyle Center and Hospital. This set of books will complement the home and any other learning enviroments.

 

-Dr. Ervin Davis

  

I am writing this letter to offer my gratitude regarding the Encyclopedia of Medicinal Plants. In your description of the books you explained how beautiful they were and their content. All that I can say is that your words were not enough! The books have already proven to be an incredible asset to my own education and the promotion of God's health message to others.

 

The color and clarity of photographs is nothing less than phenomenal and the information given on each of the foods and medicinal plants far surpasses anything that I have been able to find thus far in book form or on the Internet. Not only will this prove very valuable in a health ministry but also in my profession as a medical doctor in education of my patients.

 

Please feel free to use me as a reference if anyone medical or non-medical needs further insight on these very valuable tools. Thanks again and God bless you!

 

-Bobby E. Scales, MD

  

hear hear for yourself the valuable information inside of this encyclopedia

 

htp://www.heisawesome.org

  

The value of this encyclopedia lies in its rational and truly practical focus point for healing and preventing the diseases of your family, without the disadvantages that most medicines have.

 

The pharmaceutical laboratories are aiming their research efforts towards the vegetable world, in such a way that more and more often you can find medicines prepared using medicinal plants by the chemists.

 

The creator has given foods a healing and preventative power, particularly when we use a balanced diet in combination with other natural elements, such as the sun, water, clean air, medicinal plants and a good mental disposition.

  

Take action now.

 

Please visit www.heisawesome.org

 

Tel. 786-307-4077

... just because I'm Kurdish ...

 

Iraqi Kurdistan

From Wikipedia, the free encyclopedia

  

Capital

(and largest city) Erbil

36°11′N 44°00′E / 36.183, 44

Official languages Kurdish[1]

Government Parliamentary democracy

- President Massoud Barzani

- Prime Minister Nechervan Idris Barzani

- Deputy Prime Minister Omer Fattah Hussain

Formation of Autonomous Region

- Autonomy accord agreement signed March 11, 1970

- Autonomy accord collapsed March, 1974

- Gained de facto independence October, 1991

- The TAL recognized the autonomy of the KRG as full sovereignty. January 30, 2005

Area

- Total 80,000 km2 (117th)

30,888 sq mi

Population

- 2008 estimate 7,000,000 (108th)

- Density 40/km2 (166th)

15/sq mi

GDP (PPP) 2007 estimate

- Total 27 billion (not ranked)

- Per capita $5,500 (not ranked)

HDI (As of 2006) n/a (n/a) (not ranked)

Currency Iraqi Dinar is the offical currency, American Dollar widely accepted in all business transactions (IQD)

Time zone (UTC+3)

- Summer (DST) (UTC+4)

Internet TLD Various

Calling code 964

Iraqi Kurdistan Region (Kurdish: هه رێمى كوردستان عێراق, Herêmi Kurdistan Iraq, Arabic:إقليم كردستان العراق , Iqlĩm Kurdistãn al-‘Irāq , also Southern Kurdistan and in Kurdish: باشووری کوردستان ) is an autonomous,[2] federally recognized political, ethnic and economic region of Iraq. It borders Iran to the east, Turkey to the north, and Syria to the west and the rest of Iraq to the South. Its capital is the city of Erbil, known in Kurdish as Hewlêr.

 

Etymology

The name Kurdistan literally means Land of the Kurds. The term Kurd in turn is derived from the Latin word Cordueni, i.e. the of the ancient Kingdom of Corduene, which became a Roman province in 66 BC.

 

In the Iraqi Constitution, it is referred to as Kurdistan Region.[3]. The regional government refers to it as Kurdistan-Iraq (or simply Kurdistan region) but avoids using Iraqi Kurdistan.[4] The full name of the local government is "Kurdistan Regional Government" (abbrev: KRG.)

 

Kurds also refer to the region as Kurdistana Başûr (South Kurdistan) or Başûrî Kurdistan (Southern Kurdistan or South of Kurdistan) referring to its geographical location within the whole of the greater Kurdistan region.

 

During the Baath Party administration in the '70s and '80s, the region was called "Kurdish Autonomous Region".

  

[edit] History

 

[edit] Ottoman Period

Main articles: Ottoman Empire, Mamluk rule in Iraq, Mesopotamian campaign, and Partitioning of the Ottoman Empire

The area today known as Iraqi Kurdistan was formerly ruled by three principalities of Baban, Badinan and Soran. In 1831, the direct Ottoman rule was imposed and lasted until World War I, during which the Ottomans sided with Germany and the Central Powers.

  

[edit] British Mandate

During World War I the British and French divided Western Asia in the Sykes-Picot Agreement. The Treaty of Sèvres, which was ratified in the Treaty of Lausanne, led to the advent of modern Western Asia and Republic of Turkey. The League of Nations granted France mandates over Syria and Lebanon and granted the United Kingdom mandates over Iraq and Palestine (which then consisted of two autonomous regions: Palestine and Transjordan). Parts of the Ottoman Empire on the Arabian Peninsula became parts of what are today Saudi Arabia and Yemen.

  

[edit] Kurdish revolts

On December 1, 1918, during a meeting in Sulaymaniyah with Colonel Arnold Wilson, the Acting Civil Commissioner for Mesopotamia, Kurdish leaders called for British support for a united and independent Kurdistan under British protection. Between 1919 and 1922, Shaikh Mahmud Barzanji, an influential Kurdish leader based in Sulaymaniyah, formed a Kurdish government and led two revolts against the British rule. It took the British authorities two years to put down his uprisings. The first revolt began on May 22, 1919 with the arrest of British officials in Sulaymaniyah and it quickly spread to Mosul and Erbil. The British employed aerial bombardments, artillery, ground combat, and on one occasion, chemical gas, in an attempt to quell the uprising.[5] Then the British exiled Mahmoud to India. In July 1920, 62 tribal leaders of the region, called for the independence of Kurdistan under a British mandate. The objection of the British to Kurdish self-rule sprang from the fear that success of an independent Kurdish area would tempt the two Arab areas of Baghdad and Basra to follow suit, hence endangering the direct British control over all Mesopotamia. In 1922, Britain restored Shaikh Mahmoud to power, hoping that he would organize the Kurds to act as a buffer against the Turks, who had territorial claims over Mosul and Kirkuk. Shaikh Mahmoud declared a Kurdish Kingdom with himself as King, though later he agreed to limited autonomy within the new state of Iraq. In 1930, following the announcement of the admission of Iraq to the League of Nations, Shaikh Mahmoud started a third uprising which was suppressed with British air and ground forces.[6][7]

 

By 1927, the Barzani clan had become vocal supporters of Kurdish rights in Iraq. In 1929, the Barzani demanded the formation of a Kurdish province in northern Iraq. Emboldened by these demands, in 1931 Kurdish notables petitioned the League of Nations to set up an independent Kurdish government. Under pressure from the Iraqi government and the British, the most influential leader of the clan, Mustafa Barzani was forced into exile in Iran in 1945. Later he moved to the Soviet Union after the collapse of the Republic of Mahabad in 1946.[8]

  

[edit] Barzani Revolts 1960-1975 and their Aftermath

After the military coup by Abdul Karim Qasim in 1958, Barzani was able to return from exile and set up his own political party, Kurdistan Democratic Party, which was granted legal status in 1960. Soon afterwards, Qasim incited the Baradost and Zebari tribes against Barzani. In June 1961, Barzani led his first revolt against the Iraqi government with the aim of securing Kurdish autonomy. Due to the disarray in the Iraqi Army after the 1958 coup, Qasim's government was not able to subdue the insurrection. This stalemate irritated powerful factions within the military and is said to be one of the main reasons behind the Baathist coup against Qasim in February 1963. Abdul Salam Arif declared a ceasefire in February 1964 which provoked a split among Kurdish urban radicals on one hand and traditional forces led by Barzani on the other. Barzani agreed to the ceasefire and fired the radicals from the party. Despite this, the government in Baghdad tried once more to defeat Barzani's movement by force. This campaign failed in 1966, when Barzani forces defeated the Iraqi Army near Rawanduz. After this, Arif announced a 12-point peace program in June 1966, which was not implemented due to the overthrow of Arif in a 1968 coup by the Baath Party. The Baath government started a campaign to end the Kurdish insurrection, which stalled in 1969. This can be partly attributed to the internal power struggle in Baghdad and also tensions with Iran. Moreover, the Soviets pressured the Iraqis to come to terms with Barzani. A peace plan was announced in March 1970 and provided for broader Kurdish autonomy. The plan also gave Kurds representation in government bodies, to be implemented in four years.[9] Despite this, the Iraqi government embarked on an Arabization program in the oil rich regions of Kirkuk and Khanaqin in the same period.[10] In the following years, Baghdad government overcame its internal divisions and concluded a treaty of friendship with the Soviet Union in April 1972 and ended its isolation within the Arab world. On the other hand, Kurds remained dependent on the Iranian military support and could do little to strengthen their forces.

  

[edit] The Algiers Agreement

In 1974, Iraqi government began a new offensive against the Kurds and pushed them close to the border with Iran. Iraq informed Tehran that it was willing to satisfy other Iranian demands in return for an end to its aid to the Kurds. With mediation by Algerian President Houari Boumédiènne, Iran and Iraq reached a comprehensive settlement in March 1975 known as the Algiers Pact. The agreement left the Kurds helpless and Tehran cut supplies to the Kurdish movement. Barzani fled to Iran with many of his supporters. Others surrendered en masse and the rebellion ended after a few days. As a result Iraqi government extended its control over the northern region after 15 years and in order to secure its influence, started an Arabization program by moving Arabs to the oil fields in Kurdistan, particularly the ones around Kirkuk.[11] The repressive measures carried out by the government against the Kurds after the Algiers agreement led to renewed clashes between the Iraqi Army and Kurdish guerrillas in 1977. In 1978 and 1979, 600 Kurdish villages were burned down and around 200,000 Kurds were deported to the other parts of the country.[12]

  

[edit] Iran–Iraq War and Anfal Campaign

During the Iran–Iraq War, the Iraqi government again implemented anti-Kurdish policies and a de facto civil war broke out. Iraq was widely-condemned by the international community, but was never seriously punished for oppressive measures, including the use of chemical weapons against the Kurds, which resulted in thousands of deaths. (See Halabja poison gas attack.)

 

The Al-Anfal Campaign constituted a systematic genocide of the Kurdish people in Iraq. From March 29, 1987 until April 23, 1989, Iraqi army under the command of Ali Hassan al-Majid carried out a genocidal campaign against the Kurds, characterized by the following human rights violations: The widespread use of chemical weapons, the wholesale destruction of some 2,000 villages, and slaughter of around 50,000 rural Kurds, by the most conservative estimates. The large Kurdish town of Qala Dizeh (population 70,000) was completely destroyed by the Iraqi army. The campaign also included Arabization of Kirkuk, a program to drive Kurds out of the oil-rich city and replace them with Arab settlers from central and southern Iraq.[13] Kurdish sources report the number of dead to be greater than 182,000.[14]

  

[edit] After the Persian Gulf War

The Kurdistan Region was originally established in 1970 as the Kurdish Autonomous Region following the agreement of an Autonomy Accord between the government of Iraq and leaders of the Iraqi Kurdish community. A Legislative Assembly was established in the city of Erbil with theoretical authority over the Kurdish-populated governorates of Erbil, Dahuk and As Sulaymaniyah. In practice, however, the assembly created in 1970 was under the control of Iraqi President Saddam Hussein until the 1991 uprising against his rule following the end of the Persian Gulf War. Concern for safety of Kurdish refugees was reflected in the United Nations Security Council Resolution 688 which gave birth to a safe haven, in which U.S. and British air power protected a Kurdish zone inside Iraq.[15] (see Operation Provide Comfort). While the no-fly zone covered Dahuk and Erbil, it left out Sulaymaniyah and Kirkuk. Then following several bloody clashes between Iraqi forces and Kurdish troops, an uneasy and shaky balance of power was reached, and the Iraqi government withdrew its military and other personnel from the region in October 1991. At the same time, Iraq imposed an economic blockade over the region, reducing its oil and food supplies.[16] The region thus gained de facto independence, being ruled by the two principal Kurdish parties – the Kurdish Democratic Party and the Patriotic Union of Kurdistan – outside the control of Baghdad. The region has its own flag and national anthem.

 

Elections held in June 1992 produced an inconclusive outcome, with the assembly divided almost equally between the two main parties and their allies. During this period, the Kurds were subjected to a double embargo: one imposed by the United Nations on Iraq and one imposed by Saddam Hussein on their region. The severe economic hardships caused by the embargoes, fueled tensions between the two dominant political parties: Kurdistan Democratic Party of Iraq (KDP) and Patriotic Union of Kurdistan (PUK) over control of trade routes and resources.[17] This led to internecine and intra-Kurdish conflict and warfare between 1994 and 1996. After 1996, 13% of the Iraqi oil sales were allocated for Iraqi Kurdistan and this led to a relative prosperity in the region.[18] Direct United States mediation led the two parties to a formal ceasefire in Washington Agreement in September 1998. It is also argued that the Oil for Food Program from 1997 onward had an important effect on cessation of hostilities.[19] Kurdish parties joined forces against the Iraqi government in the Operation Iraqi Freedom in Spring 2003. The Kurdish military forces known as peshmerga played a key role in the overthrow of the former Iraqi government.[20]

 

KDP and PUK have united to form an alliance with several smaller parties, and the Kurdish alliance has 53 deputies in the new Baghdad parliament, while the Kurdish Islamic Union has 5. PUK-leader Jalal Talabani has been elected President of the new Iraqi administration, while KDP leader Massoud Barzani is President of the Kurdistan Regional Government.

  

[edit] Politics

Main article: Kurdistan Regional Government

 

President George W. Bush talks to reporters as he welcomes Massoud Barzani, the President of the Kurdistan Regional Government of Iraq, to the Oval Office at the White House, Tuesday, Oct 25, 2005.Since 1992, the Kurdistan Regional Government (KRG) has been based in Erbil. The KRG has a parliament, elected by popular vote, called the Iraqi Kurdistan National Assembly, and a cabinet composed of the KDP, the PUK and their allies (Iraqi Communist Party, the Socialist Party of Kurdistan etc.). Nechervan Idris Barzani has been prime minister of the KRG since 1999.

 

After the 2003 Invasion of Iraq Kurdish politicians were represented in the Iraqi governing council. On January 30, 2005 three elections were held in the region: 1) for Transitional National Assembly of Iraq 2) for Iraqi Kurdistan National Assembly and 3) for provincial councils.[21] The Law of Administration for the State of Iraq for the Transitional Period recognized the autonomy of the Kurdistan Regional Government during the interim between "full sovereignty" and the adoption of a permanent constitution.

 

The Kurdistan Regional Government currently has constitutionally recognised authority over the provinces of Erbil, Dahuk, and As Sulaymaniyah, as well as de facto authority over half of Kirkuk (at-Ta'mim) province and parts of Diyala, Salah ad-Din and Ninawa provinces.

  

[edit] Economy

The Kurdistan region's economy is dominated by the oil industry, agriculture and tourism[22]. Due to relative peace in the region it has a more developed economy in comparison to other parts of Iraq.

 

Prior to the removal of Saddam Hussein, the Kurdistan Regional Government received approximately 13% of the revenues from Iraq's Oil-for-Food Program. By the time of the US invasion of Iraq in 2003, the program had disbursed $8.35 billion to the KRG. Iraqi Kurdistan's food security allowed for substantially more of the funds to be spent on development projects than in the rest of Iraq. By the program's end in 2003 $4 billion of the KRG's oil-for-food funds remained unspent.

 

Following the removal of Saddam Hussein's administration and the subsequent violence, the three provinces fully under the Kurdistan Regional Government's control were the only three in Iraq to be ranked "secure" by the US military. The relative security and stability of the region has allowed the KRG to sign a number of investment contracts with foreign companies. In 2006 the first new oil well since the invasion of Iraq was drilled in the Kurdistan region by the Norwegian energy company DNO. Initial indications are that the oil field contains at least 100 million barrels (16,000,000 m3) of oil and will be pumping 5,000 bpd by early 2007. The KRG has signed exploration agreements with two other oil companies, Canada's Western Oil Sands and the UK's Sterling Energy.

 

The stability of the Kurdistan region has allowed it to achieve a higher level of development than other regions in Iraq. In 2004 the per capita income was 25% higher than in the rest of Iraq. Two international airports at Erbil (see Erbil International Airport and Sulaymaniyah (see Sulaimaniyah International Airport) both operate flights to Middle Eastern and European destinations. The government continues to receive a portion of the revenue from Iraq's oil exports, and the government will soon implement a unified foreign investment law. The KRG also has plans to build a media city in Erbil and free trade zones near the borders of Turkey and Iran.

 

The region still gets a cut from Iraqi-Turkish trade, plus subsidies from the United States[citation needed] and Israel[citation needed].

 

Since 2003, the stronger economy of Kurdistan has attracted around 20,000 workers from other parts of Iraq.[23] According to Iraqi president Jalal Talabani, since 2003 the number of millionaires in the Kurdish city of Silêmani has increased from 12 to 2000, reflecting the financial and economic growth of the region.[24]

  

[edit] Geography

 

A popular waterfall near Erbil.The Iraqi Kurdistan is largely mountainous, with the highest point being a 3,611 m (11,847 ft) point known locally as Cheekah Dar (black tent). There are many rivers flowing and running through mountains of the region making it distinguished by its fertile lands, plentiful water, picturesque nature.

 

The mountainous nature of Kurdistan, the difference of temperatures in its various parts, and its wealth of waters, make Kurdistan a land of agriculture and tourism. In addition to various minerals, oil in particular, which for a long time was being extracted via pipeline only in Kurdistan through Iraq.

 

The largest lake in the region is Lake Dukan.

 

The term "Northern Iraq" is a bit of a geographical ambiguity in usage. "North" typically refers to the Kurdistan Region. "Center" and "South" or "Center-South" when individually referring to the other areas of Iraq or the rest of the country that is not the Kurdistan Region. Most media sources continually refer to "North" and "Northern Iraq" as anywhere north of Baghdad.

  

[edit] Governorates

Iraqi Kurdistan is divided among seven governorates of which currently three are under the control of the Kurdistan Regional Government. These governorates are called in Kurdish parêzge. Particularly in Iraqi government documents, the term governorate is preferred:

  

Autonomous Region KurdistanThe governorates wholly under the Kurdistan Regional Government are:

1. As Sulaymaniyah (Slêmanî)

2. Erbil (Hewlêr)

3. Dahuk (Duhok)

Main article: Kirkuk status referendum, 2008

The governorates claimed totally or in part by the Kurdistan Regional Government are:

4. Kirkuk (Kerkûk) - (all)

5. Diyala - Kifri Khanaqin and Baladrooz districts

6. Ninawa - Akra, Shekhan, Al-Shikhan, Al-Hamdaniya, Tel Kaif, Tall Afar and Sinjar districts

7. Salah ad Din - Tooz district

8. Wasit - Badrah district

A referendum was scheduled to be held on 15 November 2007 to determine whether these governorates, or parts of them, will be included in the Kurdish Regional Government. The referendum is intended to cover all districts of Kirkuk Governorate, the Khanaquin and Kifri districts of Diyala Governorate, the Touz-Khur-Mati district of Salah ad Din Governorate, and the Akra and Shekan districts of Ninewa Governorate. This referendum has been postponed, first to 31 December 2007, and subsequently for up to a further six months. Kurds insist that the referendum be held as soon as possible.

  

[edit] Demographics

 

Ethnic and religious distribution of Iraq.The population is about 5-6 million. 95% of these are Kurdish Muslims who are Sunnis. There are also significant numbers of Yazidis, Kakeyís, Jews and Christians. Kurds comprise the ethnic majority in the region (about 95%) while the Turkmen, Assyrians, Armenians and Arabs who reside particularly in the western part of the area make up the rest.

  

[edit] Culture

Main article: Kurdish culture

 

A Kurdish woman makes breadKurdish culture is a group of distinctive cultural traits practiced by Kurdish people. The Kurdish culture is a legacy from the various ancient peoples who shaped modern Kurds and their society, but primarily of two layers of indigenous (Hurrian), and of the ancient Iranic (Medes).

 

Among their neighbours, the Kurdish culture is closest to Iranian culture . For example they celebrate Newroz as the new year day, which is celebrated on March 21. It is the first day of the month of Xakelêwe in Kurdish calendar and the first day of spring.[25]

  

[edit] Music

Main article: Kurdish music

Traditionally, there are three types of Kurdish classical performers - storytellers (çîrokbêj), minstrels (stranbêj) and bards (dengbêj). There was no specific music related to the Kurdish princely courts, and instead, music performed in night gatherings (şevbihêrk) is considered classical. Several musical forms are found in this genre. Many songs are epic in nature, such as the popular lawiks which are heroic ballads recounting the tales of Kurdish heroes of the past like Saladin. Heyrans are love ballads usually expressing the melancholy of separation and unfulfilled love. Lawje is a form of religious music and Payizoks are songs performed specifically in autumn. Love songs, dance music, wedding and other celebratory songs (dîlok/narînk), erotic poetry and work songs are also popular.

  

[edit] Military

Main article: Peshmerga

Peshmerga is the term used by Kurds to refer to armed Kurdish fighters, they have been labelled by some as freedom fighters. Literally meaning "those who face death" (pêş front + merg death e is) the peshmerga forces of Kurdistan have been around since the advent of the Kurdish independence movement in the early 1920s, following the collapse of the Ottoman and Qajar empires which had jointly ruled over the area known today as Kurdistan.

 

Peshmerga forces also played a significant role with coalition troops in the war against the Ba'ath government in Northern Iraq.

 

ZD265 306 Lynx HMA.8DAS of 815 HQ Flt.

 

Westland Lynx

From Wikipedia, the free encyclopedia

 

AgustaWestland Lynx

Lynx HAS3 of the Black Cats (Royal Navy) display team

Type Helicopter

Manufacturer Westland/AgustaWestland

Maiden flight 21 March 1971

Introduced 1978

Status Active service

Primary users Army Air Corps (British Army)

Fleet Air Arm (Royal Navy)

 

French Navy

German Navy

Produced 1968-date

 

The Westland Lynx is a helicopter designed by Westland and built at Westland's factory in Yeovil, first flying on 21 March 1971 as the Westland WG.13. Originally intended as a utility craft for both civil and naval usage, military interest led to the development of the Army and Navy Lynx, which went into operational usage in 1977 and was later adopted by the armed forces of over a dozen nations. The helicopter is now produced and marketed by AgustaWestland.

 

Several aircraft were built under licence by French company Aerospatiale for French usage.

 

When piloted by Roy Moxam in 1972, it broke the world record over 15 and 25 km by flying at 321.74 km/h. It also set a new 100 km closed circuit record shortly afterwards, flying at 318.504 km/h. In 1986, a specially modified Westland Lynx piloted by John Egginton set an absolute speed record for helicopters over a 15 and 25 km course by reaching 400.87 km/h (249.09 mp/h). The Lynx is one of the most agile helicopters in the world, capable of performing backflips, among other things.

 

The British Army ordered 100 Lynx AH (Army Helicopter) Mk.1 for various roles, including tactical transport, armed escort, anti-tank warfare (with eight TOW missiles), reconnaissance and evacuation. The Army has fitted a Marconi Elliot AFCS system onto the Lynx for automatic stabilisation on three axis.

Contents

[hide]

 

* 1 Service history

* 2 Future Lynx

* 3 Versions

* 4 Users

* 5 Specifications (Super Lynx Series 100)

* 6 External links

* 7 Gallery

* 8 Related content

 

Service history

 

In British service it equips the Army Air Corps (AAC) and the Fleet Air Arm (FAA). For the AAC the Lynx AH.7 and AH.9 operate as attack helicopters. The Lynx AH.7 is service with the FAA where it operates as an attack/utility helicopter in support of the Royal Marines, and the Lynx HMA.8 as anti-submarine warfare helicopter equipped with the Sea Skua anti-ship missile for Royal Navy warships.

 

The Lynx most prominent combat role was operating the Sea Skua, to devastating effect against the Iraqi Navy during the 1991 Gulf War. The Lynx also saw service with British Army forces during that conflict. It had already made its first combat operations in British service during the Falklands War in the 80s. None were shot down, but three were lost aboard vessels hit by Argentine bombs or Exocets, one on the MV Atlantic Conveyor and one each on board HMS Coventry and HMS Ardent.

 

It was used during Operation Barras to rescue 11 British soldiers in Sierra Leone on 10 September 2000.

 

The most recent wartime mission for the Lynx was during the invasion of Iraq in 2003. It has also seen extensive service during peacekeeping operations and exercises, and it is standard equipment for most Royal Navy surface combatants when they deploy.

 

A British Lynx from No. 847 Naval Air Squadron was shot down over Basra, Iraq on May 6, 2006. The helicopter is believed to have been downed by either a missile or more likely, a Rocket Propelled Grenade (RPG). The Lynx crashed into a house and burst into flames, killing all five on board, including the Commanding Officer of 847 NAS. Something of a riot occurred with locals celebrating the downing of the helicopter and surrounding the crash site as British troops rushed to the scene. This was the first British helicopter and only the second British aircraft downed (the first was an RAF Hercules) due to enemy fire in the war.

 

Despite being well liked by the services the Lynx does not have a good safety record. The aircraft has been grounded on a number of occations. For example in 2000 fatigue problems with the rotor head led to a Dutch aircraft crash and subsequent grounding. In early 2004 three Lynx crashed in a matter of weeks and again some aircraft were grounded. One of the reasons for the Future Lynx programme is to cure some of the known problems with the airframe and rotor systems.

[edit]

 

Future Lynx

 

On 22 June 2006 the UK Ministry of Defence awarded Westland a £1 billion contract for 70 Future Lynx helicopters under a strategic partnering agreement with AgustaWestland[1]. The programme will provide the British Army and Royal Navy with 40 and 30 aircraft respectively, with an option for a further 10, split equally between Army and Navy.

 

Future Lynx is described as a new aircraft that builds on the dynamic and vehicle systems of the existing design, incorporating advanced technology and providing increased capability. The fatigue problems with the exisiting airframe and rotor system are to be corrected. Future Lynx will utilise some systems developed for the Super Lynx 300 and will feature a redesigned nose and rear fuselage to give greater space and easier access to avionic units. Future Lynx will be powered by two LHTEC CTS800 engines, offering increased power and endurance over existing Lynx powerplants, while retaining economy.

 

The first Future Lynx is programmed to make its maiden flight in 2009, with initial deliveries in 2011. The Army variant will enter operational service in 2014, with the RN variant following in 2015.

[edit]

 

* Westland WG.13: prototype that first flew on 21 March 1971.

* Lynx AH.1: Initial production version for the Army Air Corps, with over 100 examples built. Used for a variety of tasks, including tactical transport, armed escort, anti-tank warfare (equipped with eight TOW missiles), reconnaissance and casualty evacuation.

* Lynx AH.1GT: Interim conversion of the AH.Mk 1 for the British Army.

* Lynx HAS.2: Initial production version for the Royal Navy and the French Aeronavale. When it is used in the anti-submarine role, it is equipped with two torpedoes or depth charges and a dipping sonar. For anti-surface warfare, it is equipped with either four Sea Skua missiles (Royal Navy) or four AS.12 missiles (Aeronavale).

o Lynx HAS.2(FN): French version of the HAS.Mk 2 for the Aeronavale.

* Lynx HAS.3

o HAS.3(S): Improved version of the HAS.Mk 3 for the Royal Navy fitted with secure radio systems.

o HAS.3(GM(S)): Nineteen modified helicopters for the Royal Navy, for service in the Persian Gulf (GM denotes Gulf Modification).

o HAS.3(ICE(S)) : Two helicopters for the Royal Navy for use in the Arctic.

o HT.3: Proposed training version for the RAF, not built.

* Lynx HAS.4(FN): Upgraded version for the Aeronavale.

* Lynx AH.5: Experimental version for the British Army. Only 4 were ever built.

* Lynx AH.6: Proposed version for the Royal Marines, not built.

* Lynx AH.7: Attack version for the Army Air Corps and Royal Marines.

* Lynx HMA.8 ("Super Lynx"): Upgraded maritime attack version.

o HMA.8DSP: Digital Signal Processor.

o HMA.8DAS: Defensive Aids Subsystem

* Lynx AH.9 ("Battlefield Lynx"): British Army version of the Super Lynx (AH.7 with wheeled undercarriage).

* Lynx Mk.21: Export version of the HAS.2 for the Brazilian navy. Brazilian navy designation 'SAH-11".

* Super Lynx Mk.21A: Export version of the Super Lynx for the Brazilian navy.

* Lynx Mk.22: Unbuilt export version for the Egyptian navy.

* Lynx Mk.23: Export version of the HAS.2 for the Argentine navy. Later sold to Brazil and Denmark.

* Lynx Mk.24: Unbuilt export version for the Iraqi army.

* Lynx Mk.25: Export version of the HAS.2 for the Royal Netherlands Navy, also designated "UH-14A" in Dutch service.

* Lynx Mk.26: Unbuilt export version for the Iraqi army.

* Lynx Mk.27: Export version for the Royal Netherlands Navy, also designated "SH-14B" in Dutch service.

* Lynx Mk.28: Export version of the AH.Mk 1 for the Qatar Police.

* Lynx Mk.64: Export version of the Super Lynx for the South African Air Force.

* Lynx Mk.80: Export version of the HAS.Mk 2 for the Royal Danish Navy.

* Lynx Mk.81: Export version for the Royal Netherlands Navy, designated "SH-14C" in Dutch service.

* SH-14D: Upgraded helicopters for the Royal Netherlands Navy.

* Lynx Mk.82: Unbuilt export version for the Egyptian army.

* Lynx Mk.83: Unbuilt export version for the Saudi Arabian army.

* Lynx Mk 84: Unbuilt export version for the Qatar army.

* Lynx Mk 85: Unbuilt export version for the United Arab Emirates army.

* Lynx Mk.86: Export version of the HAS Mk 2 for the Royal Norwegian Air Force.

* Lynx Mk.87: Embargoed export version of the Argentine navy.

* Lynx Mk.88: Export version for the German Navy.

* Super Lynx Mk.88A: Upgraded version of the Lynx Mk.88 for the German Navy.

* Lynx Mk.89: Export version for the Nigerian navy.

* Lynx Mk.90: Export version for the Royal Danish Navy.

* Super Lynx Mk.90B: Upgraded versions of the Lynx Mk.80 and Lynx Mk.90 for the Royal Danish Navy.

* Lynx Mk.95: Export version of the HAS.8 for the Portuguese Navy.

* Lynx Mk.99: Export version of the HAS.8 for the South Korean Navy.

* Super Lynx 300: Export version of the Super Lynx.

* Battlefield Lynx: Proposed export version.

* Battlefield 800: Proposed export version, the project was abandoned in 1992.

* Lynx ACH: Experimental version

 

Notes:

 

* AH: Attack Helicopter

* HAS: Helicopter, Anti-Submarine

* HMA: Helicopter, Maritime Attack

* (GM): Gulf Modification

* (S): Secure speech radio

 

Users

 

* Argentine Navy

* Brazilian Navy

* British Army

* British Royal Navy

* Royal Danish Navy

* French Navy

* German Navy (Twelve ordered in 1981 for use on navy frigates.)

* South Korean Navy

* Royal Malaysian Navy

* Netherlands Royal Navy (Six search and rescue and 18 anti-submarine warfare models.)

* Nigerian Navy

* Norway (Six operated on behalf of the Coast Guard by 337 Skvadron of the The Air Force from the Nordkapp Class cutters.)

* Royal Air Force of Oman

* Portuguese Navy (Used on "Vasco da Gama class frigates".)

* South African Air Force (Four of the Super Lynx 300 version for use on the SAN's Valour class patrol corvettes.)

* Qatar State Police

* Pakistan Navy(Westland Lynx Anti-Ship/Anti-Submarine/Transport Helicopters )

 

Specifications (Super Lynx Series 100)

 

Data from Flight International World Aircraft and Systems Directory (3rd ed.)

General characteristics

 

* Crew: 2 or 3

* Length: 15.24 m (50 ft)

* Rotor diameter: 12.80 m (42 ft)

* Height: 3.67 m (12 ft 0.5 in)

* Disc area: 1,385.4 m (128.71 sq ft)

* Empty weight: 3,291 kg (7,255 lb)

* Max takeoff weight: 5,330 kg (11,750 lb)

* Powerplant: 2× Rolls-Royce Gem, 835 kW (1,120 shp) each

 

Performance

 

* Cruise speed: 254 km/h (158 mph)

* Range: 528 km (328 miles [standard tanks])

 

Armament

 

* Naval: 2 x torpedoes or 4x Sea Skua missiles or 2 x depth charges.

* Attack: 8 x TOW ATGM

* General: GPMGs

 

Comparable aircraft

 

* SH-60 Sea Hawk

* SH-2 Sea Sprite

 

Designation sequence

 

Westland Dragonfly - Westland Whirlwind - Westland Wessex- Westland Scout - Westland Wasp - Westland Lynx

I immaturely re-arranged a series of books so that the spines read something other than the intended phrase, 'World Book'. This is why I'm not allowed in libraries anymore.

I finally found these pink pepper berries, so lovely to decorate with !

 

Don't use this image on websites, blogs or other media without my explicit permission !!!

© all rights reserved Lily aenee

The Wonder Book of Knowledge

Encyclopedia prepares the idea of revolution

The Encyclopedias are from 1946 and 1949...

Taken for the AAW Challenge: Forgotten

Placed the old books which are very delicate on a black surface, natural light and edited the exposure..Used my small sony camera..

The Encyclopedia Britannica is a relic from the past as everything is online now, and the online searches are more up-to-date and much faster.

Mitchell just said that I seem to have an encyclopedic knowledge of Lego Technic parts. I haven't, I have a box full of stuff that gets a good rummage around, hoping to find something that hopefully does the job.

 

Addition to Toy Project Day 3966

Photo inspired by Emily Wilde's Encyclopaedia of Faeries.

Two photos were combined. I created the fairy using a vintage doll and adding paper wings and susending with invisible wire.

Books - The Flickr Lounge

 

14/365 pictures in 2018

 

© All Rights Reserved. Please do not use or reproduce this image on Websites/Blog or any other media without my explicit permission.

Encyclopedia of Tropical Plants - The first copy arrived today.

Highest Explore Position #422 ~ On December 3rd 2008.

 

London Wetland Centre, Barnes, London, England - Saturday November 22nd 2008.

Click here to see the Larger image

 

Click here to see My most interesting images

  

From Wikipedia, the free encyclopedia ~ WWT London Wetland Centre is a wetland reserve managed by the Wildfowl and Wetlands Trust in the Barnes area of the London Borough of Richmond upon Thames, by Barn Elms.

 

In 2002 the Centre was recognized as a 'Site of Special Scientific Interest', a tribute to the positive environmental impact on the local area. Many birds have now made their home in the Centre that cannot be found anywhere else in London. The Centre was first opened in 2000, the London Wetlands Centre is host to regular lectures and events concerned with preserving Britain’s wetland animals.

 

The centre occupies more than 100 acres (40 hectares) of land which was formerly occupied by several small reservoirs. These were converted into a wide range of wetland features and habitats before the centre opened in May 2000. It was the first urban project of its kind in the United Kingdom. It became a SSSI (Site of Special Scientific Interest) in 2002 and supports nationally significant numbers of gadwall and shoveler duck.

 

Other wild birds that can be found on the reserve include: great bittern, pintail, lapwing, water rail, ring-necked parakeet, sparrowhawk, sand martin, kingfisher, little grebe and great crested grebe.

 

It was featured on the television programme Seven Natural Wonders as one of the wonders of the London area, with focus on the region's parakeets, in an episode presented by Bill Oddie.

From Wikipedia, the free encyclopedia

Bristol MMB 43 SS Great Britain.jpg

SS Great Britain in dry dock at Bristol in 2005.

History

 

Name:SS Great Britain

Owner:Great Western Steamship Company

Builder:William Patterson

Cost:

Projected: £70,000

Actual: £117,000

Laid down:July 1839

Launched:19 July 1843

Completed:1845

Maiden voyage:26 July 1845

In service:1845–1886

Homeport:Bristol, England

General characteristics

Type:Passenger steamship

Displacement:3,674 tons load draught

Length:322 ft (98 m)

Beam:50 ft 6 in (15.39 m)

Draught:16 ft (4.9 m)[1]

Installed power:2 × twin 88-inch (220 cm) cylinder, 6 ft (1.8 m) stroke, 500 hp (370 kW), 18 rpm inclined direct-acting steam engines

Propulsion:Single screw propeller

Sail plan:

Original: Five schooner-rigged and one square-rigged mast

After 1853: Three square-rigged masts

Speed:10 to 11 knots (19 to 20 km/h; 12 to 13 mph)

Capacity:

360 passengers, later increased to 730

1,200 tons of cargo

Complement:130 officers and crew (as completed)

SS Great Britain is a museum ship and former passenger steamship, which was advanced for her time. She was the longest passenger ship in the world from 1845 to 1854. She was designed by Isambard Kingdom Brunel for the Great Western Steamship Company's transatlantic service between Bristol and New York. While other ships had been built of iron or equipped with a screw propeller, Great Britain was the first to combine these features in a large ocean-going ship. She was the first iron steamer to cross the Atlantic, which she did in 1845, in the time of 14 days.

 

The ship is 322 ft (98 m) in length and has a 3,400-ton displacement. She was powered by two inclined 2 cylinder engines of the direct-acting type, with twin 88 in (220 cm) bore, 6-foot (1.8 m) stroke cylinders. She was also provided with secondary sail power. The four decks provided accommodation for a crew of 120, plus 360 passengers who were provided with cabins and dining and promenade saloons.

 

When launched in 1843, Great Britain was by far the largest vessel afloat. However, her protracted construction and high cost had left her owners in a difficult financial position, and they were forced out of business in 1846 having spent all their funds re-floating the ship after she was run aground at Dundrum Bay after a navigational error. In 1852 she was sold for salvage and repaired. Great Britain carried thousands of immigrants to Australia from 1852 until converted to sail in 1881. Three years later, she was retired to the Falkland Islands where she was used as a warehouse, quarantine ship and coal hulk until scuttled in 1937.[2]

 

In 1970, following a cash donation by Sir Jack Hayward that paid for the vessel to be towed back to the UK, Great Britain was returned to the Bristol dry dock where she was built. Now listed as part of the National Historic Fleet, she is an award-winning visitor attraction and museum ship in Bristol Harbour, with between 150,000 and 200,000 visitors annually.

Montefiore Windmill

From Wikipedia, the free encyclopedia

Montefiore Windmill

16-03-30-Jerusalem-Innenstadt-RalfR-DSCF7584.jpg

Montefiore Windmill, 30 March 2016

Origin

Mill nameMontefiore Mill

Jaffa Gate Mill

Mill locationJerusalem, Israel

31°46′17.31″N 35°13′27.03″E

Year built1857

Information

PurposeFlour mill

TypeTower mill

StoreysFour storeys

Number of sailsFour sails

Type of sailsPatent sails

WindshaftCast iron

WindingFantail

Fantail bladesSix blades

Auxiliary powerElectric motor

Number of pairs of millstonesTwo pairs

The Montefiore Windmill is a landmark windmill in Jerusalem, Israel. Designed as a flour mill, it was built in 1857 on a slope opposite the western city walls of Jerusalem, where three years later the new Jewish neighbourhood of Mishkenot Sha'ananim was erected, both by the efforts of British Jewish banker and philanthropist Moses Montefiore. Jerusalem at the time was part of Ottoman-ruled Palestine. Today the windmill serves as a small museum honored and dedicated to the achievements of Montefiore. It was restored in 2012 with a new cap and sails in the style of the originals. The mill can turn in the wind.

 

Contents [hide]

1History

2Anecdotes

31948 War of Independence

4Montefiore carriage

5Restoration

6References

History[edit]

 

The mill in 1858

The windmill and the neighbourhood of Mishkenot Sha'ananim were both funded by the British Jewish banker and philanthropist Moses Montefiore, who devoted his life to promoting industry, education and health in the Land of Israel.[1] Montefiore built the windmill with funding from the estate of an American Jew, Judah Touro, who appointed Montefiore executor of his will.[2] Montefiore mentions the windmill in his diaries (1875), noting that he had built it 18 years ago on the estate of Kerem-Moshe-ve-Yehoodit (lit. "the orchard of Moses and Judith"), and that it had since been joined by two other windmills nearby, owned by Greeks.[3] The project, bearing the hallmarks of nineteenth century artisan revival, aimed to promote productive enterprise in the Yishuv.

 

The mill was designed by Messrs Holman Brothers, the Canterbury, Kent millwrights. The stone for the tower was quarried locally. The tower walls were 3 feet (910 mm) thick at the base and almost 50 feet (15.24 m) high. Parts were shipped to Jaffa, where there were no suitable facilities for landing the heavy machinery. Transport of the machinery to Jerusalem had to be carried out by camel. In its original form, the mill had a Kentish-style cap and four Patent sails. It was turned to face into the wind by a fantail. The mill drove two pairs of millstones, flour dressers, wheat cleaners and other machinery.[4]

  

The mill as it appeared with decorative, non-functional sails and bronze cap prior to the 2012 restoration

The construction of the mill was part of a broader program to enable the Jews of Palestine to become self-supporting. Montefiore also built a printing press and a textile factory, and helped to finance several agricultural colonies. He attempted to acquire land for Jewish cultivation, but was hampered by Ottoman restrictions on land sale to non-Muslims.

 

The mill was not a success due to a lack of wind.[5] Wind conditions in Jerusalem could not guarantee its continued operation. There were probably no more than 20 days a year with strong enough breezes. Another reason for the mill's failure was technological. The machinery was designed for soft European wheat, which required less wind power than the local wheat. Nevertheless, the mill operated for nearly two decades until the first steam-powered mill was completed in Jerusalem in 1878.[6][7]

 

In the late 19th century the mill became neglected and abandoned and it was not until the 1930s that it was comsetically restored by British Mandate authorities together with the Pro-Jerusalem Society. During this restoration decorative, non-functional fixed sails were placed at the top of the structure. Over the years the building's condition had deteriorated again and following the reunification of Jerusalem in the Six-Day War another cosmetic restoration was carried out, as part of which a decorative bronze cap was also added to the structure. In 2012 these decorative elements were removed and the mill was completely restored to full working order using the original 1850s plans (which were located in the British Library) as a guide.[7]

 

Anecdotes[edit]

 

Blowing up of the windmill by the British in 1948

Two anecdotes about the windmill appear in a 1933 book, which refers to it as the Jaffa Gate Mill. The first is that there was much opposition from among the local millers to the windmill, who looked upon it with the evil eye and sent their head man to curse it. Predictions were made that the mill would be washed away during the rainy season; after it survived intact, it was declared to be the work of Satan. The second is that the Arabs developed a taste for the lubricating oil on the bearings and would lick them, prompting fear the mill would burn down from the resulting friction. The solution was said to be placing a leg of pork in the oil barrel, whereafter the Arabs lost a taste for the oil.[4]

 

1948 War of Independence[edit]

During the 1948 blockade of Jerusalem the windmill served as an observation point for Jewish Haganah fighters. In an attempt to impede their activities, the British authorities blew up the top of the windmill in an operation mockingly dubbed by the population "Operation Don Quixote."[8][9]

 

Montefiore carriage[edit]

In a glassed-in room at the windmill is a replica of the famous carriage Sir Moses Montefiore used in his travels. The original carriage was brought to Palestine by Boris Schatz, the founder of the Bezalel Academy of Art, but was destroyed in an arson fire at the site in 1986.[10]

 

Restoration[edit]

 

Cap under construction in Sloten

The mill was restored in 2012 as part of the celebrations of the 60th anniversary of the founding of Israel. A Dutch organisation, "Christians for Israel" (Dutch: Stichting Christenen voor Israël), is behind the scheme. A model of Stelling Minnis windmill, built by Tom Holman, was temporarily taken to the Netherlands to help raise funds for the restoration. None of the original machinery survives.[11] Millwright Willem Dijkstra rebuilt the floors, sails, cap and machinery in his workshop in Sloten, the Netherlands in cooperation with Dutch construction company Lont and British millwright Vincent Pargeter. The windshaft was cast and machined at Sanders’ Ijzergieterij en Machinefabriek B.V. (Sanders foundry and machines factory) in Goor, the Netherlands.[12] The parts were then shipped to Israel and reassembled on site.[13] Dijkstra, his family and employee temporarily moved to Israel to help with the restoration.[12] The cap and sails were lifted into place on July 25, 2012,[14][15] and the mill was turning for the first time again on August 6.[16][17] The first bag of flour was ground in May 2013.[7]

 

References[edit]

Wikimedia Commons has media related to Moses Montefiore Windmill.

Jump up ^ Montefiore Heritage Site

Jump up ^ Jerusalem Simon Goldhill

Jump up ^ Diaries of Sir Moses and Lady Montefiore: comprising their life and work as recorded in their diaries from 1812-1883, Volume 2. Adamant Media Corporation. 2001. p. 277. ISBN 9781402193149.

^ Jump up to: a b Coles Finch, William (1933). Watermills and Windmills. London: C W Daniel and Company. pp. 50–52, illustration facing p224.

Jump up ^ "The Windless Windmill". ohr.edu. Retrieved 2008-11-12.

Jump up ^ Palestine in the Late Ottoman Period , David Kushner

^ Jump up to: a b c "Historic Jerusalem Windmill" (PDF). Mishkenot Shaananim website (in Hebrew). Retrieved 22 May 2016.

Jump up ^ Eisenberg, Ronald L. (2006). The Streets of Jerusalem - Who, What, Why. Devora Publishing Company. p. 178. ISBN 1-932687-54-8.

Jump up ^ Dudman, Helga (1982). Street People. Jerusalem: Jerusalem Post/Carta. pp. 21–22.

Jump up ^ In the shadow of the walls

Jump up ^ Holman, Geoff (2010). "Kent mill moved to Holland". Cant Post (Kent Mills Society) (1): 9.

^ Jump up to: a b "Bertus Dijkstra, Bouw en Molenbouw" (in Dutch). Retrieved 8 June 2012.

Jump up ^ Walinga, Cees (5 January 2012). "Willem Dijkstra herstelt Montefiore-molen in Jeruzalem". Balkster Courant (in Dutch). p. 7. Retrieved 25 March 2012.

Jump up ^ "Historic Jerusalem mill gets new wind in sails". Retrieved 3 August 2012.

Jump up ^ "Mûne yn Jeruzalem opknapt" (in Frisian). Retrieved 3 August 2012.

Jump up ^ "Jerusalem Mill turns after 140 years". The Mills Archive Trust. August 7, 2012. Retrieved August 16, 2012.

Jump up ^ "De Montefioremolen draait weer". Alfred Muller via YouTube. 6 August 2012. Retrieved 18 August 2012.

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Scan of a cover of the 1956 Grollier Encyclopedia. I used gradient layers to bring out the textural detail.

 

For your texturing and layering pleasure! Feel free to use in your own work, just don't resell or redistribute this original work as your own!

from "the golden book encyclopedia" 1959

Artist Don Li-Leger and three volunteers built this house out of thousands of used, discarded and otherwise unwanted reference books – most of them donated to, and collected by, the Rotary club in South Surrey.

 

The art installation will stand for the month of October in the forested public space outside Newton rec centre.

 

His formal description of “Encyclopedia House” calls for “an unusual art project” to make use of a plethora of no-longer-used encyclopedia sets, textbooks and other reference books that exist in the age of digital information.

 

the art project will address topics such as housing and fundamental needs, neighbourhood development, changing sources of knowledge, and recycling.

 

The books are affixed to each other with screws, making the structure sturdy enough to satisfy city officials.

 

The house will be a focal point for several events this month, including Sources’ homelessness march on Oct. 16, the International Day for the Eradication of Poverty on Oct. 17 and some reading groups with local children.

 

The Encyclopedia Britannica is a relic from the past as everything is online now, and the online searches are more up-to-date and much faster.

From Wikipedia, the free encyclopedia

 

Bristol MMB 43 SS Great Britain.jpg

 

SS Great Britain in dry dock at Bristol in 2005.

 

History

   

Name:SS Great Britain

 

Owner:Great Western Steamship Company

 

Builder:William Patterson

 

Cost:

 

Projected: £70,000

 

Actual: £117,000

 

Laid down:July 1839

 

Launched:19 July 1843

 

Completed:1845

 

Maiden voyage:26 July 1845

 

In service:1845–1886

 

Homeport:Bristol, England

 

General characteristics

 

Type:Passenger steamship

 

Displacement:3,674 tons load draught

 

Length:322 ft (98 m)

 

Beam:50 ft 6 in (15.39 m)

 

Draught:16 ft (4.9 m)[1]

 

Installed power:2 × twin 88-inch (220 cm) cylinder, 6 ft (1.8 m) stroke, 500 hp (370 kW), 18 rpm inclined direct-acting steam engines

 

Propulsion:Single screw propeller

 

Sail plan:

 

Original: Five schooner-rigged and one square-rigged mast

 

After 1853: Three square-rigged masts

 

Speed:10 to 11 knots (19 to 20 km/h; 12 to 13 mph)

 

Capacity:

 

360 passengers, later increased to 730

 

1,200 tons of cargo

 

Complement:130 officers and crew (as completed)

 

SS Great Britain is a museum ship and former passenger steamship, which was advanced for her time. She was the longest passenger ship in the world from 1845 to 1854. She was designed by Isambard Kingdom Brunel for the Great Western Steamship Company's transatlantic service between Bristol and New York. While other ships had been built of iron or equipped with a screw propeller, Great Britain was the first to combine these features in a large ocean-going ship. She was the first iron steamer to cross the Atlantic, which she did in 1845, in the time of 14 days.

   

The ship is 322 ft (98 m) in length and has a 3,400-ton displacement. She was powered by two inclined 2 cylinder engines of the direct-acting type, with twin 88 in (220 cm) bore, 6-foot (1.8 m) stroke cylinders. She was also provided with secondary sail power. The four decks provided accommodation for a crew of 120, plus 360 passengers who were provided with cabins and dining and promenade saloons.

   

When launched in 1843, Great Britain was by far the largest vessel afloat. However, her protracted construction and high cost had left her owners in a difficult financial position, and they were forced out of business in 1846 having spent all their funds re-floating the ship after she was run aground at Dundrum Bay after a navigational error. In 1852 she was sold for salvage and repaired. Great Britain carried thousands of immigrants to Australia from 1852 until converted to sail in 1881. Three years later, she was retired to the Falkland Islands where she was used as a warehouse, quarantine ship and coal hulk until scuttled in 1937.[2]

   

In 1970, following a cash donation by Sir Jack Hayward that paid for the vessel to be towed back to the UK, Great Britain was returned to the Bristol dry dock where she was built. Now listed as part of the National Historic Fleet, she is an award-winning visitor attraction and museum ship in Bristol Harbour, with between 150,000 and 200,000 visitors annually.

 

Klick here for a large view!

 

Das Kraftwerk Römerbrücke ist ein Gas- und Dampfturbinenkraftwerk (GuD-Kraftwerk) der GDF Suez SA im Gewerbegebiet Ostspange in Saarbrücken. Es dient zur Erzeugung von Fernwärme und elektrischer Energie. Die elektrische Kapazität beträgt 118 MW (Gasturbine 42 MW, Dampfturbine 76 MW), die thermische 230 MW. Ein 177 Meter hoher Kamin hilft, die Emissionsbelastung der unmittelbaren Umgebung zu senken.

 

Seit 2001 wird das Kraftwerk durch die GDF SUEZ Saarland GmbH (vormals Electrabel Saarland GmbH), einem vollständigen Tochterunternehmen der GDF SUEZ Energie Deutschland AG in Berlin, betrieben.

  

From Wikipedia, the free encyclopedia

Ipê-branco fotografado no Setor Noroeste, em Brasília-DF, Brasil.

Tabebuia roseo alba

From Wikipedia, the free encyclopedia:

Tabebuia tree, known as Ipê-branco ou amarelo (white, purple pink or yellow ipê or Pau D'arco) in Brazil

Scientific classification

Kingdom: Plantae

Division: Magnoliophyta

Class: Magnoliopsida

Order: Lamiales

Family: Bignoniaceae

Genus: Tabebuia

Gomez

Species

About 100 species; see text

Tabebuia is a Neotropical genus of about 100 species of large shrubs and trees in the tribe Tecomeae of the family Bignoniaceae. The species range from northern Mexico and the Antilles south to northern Argentina. Most species are on the islands of Hispaniola (Dominican Republic and Haiti) and Cuba.

Species in this genus are important as timber trees and as ornamentals because of their showy flowers. Many species are dry-season deciduous and flower on leafless stems at the end of the dry season, making the floral display more conspicuous. The bark of several species is used medicinally. The wood is used for furniture, decking, and other outdoor uses. Remarkably, it has a fire rating of A1 (the best possible, the same as concrete), and is denser than water (it sinks). It is increasingly popular as a decking material due to its insect resistance and durability.

* Tabebuia alba (Cham.) Sandw. (syn.: Tecoma alba Cham, Handroanthus albus (Cham.) Mattos) - Brazil

* Tabebuia avellanedae Lor. ex Griseb. (Pink Ipê, Ipê-roxo, Paud'arco-roxo, Ipê-roxo-damata, Ipê-reto, Ipê-rosa, Ipê-comum, Ipê-cavatã, Lapacho, Peúva, and Piúva ; syn. Tecoma ipe Mart. ex K. Schm., Tecoma avellandedae (Lor. ex Griseb.) Spreg., Handroanthus avellanedae (Lor. ex Griseb.) Mattos, Tabebuia ipe (Mart.) Standl.) from South America, is native of Brazil; bark is used as a medicinal herb

* Tabebuia caraiba (Mart.) Bur. (syn.: Tecoma argentea Bur. et K. Sch., Tecoma caraiba Mart., Tecoma caraiba var. squamellulosa (DC.) Bur. et K. Sch., Tecoma squamellulosa DC., and Handroanthus caraiba (Mart.) Mattos)

* Tabebuia cassinoides

* Tabebuia chrysantha (Jacq.) Nichols. (Araguaney) from northern South America, is the national tree of Venezuela. The flowers are yellow.

* Tabebuia chrysotricha (Mart. ex DC.) Standl. (Golden Trumpet Tree; syn T. flavescens, T. pedicellata), from Brazil. Golden-yellow flowers with red stripes are 2-3" wide in dense clusters appearing after leaf loss in early spring. Sometimes flowers a second time in late summer. Picturesque seed pods are up to 12" long and remain on the tree through winter.

* Tabebuia donnell-smithii Rose (Prima vera or Gold tree), a native of Mexico and Central Americas, is considered one of the most colorful of all trees. The leaves are deciduous. Masses of golden-yellow flowers cover the crown after the leaves are shed.

* Tabebuia dura

* Tabebuia heptaphylla

* Tabebuia impetiginosa (Pau d'arco), bark used as a medicinal herb

* Tabebuia ochracea

* Tabebuia rosea (A.P. de Candolle) Britton (Pink Poui, Pink tecoma or Apama or Apamate; syn. T. pentaphylla (L.) Hemsley, widely but incorrectly applied to this species) is a popular street tree in tropical cities because of its multi-annular masses of light pink flowers and modest size. The roots are not especially aggressive towards roads and sidewalks. It is native of Brazil

* Tabebuia roseo-alba

* Tabebuia serratifolia (Yellow Poui, Ipê, Pau d'arco, Ipê roxo, or Lapacho) is a commercially farmed hardwood notable for its extreme hardness and resistance to fire and pests. Its inner bark is used as a treatment for fungal infections.

* Tabebuia umbellata

* Tabebuia vellosoi

Nome: Ipê branco

N. Científico: Tabebuia roseo alba

Família: Bignoniaceae

Nomes populares: Ipê branco

Altura média: 7 -16 metros

Folhas: Compostas digitadas, 3 foliolos de 12 cm.

Flores: Brancas em cacho, muito vistosas.

Fruto: Vagem de 18 cm, verde e lisa.

Sementes: Aladas, pequenas (3 cm).

É talvez a espécie de Ipê mais vistosa quando em flor.Sua floração é muito breve, apenas dois dias por ano, às vezes se repetindo após um mês.

Nem todo ano

my Facebook Clic Here

  

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my google+ Clic Here

  

www.damail.fr

 

Photographie longue pose

  

Une pose de 45 minutes prise sous le ciel noir et clair typique du Cerro Paranal, les étoiles laissent des trainées dans leur danse autour du pôle Sud céleste (à gauche) (filé d'étoiles).

La photographie longue pose consiste à utiliser un temps de pose assez long pour capturer nettement les éléments fixes d'une scène tout en obscurcissant les éléments en mouvement ou en les rendant flous.

 

L'eau et la photographie longue pose

  

Un temps de pose de 30 secondes permet d'obtenir nettement les éléments fixes de la scène, tout en rendant la cascade floue, comme si elle était plongée dans la brume. Les impacts avec la surface de l'eau tourbillonnante du bassin forment des cercles parfaits.

  

Cascade du Saut de la Truite, à Lepuix (Territoire de Belfort, France).

La photographie longue pose peut rendre l'eau en mouvement floue, donnant un effet de brume, tout en gardant la netteté des éléments fixes comme le paysage et les structures

 

Long-exposure photography

From Wikipedia, the free encyclopedia

  

45-minute exposure taken on a dark and clear night in Cerro Paranal, the stars leave trails in their dance around the Celestial South Pole (left).

Long-exposure photography or time-exposure photography involves using a long-duration shutter speed to sharply capture the stationary elements of images while blurring, smearing, or obscuring the moving elements. The pats of moving light sources become clearly visible.

 

Water and long exposure

  

A 30-second-long exposure sharply captured the still elements of this image while blurring the waterfall into a mist-like appearance. Debris in the swirling water in the pool forms complete circles.

Long exposures can blur moving water so it has mist-like qualities while keeping stationary objects like land and structures sharp

From Wikipedia, the free encyclopedia

+++++++++++++++++++++++++++++++++

Rencontres d'Arles

The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.

 

The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.

 

The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.

 

The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.

 

In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.

Contents

 

Art directors

A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975

 

1970 - 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette

1973 - 1976: Lucien Clergue

1977: Bernard Perrine

1978: Jacques Manachem

1979 - 1982: Alain Desvergnes (fr)

1983 - 1985: Lucien Clergue

1986 - 1987: François Hébel

1988 - 1989: Claude Hudelot (fr)

1990: Agnès de Gouvion Saint-Cyr

1991 - 1993: Louis Mesplé (fr)

1994: Lucien Clergue

1995 - 1998, délégué général: Bernard Millet (fr)

1995, artistic director: Michel Nuridsany (fr)

1996, artistic director: Joan Fontcuberta

1997, artistic director: Christian Caujolle (fr)

1998, artistic director: Giovanna Calvenzi

1999 - 2001: Gilles Mora (fr)

2002 - 2014: François Hébel

Since 2015: Sam Stourdzé (fr)

 

The festival

A photography exhibition, Rencontres d'Arles, 2010

Events

 

Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town’s historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix’s fashion show for the festival’s closing (2008); and Patti Smith’s concert for the Vu agency’s 20th anniversary (2006).

Nights at the Roman Theatre

 

At night, work by a photographer or a photography expert is projected in the town’s open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin’s “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.

The Night of the Year

 

The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival’s favourite works by artists and photographers as well as carte blanche exhibitions by institutions.

Cosmos-Arles Books

 

Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.

 

Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art’s fundamentally hybrid forms.

Symposia and panel discussions

 

Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).

The Rencontres d’Arles awards

 

Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival’s professional week: the Discovery Award (€25,000), Author’s Book Award (€8,000) and History Book Award (€8,000).

Luma Rencontres Dummy Book Award

 

In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.

 

The winner’s book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.

Photo Folio Review & Gallery

 

Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival’s opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.

Photography classes

 

The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography’s aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.

Rentrée en Images

 

“Rentrée en Images” has been a key part of the festival’s educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival’s programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.

Budget

 

Public funding accounted for 40% of the 2015 festival’s €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].

Executive Committee

 

Hubert Védrine, president

Hervé Schiavetti, vice-president

Jean-François Dubos, vice-president

Marin Karmitz, treasurer

Françoise Nyssen, secretary

Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members

 

The Rencontres d'Arles award winners

2002

 

Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams

Discovery Award: Peter Granser

No Limit award: Jacqueline Hassink

Dialogue of the humanity award: Tom Wood

Photographer of the year award: Roger Ballen

Help to the project: Pascal Aimar, Chris Shaw

Author’s Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)

Help to publishing: Une histoire sans nom by Anne-Lise Broyer

 

2003

 

Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel

Discovery Award: Zijah Gafic

No Limit award: Thomas Demand

Dialogue of the humanity award: Fazal Sheikh

Photographer of the year award: Anders Petersen

Help to the project: Jitka Hanzlova

Author’s Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)

Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993-1998) by Xing Danwen

 

2004

 

Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata

Discovery Award: Yasu Suzuka

No Limit award: Jonathan de Villiers

Dialogue of the humanity award: Edward Burtynsky

Help to the project: John Stathatos

Author’s Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)

 

2005

 

Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili

Discovery Award: Miroslav Tichy

No Limit award: Mathieu Bernard-Reymond

Dialogue of the humanity award: Simon Norfolk

Help to the project: Anna Malagrida

Author’s Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)

 

2006

 

Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe

Discovery Award: Alessandra Sanguinetti

No Limit award: Randa Mirza

Dialogue of the humanity award: Wang Qingsong

Help to the project: Walid Raad

Author’s Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)

 

2007

 

[1]

 

Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker

Discovery Award: Laura Henno

Author’s Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)

Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)

 

2008

 

[2]

 

Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani

Discovery Award: Pieter Hugo

Author’s Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)

Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)

 

2009

 

[3]

 

Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff

Discovery Award: Rimaldas Viksraitis

Author’s Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)

Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)

 

2010

 

[4] [5]

 

Discovery Award: Taryn Simon

LUMA award: Trisha Donnelly

Author’s Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)

Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)

 

2011

 

[6] [7]

 

Discovery Award: Mikhael Subotzky and Patrick Waterhouse[8]

Author’s Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[8]

Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[8]

 

2012

 

[9] [10] [11]

 

Discovery Award: Jonathan Torgovnik

Author’s Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)

Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)

 

2013

 

Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré

Author’s Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal[disambiguation needed], 2013)[12]

Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)

 

2014

 

Discovery Award: Zhang Kechun

Author’s Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)

Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)

 

2015

 

Discovery Award: Pauline Fargue

Author’s Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)

Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)

Dummy Book Award: The Jungle Book by Yann Gross

Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)

 

2016

 

Discovery Award: Sarah Waiswa

Author’s Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)

Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)

Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)

Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber

Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)

 

2017

 

[13]

 

Discovery Award: Carlos Ayesta and Guillaume Bression

Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)

Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)

Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)

Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)

Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko

Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)

 

Exhibitions

1970

 

Gjon Mili, Edward Weston, ...

1971

 

Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …

1972

 

Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …

1973

 

Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …

1974

 

Brassaï, Ansel Adams, Georges A. Tice, …

1975

 

Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …

1976

 

Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …

1977

 

Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …

1978

 

Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …

1979

 

David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …

1980

 

Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …

1981

 

Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …

1982

 

Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …

1983

 

Robert Rauschenberg, Bruce Davidson, …

1984

 

Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …

1985

 

David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …

1986

 

Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …

1987

 

Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.

1988

 

La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.

1989

 

Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.

1990

 

Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …

1991

 

Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …

1992

 

Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …

1993

 

Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …

1994

 

Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …

 

1995

 

Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …

1996

 

Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …

1997

 

Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …

1998

 

David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …

1999

 

Lee Friedlander, Walker Evans, …

2000

 

Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …

2001

 

Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …

2002

 

Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …

2003

 

Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …

2004

 

Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …

2005

 

Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …

2006

 

La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …

2007

 

The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …

2008

 

Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …

2009

 

Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]

2010

 

Robert Mapplethorpe[17] Lea Golda Holterman[18]

2011

 

Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...

2012

 

Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]

2013

 

Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.

2014

 

Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.

2015

 

Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.

References

 

O'Hagan, Sean (11 July 2011). "Tower blocks and tomes dominate the Rencontres d'Arles". The Guardian. Retrieved 17 November 2014.

www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...

www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...

O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.

O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.

"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.

"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.

"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.

"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.

Présentation de Robert Mapplethorpe sur le site rencontres-arles.com

"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.

Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com

Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com

Signe des temps: Arles 2012, un festival courageux (Photographie.com)

Fiche d'Alfredo Jaar sur rencontres-arles.com

Fiche de John Stezaker sur rencontres-arles.com

Fiche de Wolfgang Tillmans sur rencontres-arles.com

Fiche de Viviane Sassen sur rencontres-arles.com

Fiche de Pieter Hugo sur rencontres-arles.com

Fiche de Xavier Barral sur rencontres-arles.com

Fiche de Antoine Gonin sur rencontres-arles.com

www.wolfgangstaudt.de/

 

Bettmeralp ist seit dem 1. Januar 2014 ein Ortsteil der gleichnamigen Gemeinde Bettmeralp im Schweizer Kanton Wallis; bis Ende 2013 war sie ein Ortsteil der frueheren Gemeinde Betten.

Die Bettmeralp liegt auf 1948 m ue. M. oberhalb des Hauptortes Betten auf einem autofreien Hochplateau. Die Hochebene grenzt direkt nach Norden an den Aletschgletscher und neigt sich nach Sueden von etwa 2100 m ue. M. leicht bis auf 1800 m ue. M. ab, bevor der Bannwald bis tief in das Tal der Rhone abfsellt. Seit 2001 gehoert das ganze Gebiet zum UNESCO-Weltnaturerbe Schweizer Alpen Jungfrau-Aletsch.

Durch die Lage oberhalb des Rhonetals kommt es im Winter zu Inversionswetterlagen, die das Tal mit Hochnebel fuellen und vom gleichzeitig oft sonnigen Hochplateau aus zu besonderen Ausblicken fuehren.

 

From Wikipedia, the free encyclopedia

From Wikipedia, the free encyclopedia

 

The Queen Emma Bridge (Dutch: Koningin Emmabrug) is a pontoon bridge across St. Anna Bay in Curaçao. It connects the Punda and Otrobanda quarters of the capital city, Willemstad. The bridge is hinged and opens regularly to enable the passage of oceangoing vessels. On the opposite end from the hinge is a small shelter where an operator controls two diesel engines turning propellers. The propellers are mounted perpendicular to the length of the bridge and allow it to swing parallel to the shore. The process only takes a few minutes to complete.

From Wikipedia, the free encyclopedia

"Khajuraho"

 

UNESCO World Heritage Site

Location Madhya Pradesh, India Edit this at Wikidata

Coordinates 24°51′08″N 79°55′20″E

Criteria Cultural: (i), (iii) Edit this on Wikidata[1]

Reference 240

Inscription 1986 (10th Session)

Khajuraho Group of Monuments is located in India

Khajuraho Group of Monuments

Location of Khajuraho Group of Monuments

[edit on Wikidata]

 

The Khajuraho Group of Monuments is a group of Hindu and Jain temples in Madhya Pradesh, India, about 175 kilometres (109 mi) southeast of Jhansi. They are one of the UNESCO World Heritage Sites in India.[2][3] The temples are famous for their nagara-style architectural symbolism and their erotic sculptures.[4]

 

Most Khajuraho temples were built between 950 and 1050 by the Chandela dynasty.[5] Historical records note that the Khajuraho temple site had 85 temples by the 12th century, spread over 20 square kilometers Of these, only about 25 temples have survived, spread over 6 square kilometers.[3] Of the various surviving temples, the Kandariya Mahadeva Temple is decorated with a profusion of sculptures with intricate details, symbolism and expressiveness of ancient Indian art.[6]

 

The Khajuraho group of temples were built together but were dedicated to two religions, Hinduism and Jainism, suggesting a tradition of acceptance and respect for diverse religious views among Hindus and Jains in the region.[7]

 

Contents

 

1 Location

2 History

3 Description

3.1 Architecture of the temples

4 Construction

5 Chronology

6 Arts and sculpture

7 Tourism and cultural events

8 See also

9 References

10 Further reading

11 External links

 

Location

 

The Khajuraho monuments are located in the Indian state of Madhya Pradesh, in Chhatarpur district, about 620 kilometres (385 mi) southeast of New Delhi. The temples are near a small town also known as Khajuraho,[8] with a population of about 20,000 people (2001 Census).

 

Khajuraho is served by Civil Aerodrome Khajuraho (IATA Code: HJR), with services to Delhi, Agra, Varanasi and Mumbai.[9] The site is also linked by the Indian Railways service, with the railway station located approximately six kilometres from the entrance to the monuments .

 

The monuments are about 10 kilometres off the east-west National Highway 75, and about 50 kilometres from the city of Chhatarpur, which is connected to the state capital Bhopal by the SW-NE running National Highway 86.

 

The 10th century Bhand Deva Temple in Rajasthan was built in the style of the Khajuraho monuments and is often referred to as 'Little Khajuraho'.

History

 

The Khajuraho group of monuments was built during the rule of the Chandela dynasty. The building activity started almost immediately after the rise of their power, throughout their kingdom to be later known as Bundelkhand.[10] Most temples were built during the reigns of the Hindu kings Yashovarman and Dhanga. Yashovarman's legacy is best exhibited by The Lakshmana Temple. Vishvanatha temple best highlights King Dhanga's reign.[11]:22 The largest and currently most famous surviving temple is Kandariya Mahadeva built in the reign of King Vidyadhara.[12] The temple inscriptions suggest many of the currently surviving temples were complete between 970 and 1030 CE, with further temples completed during the following decades.[7]

 

The Khajuraho temples were built about 35 miles from the medieval city of Mahoba,[13] the capital of the Chandela dynasty, in the Kalinjar region. In ancient and medieval literature, their kingdom has been referred to as Jijhoti, Jejahoti, Chih-chi-to and Jejakabhukti.[14]

 

Khajuraho was mentioned by Abu Rihan-al-Biruni, the Persian historian who accompanied Mahmud of Ghazni in his raid of Kalinjar in 1022 CE; he mentions Khajuraho as the capital of Jajahuti.[15] The raid was unsuccessful, and a peace accord was reached when the Hindu king agreed to pay a ransom to Mahmud of Ghazni to end the attack and leave.[14]

 

Khajuraho temples were in active use through the end of 12th century. This changed in the 13th century; after the army of Delhi Sultanate, under the command of the Muslim Sultan Qutb-ud-din Aibak, attacked and seized the Chandela kingdom. About a century later, Ibn Battuta, the Moroccan traveller in his memoirs about his stay in India from 1335 to 1342 CE, mentioned visiting Khajuraho temples, calling them "Kajarra"[16][17] as follows:

Until the 12th century, Khajuraho was under Hindu kings and featured 85 temples. Central India was seized by Delhi Sultanate in 13th century. Under Muslim rule, some temples were destroyed and the rest left in neglect. Ruins of some old temples (Ghantai temple above) are still visible.

 

...near (Khajuraho) temples, which contain idols that have been mutilated by the Moslems, live a number of yogis whose matted locks have grown as long as their bodies. And on account of extreme asceticism they are all yellow in colour. Many Moslems attend these men in order to take lessons (yoga) from them.

— Ibn Battuta, about 1335 CE, Riḥlat Ibn Baṭūṭah, Translated by Arthur Cotterell[18]

 

Central Indian region, where Khajuraho temples are, remained in the control of many different Muslim dynasties from 13th century through the 18th century. In this period, some temples were desecrated, followed by a long period when they were left in neglect.[7][10] In 1495 CE, for example, Sikandar Lodi’s campaign of temple destruction included Khajuraho.[19] The remoteness and isolation of Khajuraho protected the Hindu and Jain temples from continued destruction by Muslims.[20][21] Over the centuries, vegetation and forests overgrew, took over the temples.

 

In the 1830s, local Hindus guided a British surveyor, T.S. Burt, to the temples and they were thus rediscovered by the global audience.[22] Alexander Cunningham later reported, few years after the rediscovery, that the temples were secretly in use by yogis and thousands of Hindus would arrive for pilgrimage during Shivaratri celebrated annually in February or March based on a lunar calendar. In 1852, Maisey prepared earliest drawings of the Khajuraho temples.[23]

 

Nomenclature

 

The name Khajuraho, or Kharjuravāhaka, is derived from ancient Sanskrit (kharjura, खर्जूर means date palm,[24] and vāhaka, वाहक means "one who carries" or bearer[25]). Local legends state that the temples had two golden date-palm trees as their gate (missing when they were rediscovered). Desai states that Kharjuravāhaka also means scorpion bearer, which is another symbolic name for deity Shiva (who wears snakes and scorpion garlands in his fierce form).[26]

 

Cunningham’s nomenclature and systematic documentation work in 1850s and 1860s have been widely adopted and continue to be in use.[23] He grouped the temples into the Western group around Lakshmana, Eastern group around Javeri, and Southern group around Duladeva.[27]

 

Khajuraho is one of the four holy sites linked to deity Shiva (the other three are Kedarnath, Kashi and Gaya). Its origin and design is a subject of scholarly studies. Shobita Punja[28] has proposed that the temple’s origin reflect the Hindu mythology in which Khajuraho is the place where Shiva got married; with Raghuvamsha verse 5.53, Matangeshvara honoring ‘’Matanga’’, or god of love.

Description

Sections and orientation of Khajuraho temples.

 

The temple site is within Vindhya mountain range in central India. An ancient local legend held that Hindu deity Shiva and other gods enjoyed visiting the dramatic hill formation in Kalinjar area.[27] The center of this region is Khajuraho, set midst local hills and rivers. The temple complex reflects the ancient Hindu tradition of building temples where gods love to play.[27][29]

 

The temples are clustered near water, another typical feature of Hindu temples. The current water bodies include Sib Sagar, Khajur Sagar (also called Ninora Tal) and Khudar Nadi (river).[30] The local legends state that the temple complex had 64 water bodies, of which 56 have been physically identified by archeologists so far.[27][31]

 

All temples, except[27] one (Chaturbhuja) face sunrise - another symbolic feature that is predominant in Hindu temples. The relative layout of temples integrate masculine and feminine deities and symbols highlight the interdependence.[28] The art work symbolically highlight the four goals of life considered necessary and proper in Hinduism - dharma, kama, artha and moksha.

 

Of the surviving temples, 6 are dedicated to Shiva and his consorts, 8 to Vishnu and his affinities, 1 to Ganesha, 1 to Sun god, 3 to Jain Tirthankars.[27] For some ruins, there is insufficient evidence to assign the temple to specific deities with confidence.

 

An overall examination of site suggests that the Hindu symbolic mandala design principle of square and circles is present each temple plan and design.[32] Further, the territory is laid out in three triangles that converge to form a pentagon. Scholars suggest that this reflects the Hindu symbolism for three realms or trilokinatha, and five cosmic substances or panchbhuteshvara.[27] The temple site highlights Shiva, the one who destroys and recycles life, thereby controlling the cosmic dance of time, evolution and dissolution.[28]

 

The temples have a rich display of intricately carved statues. While they are famous for their erotic sculpture, sexual themes cover less than 10% of the temple sculpture.[33] Further, most erotic scene panels are neither prominent nor emphasized at the expense of the rest, rather they are in proportional balance with the non-sexual images.[34] The viewer has to look closely to find them, or be directed by a guide.[35] The arts cover numerous aspects of human life and values considered important in Hindu pantheon. Further, the images are arranged in a configuration to express central ideas of Hinduism. All three ideas from Āgamas are richly expressed in Khajuraho temples - Avyakta, Vyaktavyakta and Vyakta.[36]

 

The Beejamandal temple is under excavation. It has been identified with the Vaidyanath temple mentioned in the Grahpati Kokalla inscription.[37]

 

Of all temples, the Matangeshvara temple remains an active site of worship.[28] It is another square grid temple, with a large 2.5 metres (8.2 ft) high and 1.1 metres (3.6 ft) diameter lingam, placed on a 7.6 metres (25 ft) diameter platform.[27]

 

The most visited temple, Kandariya Mahadev, has an area of about 6,500 square feet and a shikhara (spire) that rises 116 feet.[10][27]

 

Jain temples

 

Main article: Jain temples of Khajuraho

 

The Jain temples are located on east-southeast region of Khajuraho monuments.[38] Chausath jogini temple features 64 jogini, while Ghantai temple features bells sculptured on its pillars.

Architecture of the temples

The layout plan of Kandariya Mahadeva Temple. It uses the 64 pada grid design. Smaller Khajuraho temples use the 9, 16, 36 or 49 grid mandala plan.[39]

 

Khajuraho temples, like almost all Hindu temple designs, follow a grid geometrical design called vastu-purusha-mandala.[40] This design plan has three important components - Mandala means circle, Purusha is universal essence at the core of Hindu tradition, while Vastu means the dwelling structure.[41]

 

The design lays out a Hindu temple in a symmetrical, concentrically layered, self-repeating structure around the core of the temple called garbhagriya, where the abstract principle Purusha and the primary deity of the temple dwell. The shikhara, or spire, of the temple rises above the garbhagriya. This symmetry and structure in design is derived from central beliefs, myths, cardinality and mathematical principles.[42]

 

The circle of mandala circumscribe the square. The square is considered divine for its perfection and as a symbolic product of knowledge and human thought, while circle is considered earthly, human and observed in everyday life (moon, sun, horizon, water drop, rainbow). Each supports the other.[29] The square is divided into perfect 64 sub-squares called padas.[40]

 

Most Khajuraho temples deploy the 8x8 (64) padas grid Manduka Vastupurushamandala, with pitha mandala the square grid incorporated in the design of the spires.[39] The primary deity or lingas are located in the grid’s Brahma padas.

Khajuraho temples use the 8x8 (64) Vastupurusamandala Manduka grid layout plan (left) found in Hindu temples. Above the temple’s brahma padas is a Shikhara (Vimana or Spire) that rises symmetrically above the central core, typically in a circles and turning-squares concentric layering design (right) that flows from one to the other as it rises towards the sky.[29][43]

 

The architecture is symbolic and reflects the central Hindu beliefs through its form, structure and arrangement of its parts.[44] The mandapas as well as the arts are arranged in the Khajuraho temples in a symmetric repeating patterns, even though each image or sculpture is distinctive in its own way. The relative placement of the images are not random but together they express ideas, just like connected words form sentences and paragraphs to compose ideas.[45] This fractal pattern that is common in Hindu temples.[46] Various statues and panels have inscriptions. Many of the inscriptions on the temple walls are poems with double meanings, something that the complex structure of Sanskrit allows in creative compositions.[26]

 

All Khajuraho temples, except one, face sunrise, and the entrance for the devotee is this east side.

An illustration of Khajuraho temple Spires (Shikhara, Vimana) built using concentric circle and rotating-squares principle. Four spires (left) are shown above, while the inside view of one Shikara ceiling (right) shows the symmetric layout.

 

Above the vastu-purusha-mandala of each temple is a superstructure with a dome called Shikhara (or Vimana, Spire).[41] Variations in spire design come from variation in degrees turned for the squares. The temple Shikhara, in some literature, is linked to mount Kailash or Meru, the mythical abode of the gods.[29]

 

In each temple, the central space typically is surrounded by an ambulatory for the pilgrim to walk around and ritually circumambulate the Purusa and the main deity.[29] The pillars, walls and ceilings around the space, as well as outside have highly ornate carvings or images of the four just and necessary pursuits of life - kama, artha, dharma and moksa. This clockwise walk around is called pradakshina.[41]

 

Larger Khajuraho temples also have pillared halls called mandapa. One near the entrance, on the east side, serves as the waiting room for pilgrims and devotees. The mandapas are also arranged by principles of symmetry, grids and mathematical precision. This use of same underlying architectural principle is common in Hindu temples found all over India.[47] Each Khajuraho temple is distinctly carved yet also repeating the central common principles in almost all Hindu temples, one which Susan Lewandowski refers to as "an organism of repeating cells".[48]

Construction

 

The temples are grouped into three geographical divisions: western, eastern and southern.

 

The Khajuraho temples are made of sandstone, with a granite foundation that is almost concealed from view.[49] The builders didn't use mortar: the stones were put together with mortise and tenon joints and they were held in place by gravity. This form of construction requires very precise joints. The columns and architraves were built with megaliths that weighed up to 20 tons.[50] Some repair work in the 19th Century was done with brick and mortar; however these have aged faster than original materials and darkened with time, thereby seeming out of place.

 

The Khajuraho and Kalinjar region is home to superior quality of sandstone, which can be precision carved. The surviving sculpture reflect fine details such as strands of hair, manicured nails and intricate jewelry.

 

While recording the television show Lost Worlds (History Channel) at Khajuraho, Alex Evans recreated a stone sculpture under 4 feet that took about 60 days to carve in an attempt to develop a rough idea how much work must have been involved.[51] Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone.[52] They concluded that these temples would have required hundreds of highly trained sculptors.

Chronology

 

The Khajuraho group of temples belong to Vaishnavism school of Hinduism, Saivism school of Hinduism and Jainism - nearly a third each. Archaeological studies suggest all three types of temples were under construction at about the same time in late 10th century, and in use simultaneously. Will Durant states that this aspect of Khajuraho temples illustrates the tolerance and respect for different religious viewpoints in the Hindu and Jain traditions.[53] In each group of Khajuraho temples, there were major temples surrounded by smaller temples - a grid style that is observed to varying degrees in Hindu temples in Angkor Wat, Parambaran and South India.

 

The largest surviving Saiva temple is Khandarya Mahadeva, while the largest surviving Vaishnava group includes Chaturbhuja and Ramachandra.

 

Kandariya Mahadeva Temple plan is 109 ft in length by 60 ft, and rises 116 ft above ground and 88 ft above its own floor. The central padas are surrounded by three rows of sculptured figures, with over 870 statues, most being half life size (2.5 to 3 feet). The spire is a self repeating fractal structure.

 

Temples, religious affiliations and consecration years

 

Sequence Modern Temple name Religion Deity Completed by

(CE)[27][54] Image

1 Chausath Yogini Hinduism Devi, 64 Yoginis 885 Khajuraho,Chausath-Yogini-Tempel2.jpg

2 Brahma Hinduism Vishnu 925

3 Lalgun Mahadev Hinduism Shiva 900 India-5696 - Flickr - archer10 (Dennis).jpg

4 Matangeshwar Hinduism Shiva 1000 India-5772 - Flickr - archer10 (Dennis).jpg

5 Varaha Hinduism Vishnu 950 India-5595 - Flickr - archer10 (Dennis).jpg

6 Lakshmana Hinduism Vaikuntha Vishnu 939 India-5679 - Flickr - archer10 (Dennis).jpg

7 Parshvanatha Jainism Parshvanatha 954 Le temple de Parshvanath (Khajuraho) (8638423582).jpg

8 Vishvanatha Hinduism Shiva 999 India-5749 - Visvanatha Temple - Flickr - archer10 (Dennis).jpg

9 Devi Jagadambi Hinduism Devi, Parvati 1023 Khajuraho Devi Jagadambi Temple 2010.jpg

10 Chitragupta Hinduism Sun, Chitragupta 1023 India-5707 - Flickr - archer10 (Dennis).jpg

11 Kandariya Mahadeva (Largest temple) Hinduism Shiva 1029 Temple at Khajuraho, Madhya Pradesh, India.jpg

12 Vamana Hinduism Vamana 1062 Khajuraho Vaman Temple 2010.jpg

13 Adinath Jain Temple Jainism Adinatha 1027 Adinath Jain Temple Khajuraho 12.jpg

14 Javeri Hinduism Vishnu 1090 Javari Temple, Khajuraho.jpg

15 Chaturbhuja Hinduism Vishnu 1110 Khajuraho Chaturbhuja Temple.jpg

16 Duladeo (Duladeva) Hinduism Shiva 1125 Khajuraho Dulhadeo 2010.jpg

17 Ghantai Jainism Adinatha 960 A ruin, pillars at Khajuraho, India.jpg

18 Vishnu-Garuda Hinduism Vishnu 1000

19 Ganesha Hinduism Shiva 1000

20 Hanuman Hinduism Hanuman 922[55] Hanuman Inscription at Khajuraho.jpg

21 Mahishasuramardini Hinduism Mahishasuramardini 995 Khajuraho India, Lakshman Temple, Sculpture 10.JPG

22 Shantinatha temple Jainism Shantinatha 1027 Jain group of temples - Khajuraho 09.jpg

Arts and sculpture

Khajuraho temples are famous for their erotic arts. These constitute about 10% of total art displayed at the monuments.

Erotic sculptures

 

The Khajuraho temples feature a variety of art work, of which 10% is sexual or erotic art outside and inside the temples. Some of the temples that have two layers of walls have small erotic carvings on the outside of the inner wall. Some scholars suggest these to be tantric sexual practices.[56] Other scholars state that the erotic arts are part of Hindu tradition of treating kama as an essential and proper part of human life, and its symbolic or explicit display is common in Hindu temples.[6][57] James McConnachie, in his history of the Kamasutra, describes the sexual-themed Khajuraho sculptures as "the apogee of erotic art":

 

"Twisting, broad-hipped and high breasted nymphs display their generously contoured and bejewelled bodies on exquisitely worked exterior wall panels. These fleshy apsaras run riot across the surface of the stone, putting on make-up, washing their hair, playing games, dancing, and endlessly knotting and unknotting their girdles....Beside the heavenly nymphs are serried ranks of griffins, guardian deities and, most notoriously, extravagantly interlocked maithunas, or lovemaking couples."

 

Over 90% of the art work at the temple is about daily life and symbolic values in ancient Indian culture.

 

The temples have several thousand statues and art works, with Kandarya Mahadeva Temple alone decorated with over 870. Some 10% of these iconographic carvings contain sexual themes and various sexual poses. A common misconception is that, since the old structures with carvings in Khajuraho are temples, the carvings depict sex between deities;[58] however the kama arts represent diverse sexual expressions of different human beings.[59] The vast majority of arts depict various aspects the everyday life, mythical stories as well as symbolic display of various secular and spiritual values important in Hindu tradition.[3][6] For example, depictions show women putting on makeup, musicians making music, potters, farmers, and other folks in their daily life during the medieval era.[60] These scenes are in the outer padas as is typical in Hindu temples.

 

There is iconographic symbolism embedded in the arts displayed in Khajuraho temples.[6] Core Hindu values are expressed in multitude of ways. Even the Kama scenes, when seen in combination of sculptures that precede and follow, depict the spiritual themes such as moksha. In the words of Stella Kramrisch,

 

This state which is “like a man and woman in close embrace” is a symbol of moksa, final release or reunion of two principles, the essence (Purusha) and the nature (Prakriti).

— Stella Kramrisch, 1976[29]

 

The Khajuraho temples represent one expression of many forms of arts that flourished in Rajput kingdoms of India from 8th through 10th century CE. For example, contemporary with Khajuraho were the publications of poems and drama such as Prabodhacandrodaya, Karpuramanjari, Viddhasalabhanjika and Kavyamimansa.[61] Some of the themes expressed in these literary works are carved as sculpture in Khajuraho temples.[26][62] Some sculptures at the Khajuraho monuments dedicated to Vishnu include the Vyalas, which are hybrid imaginary animals with lions body, and are found in other Indian temples.[63] Some of these hybrid mythical art work include Vrik Vyala (hybrid of wolf and lion) and Gaja Vyala (hybrid of elephant and lion). These Vyalas may represent syncretic, creative combination of powers innate in the two.[64]

Tourism and cultural events

Temples layout map – Khajuraho Group of Monuments.

 

The temples in Khajuraho are broadly divided into three parts : the Eastern group, the Southern Group and the Western group of temples of which the Western group alone has the facility of an Audio guided tour wherein the tourists are guided through the seven eight temples. There is also an audio guided tour developed by the Archaeological Survey of India which includes a narration of the temple history and architecture.[65]

 

The Khajuraho Dance Festival is held every year in February.[66] It features various classical Indian dances set against the backdrop of the Chitragupta or Vishwanath Temples.

 

The Khajuraho temple complex offers a light and sound show every evening. The first show is in English language and the second one in Hindi. It is held in the open lawns in the temple complex, and has received mixed reviews.

 

The Madhya Pradesh Tourism Development has set up kiosks at the Khajuraho railway station, with tourist officers to provide information for Khajuraho visitors.

See also

 

List of megalithic sites

Jain temples of Khajuraho

Ajanta Caves

Badami Chalukya architecture

Western Chalukya architecture

Hindu temple

Madan Kamdev

Hemvati

Kama Sutra

Kamashastra

  

The Kandariya Mahadeva Temple (Devanagari: कंदारिया महादेव मंदिर, Kaṇḍāriyā Mahādeva Mandir), meaning "the Great God of the Cave", is the largest and most ornate Hindu temple in the medieval temple group found at Khajuraho in Madhya Pradesh, India. It is considered one of the best examples of temples preserved from the medieval period in India.

 

Contents

 

1 Location

2 History

3 Features

4 References

5 Bibliography

6 Further reading

7 External links

 

Location

Temples layout map of Khajuraho Group of Monuments: Kandariya Mahadeva Temple is in the western group

 

Kaṇḍāriyā Mahādeva Temple is located in the Chhatarpur district of Madhya Pradesh in Central India.[1] It is in the Khajuraho village, and the temple complex is spread over an area of 6 square kilometres (2.3 sq mi).[2] It is in the western part of the village to the west of the Vishnu temple.[3][4]

 

The temple complex, in the Khajuraho village at an elevation of 282 metres (925 ft), is well connected by road, rail and air services. Khajuraho is 55 kilometres (34 mi) to the south of Mahoba, 47 kilometres (29 mi) away from the Chhatarpur city to its east, 43 kilometres (27 mi) away from Panna, 175 kilometres (109 mi) by road away from Jhansi on the north, and 600 kilometres (370 mi) to the south - east of Delhi. It is 9 kilometres (5.6 mi) from the railway station.[1][5] Khajuraho is served by Khajuraho Airport (IATA Code: HJR), with services to Delhi, Agra and Mumbai. It is 6 kilometres (3.7 mi) from the temple.[5][6]

History

 

Khajuraho was once the capital of the Chandela dynasty. The Kandariya Mahadeva Temple, one of the best examples of temples preserved from the medieval period in India,[1][7] is the largest of the western group of temples in the Khajuraho complex which was built by the Chandela rulers. Shiva is the chief deity in the temple deified in the sanctum sanctorium.[8]

 

The Kandariya Mahadeva temples was built during the reign of Vidyadhara (r. c. 1003-1035 CE).[9] At various periods of the reign of this dynasty many famous temples dedicated to Vishnu, Shiva, Surya, Shakti of the Hindu religion and also for the Thirthankaras of Jain religion were built. Vidhyadhara, also known as Bida in the recordings of the Muslim historian Ibn-al-Athir, who is credited with building the Kaṇḍāriyā Mahādeva Temple, was a powerful ruler who fought Mahmud of Ghazni in the first offensive launched by the latter in 1019.[1] This battle was not conclusive and Mahmud had to return to Ghazni. Mahmud again waged war against Vidhyadhara in 1022. He attacked the fort of Kalinjar.[1] The siege of the fort was unsuccessful. It was lifted and Mahmud and Vidhyadhara called a truce and parted by exchanging gifts. Vidhyadhara celebrated his success over Mahmud and other rulers by building the Kaṇḍāriyā Mahādeva Temple, dedicated to his family deity Shiva. Epigraphic inscriptions on a pilaster of the mandapa in the temple mentions the name of the builder of the temple as Virimda, which is interpreted as the pseudonym of Vidhyadhara.[1] Its construction is dated to the period from 1025 and 1050 AD.[4]

 

All the extant temples including the Kandariya Mahadeva Temple were inscribed in 1986 under the UNESCO List of World Heritage Sites under Criterion III for its artistic creation and under Criterion V for the culture of the Chandelas that was popular till the country was invaded by Muslims in 1202.[10][11]

Features

Various features of the temple marked on the Kandariya Mahadeo Temple.

Simplified map of the temple

 

The Kandariya Mahadeva Temple, 31 metres (102 ft) in height, is in the western complex, which is the largest among the three groups of the Khajuraho complex of temples.[12] This western group of temples, consisting of the Kandariya, Matangeshwara and Vishvanatha temples, is compared to a "cosmic design of a hexagon (a yantra or Cosmo gram)" representing the three forms of Shiva.[5] The temple architecture is an assemblage of porches and towers which terminates in a shikhara or spire, a feature which was common from the 10th century onwards in the temples of Central India.[12]

 

The temple is founded on a massive plinth of 4 metres (13 ft) height.[13] The temple structure above the plinth is dexterously planned and pleasingly detailed.[14] The superstructure is built in a steep mountain shape or form, symbolic of Mount Meru which is said to be the mythical source of creation of the world.[8] The superstructure has richly decorated roofs which rise in a grand form terminating in the shikara, which has 84 miniature spires.[4] The temple is in layout of 6 square kilometres (2.3 sq mi), of which 22 are extant including the Kaṇḍāriyā Mahādeva Temple. This temple is characteristically built over a plan of 31 metres (102 ft) in length and 20 metres (66 ft) in width with the main tower soaring to a height of 31 metres (102 ft), and is called the "largest and grandest temple of Khajuraho".[2][14][15] A series of steep steps with high rise lead from the ground level to the entrance to the temple.[16] The layout of the temple is a five-part design, a commonality with the Lakshmana and Vishvanatha temples in the Khajuraho complex. Right at the entrance there is torana, a very intricately carved garland which is sculpted from a single stone; such entrances are part of a Hindu wedding procession.[4] The carvings on the entrance gate shows the "tactile quality of the stone and also the character of the symmetrical design" that is on view in the entire temple which has high relief carvings of the figurines. Finely chiseled, the decorative quality of the ornamentation with the sharp inscribed lines has "strong angular forms and brilliant dark-light patterns". The carvings are of circles, undulations giving off spirals or sprays, geometric patterns, masks of lions and other uniform designs which has created a pleasant picture that is unique to this temple, among all others in the complex.[14]

The main temple tower with 84 mini spires

Erotic sculptures on the external walls of the temple

 

In the interior space from the entrance there are three mandapas or halls, which successively rise in height and width, which is inclusive of a small chamber dedicated to Shiva, a chamber where Shiva's wife, Parvati is deified, and a central sanctum or garbhagriha (literal meaning "womb chamber") where the Shiva linga, the phallic emblem of Shiva is deified. The sanctum sanctorum is surrounded by interlinked passages which also have side and front balconies. Due to inadequate natural light in the balconies the sanctum has very little light thus creating a "cave like atmosphere" which is in total contrast to the external parts of the temple.[4][13][17][18] In the interior halls of the temple and on its exterior faces there are elaborately carved sculptures of gods and goddesses, musicians and apsaras or nymphs.[4] The huge pillars of the halls have architectural features of the "vine or scroll motif". In the corners of the halls there are insets which are carved on the surface with incised patterns.[14] There is a main tower above the sanctum and there are two other towers above the other mantapas also in the shape of "semi-rounded, stepped, pyramidal form with progressively greater height". The main tower is encircled by a series of interlinked towers and spires of smaller size.[19] These are in the form of a repeated subset of miniature spires that abut a central core which gives the temple an unevenly cut contour similar to the shape of a mountain range of mount Kailasa of the Himalayas where god Shiva resides, which is appropriate to the theme of the temples here.[18]

 

The exterior surfaces of the temples are entirely covered with sculptures in three vertical layers.[4] Here, there are horizontal ribbons carved with images, which shine bright in the sun light, providing rhythmic architectural features. Among the images of gods and heavenly beings, Agni, the god of fire is prominent.[14] They are niches where erotic sculptures are fitted all round which are a major attraction among visitors. Some of these erotic sculptures are very finely carved and are in mithuna (coitus) postures with maidens flanking the couple, which is a frequently noted motif. There is also a "male figure suspended upside" in coitus posture, a kind of yogic pose, down on his head.[4] The niches also have sculptures of Saptamatrikas, the septad of mother goddesses along with the gods Ganesha and Virabhadra. The seven fearful protector goddesses include: Brahmi seated on a swan of Brahma; Maheshwari with three eyes seated on Shiva's bull Nandi; Kumari; Vaishnavi mounted on Garuda; the boar-headed Varahi; the lion-headed Narasimhi and Chamunda, the slayer of demons Chanda and Munda.[4]

 

Ipê Amarelo, Tabebuia [chrysotricha or ochracea].

Ipê-amarelo em Brasília (UnB), Brasil.

This tree is in Brasília, Capital of Brazil.

 

Text, in english, from Wikipedia, the free encyclopedia

"Trumpet tree" redirects here. This term is occasionally used for the Shield-leaved Pumpwood (Cecropia peltata).

Tabebuia

Flowering Araguaney or ipê-amarelo (Tabebuia chrysantha) in central Brazil

Scientific classification

Kingdom: Plantae

(unranked): Angiosperms

(unranked): Eudicots

(unranked): Asterids

Order: Lamiales

Family: Bignoniaceae

Tribe: Tecomeae

Genus: Tabebuia

Gomez

Species

Nearly 100.

Tabebuia is a neotropical genus of about 100 species in the tribe Tecomeae of the family Bignoniaceae. The species range from northern Mexico and the Antilles south to northern Argentina and central Venezuela, including the Caribbean islands of Hispaniola (Dominican Republic and Haiti) and Cuba. Well-known common names include Ipê, Poui, trumpet trees and pau d'arco.

They are large shrubs and trees growing to 5 to 50 m (16 to 160 ft.) tall depending on the species; many species are dry-season deciduous but some are evergreen. The leaves are opposite pairs, complex or palmately compound with 3–7 leaflets.

Tabebuia is a notable flowering tree. The flowers are 3 to 11 cm (1 to 4 in.) wide and are produced in dense clusters. They present a cupular calyx campanulate to tubular, truncate, bilabiate or 5-lobed. Corolla colors vary between species ranging from white, light pink, yellow, lavender, magenta, or red. The outside texture of the flower tube is either glabrous or pubescentThe fruit is a dehiscent pod, 10 to 50 cm (4 to 20 in.) long, containing numerous—in some species winged—seeds. These pods often remain on the tree through dry season until the beginning of the rainy.

Species in this genus are important as timber trees. The wood is used for furniture, decking, and other outdoor uses. It is increasingly popular as a decking material due to its insect resistance and durability. By 2007, FSC-certified ipê wood had become readily available on the market, although certificates are occasionally forged.

Tabebuia is widely used as ornamental tree in the tropics in landscaping gardens, public squares, and boulevards due to its impressive and colorful flowering. Many flowers appear on still leafless stems at the end of the dry season, making the floral display more conspicuous. They are useful as honey plants for bees, and are popular with certain hummingbirds. Naturalist Madhaviah Krishnan on the other hand once famously took offense at ipé grown in India, where it is not native.

Lapacho teaThe bark of several species has medical properties. The bark is dried, shredded, and then boiled making a bitter or sour-tasting brownish-colored tea. Tea from the inner bark of Pink Ipê (T. impetiginosa) is known as Lapacho or Taheebo. Its main active principles are lapachol, quercetin, and other flavonoids. It is also available in pill form. The herbal remedy is typically used during flu and cold season and for easing smoker's cough. It apparently works as expectorant, by promoting the lungs to cough up and free deeply embedded mucus and contaminants. However, lapachol is rather toxic and therefore a more topical use e.g. as antibiotic or pesticide may be advisable. Other species with significant folk medical use are T. alba and Yellow Lapacho (T. serratifolia)

Tabebuia heteropoda, T. incana, and other species are occasionally used as an additive to the entheogenic drink Ayahuasca.

Mycosphaerella tabebuiae, a plant pathogenic sac fungus, was first discovered on an ipê tree.

Tabebuia alba

Tabebuia anafensis

Tabebuia arimaoensis

Tabebuia aurea – Caribbean Trumpet Tree

Tabebuia bilbergii

Tabebuia bibracteolata

Tabebuia cassinoides

Tabebuia chrysantha – Araguaney, Yellow Ipê, tajibo (Bolivia), ipê-amarelo (Brazil), cañaguate (N Colombia)

Tabebuia chrysotricha – Golden Trumpet Tree

Tabebuia donnell-smithii Rose – Gold Tree, "Prima Vera", Cortez blanco (El Salvador), San Juan (Honduras), palo blanco (Guatemala),duranga (Mexico)

A native of Mexico and Central Americas, considered one of the most colorful of all Central American trees. The leaves are deciduous. Masses of golden-yellow flowers cover the crown after the leaves are shed.

Tabebuia dubia

Tabebuia ecuadorensis

Tabebuia elongata

Tabebuia furfuracea

Tabebuia geminiflora Rizz. & Mattos

Tabebuia guayacan (Seem.) Hemsl.

Tabebuia haemantha

Tabebuia heptaphylla (Vell.) Toledo – tajy

Tabebuia heterophylla – roble prieto

Tabebuia heteropoda

Tabebuia hypoleuca

Tabebuia impetiginosa – Pink Ipê, Pink Lapacho, ipê-cavatã, ipê-comum, ipê-reto, ipê-rosa, ipê-roxo-damata, pau d'arco-roxo, peúva, piúva (Brazil), lapacho negro (Spanish); not "brazilwood"

Tabebuia incana

Tabebuia jackiana

Tabebuia lapacho – lapacho amarillo

Tabebuia orinocensis A.H. Gentry[verification needed]

Tabebuia ochracea

Tabebuia oligolepis

Tabebuia pallida – Cuban Pink Trumpet Tree

Tabebuia platyantha

Tabebuia polymorpha

Tabebuia rosea (Bertol.) DC.[verification needed] (= T. pentaphylla (L.) Hemsley) – Pink Poui, Pink Tecoma, apama, apamate, matilisguate

A popular street tree in tropical cities because of its multi-annular masses of light pink to purple flowers and modest size. The roots are not especially destructive for roads and sidewalks. It is the national tree of El Salvador and the state tree of Cojedes, Venezuela

Tabebuia roseo-alba – White Ipê, ipê-branco (Brazil), lapacho blanco

Tabebuia serratifolia – Yellow Lapacho, Yellow Poui, ipê-roxo (Brazil)

Tabebuia shaferi

Tabebuia striata

Tabebuia subtilis Sprague & Sandwith

Tabebuia umbellata

Tabebuia vellosoi Toledo

 

Ipê-do-cerrado

Texto, em português, da Wikipédia, a enciclopédia livre.

Ipê-do-cerrado

Classificação científica

Reino: Plantae

Divisão: Magnoliophyta

Classe: Magnoliopsida

Subclasse: Asteridae

Ordem: Lamiales

Família: Bignoniaceae

Género: Tabebuia

Espécie: T. ochracea

Nome binomial

Tabebuia ochracea

(Cham.) Standl. 1832

Sinónimos

Bignonia tomentosa Pav. ex DC.

Handroanthus ochraceus (Cham.) Mattos

Tabebuia chrysantha (Jacq.) G. Nicholson

Tabebuia hypodictyon A. DC.) Standl.

Tabebuia neochrysantha A.H. Gentry

Tabebuia ochracea subsp. heteropoda (A. DC.) A.H. Gentry

Tabebuia ochracea subsp. neochrysantha (A.H. Gentry) A.H. Gentry

Tecoma campinae Kraenzl.

ecoma grandiceps Kraenzl.

Tecoma hassleri Sprague

Tecoma hemmendorffiana Kraenzl.

Tecoma heteropoda A. DC.

Tecoma hypodictyon A. DC.

Tecoma ochracea Cham.

Ipê-do-cerrado é um dos nomes populares da Tabebuia ochracea (Cham.) Standl. 1832, nativa do cerrado brasileiro, no estados de Amazonas, Pará, Maranhão, Piauí, Ceará, Pernambuco, Bahia, Espírito Santo, Goiás, Mato Grosso, Mato Grosso do Sul, Minas Gerais, Rio de Janeiro, São Paulo e Paraná.

Está na lista de espécies ameaçadas do estado de São Paulo, onde é encontrda também no domínio da Mata Atlântica[1].

Ocorre também na Argentina, Paraguai, Bolívia, Equador, Peru, Venezuela, Guiana, El Salvador, Guatemala e Panamá[2].

Há uma espécie homônima descrita por A.H. Gentry em 1992.

Outros nomes populares: ipê-amarelo, ipê-cascudo, ipê-do-campo, ipê-pardo, pau-d'arco-do-campo, piúva, tarumã.

Características

Altura de 6 a 14 m. Tronco tortuso com até 50 cm de diâmetro. Folhas pilosas em ambas as faces, mais na inferior, que é mais clara.

Planta decídua, heliófita, xerófita, nativa do cerrado em solos bem drenados.

Floresce de julho a setembro. Os frutos amadurecem de setembro a outubro.

FloresProduz grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em menos de 90 dias após coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978). As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A germinação ocorre após 30 dias e de 80%. As sementes são ortodoxas e há aproximadamente 72 000 sementes em cada quilo.

O desenvolvimento da planta é rápido.

Como outros ipês, a madeira é usada em tacos, assoalhos, e em dormentes e postes. Presta-se também para peças torneadas e instrumento musicais.

 

Tabebuia alba (Ipê-Amarelo)

Texto, em português, produzido pela Acadêmica Giovana Beatriz Theodoro Marto

Supervisão e orientação do Prof. Luiz Ernesto George Barrichelo e do Eng. Paulo Henrique Müller

Atualizado em 10/07/2006

 

O ipê amarelo é a árvore brasileira mais conhecida, a mais cultivada e, sem dúvida nenhuma, a mais bela. É na verdade um complexo de nove ou dez espécies com características mais ou menos semelhantes, com flores brancas, amarelas ou roxas. Não há região do país onde não exista pelo menos uma espécie dele, porém a existência do ipê em habitat natural nos dias atuais é rara entre a maioria das espécies (LORENZI,2000).

A espécie Tabebuia alba, nativa do Brasil, é uma das espécies do gênero Tabebuia que possui “Ipê Amarelo” como nome popular. O nome alba provém de albus (branco em latim) e é devido ao tomento branco dos ramos e folhas novas.

As árvores desta espécie proporcionam um belo espetáculo com sua bela floração na arborização de ruas em algumas cidades brasileiras. São lindas árvores que embelezam e promovem um colorido no final do inverno. Existe uma crença popular de que quando o ipê-amarelo floresce não vão ocorrer mais geadas. Infelizmente, a espécie é considerada vulnerável quanto à ameaça de extinção.

A Tabebuia alba, natural do semi-árido alagoano está adaptada a todas as regiões fisiográficas, levando o governo, por meio do Decreto nº 6239, a transformar a espécie como a árvore símbolo do estado, estando, pois sob a sua tutela, não mais podendo ser suprimida de seus habitats naturais.

Taxonomia

Família: Bignoniaceae

Espécie: Tabebuia Alba (Chamiso) Sandwith

Sinonímia botânica: Handroanthus albus (Chamiso) Mattos; Tecoma alba Chamisso

Outros nomes vulgares: ipê-amarelo, ipê, aipê, ipê-branco, ipê-mamono, ipê-mandioca, ipê-ouro, ipê-pardo, ipê-vacariano, ipê-tabaco, ipê-do-cerrado, ipê-dourado, ipê-da-serra, ipezeiro, pau-d’arco-amarelo, taipoca.

Aspectos Ecológicos

O ipê-amarelo é uma espécie heliófita (Planta adaptada ao crescimento em ambiente aberto ou exposto à luz direta) e decídua (que perde as folhas em determinada época do ano). Pertence ao grupo das espécies secundárias iniciais (DURIGAN & NOGUEIRA, 1990).

Abrange a Floresta Pluvial da Mata Atlântica e da Floresta Latifoliada Semidecídua, ocorrendo principalmente no interior da Floresta Primária Densa. É característica de sub-bosques dos pinhais, onde há regeneração regular.

Informações Botânicas

Morfologia

As árvores de Tabebuia alba possuem cerca de 30 metros de altura. O tronco é reto ou levemente tortuoso, com fuste de 5 a 8 m de altura. A casca externa é grisáceo-grossa, possuindo fissuras longitudinais esparas e profundas. A coloração desta é cinza-rosa intenso, com camadas fibrosas, muito resistentes e finas, porém bem distintas.

Com ramos grossos, tortuosos e compridos, o ipê-amarelo possui copa alongada e alargada na base. As raízes de sustentação e absorção são vigorosas e profundas.

As folhas, deciduais, são opostas, digitadas e compostas. A face superior destas folhas é verde-escura, e, a face inferior, acinzentada, sendo ambas as faces tomentosas. Os pecíolos das folhas medem de 2,5 a 10 cm de comprimento. Os folíolos, geralmente, apresentam-se em número de 5 a 7, possuindo de 7 a 18 cm de comprimento por 2 a 6 cm de largura. Quando jovem estes folíolos são densamente pilosos em ambas as faces. O ápice destes é pontiagudo, com base arredondada e margem serreada.

As flores, grandes e lanceoladas, são de coloração amarelo-ouro. Possuem em média 8X15 cm.

Quanto aos frutos, estes possuem forma de cápsula bivalvar e são secos e deiscentes. Do tipo síliqua, lembram uma vagem. Medem de 15 a 30 cm de comprimento por 1,5 a 2,5 cm de largura. As valvas são finamente tomentosas com pêlos ramificados. Possuem grande quantidade de sementes.

As sementes são membranáceas brilhantes e esbranquiçadas, de coloração marrom. Possuem de 2 a 3 cm de comprimento por 7 a 9 mm de largura e são aladas.

Reprodução

A espécie é caducifólia e a queda das folhas coincide com o período de floração. A floração inicia-se no final de agosto, podendo ocorrer alguma variação devido a fenômenos climáticos. Como a espécie floresce no final do inverno é influenciada pela intensidade do mesmo. Quanto mais frio e seco for o inverno, maior será a intensidade da florada do ipê amarelo.

As flores por sua exuberância, atraem abelhas e pássaros, principalmente beija-flores que são importantes agentes polinizadores. Segundo CARVALHO (2003), a espécie possui como vetor de polinização a abelha mamangava (Bombus morio).

As sementes são dispersas pelo vento.

A planta é hermafrodita, e frutifica nos meses de setembro, outubro, novembro, dezembro, janeiro e fevereiro, dependendo da sua localização. Em cultivo, a espécie inicia o processo reprodutivo após o terceiro ano.

Ocorrência Natural

Ocorre naturalmente na Floresta Estaciobal Semidecicual, Floresta de Araucária e no Cerrado.

Segundo o IBGE, a Tabebuia alba (Cham.) Sandw. é uma árvore do Cerrado, Cerradão e Mata Seca. Apresentando-se nos campos secos (savana gramíneo-lenhosa), próximo às escarpas.

Clima

Segundo a classificação de Köppen, o ipê-amarelo abrange locais de clima tropical (Aw), subtropical úmido (Cfa), sutropical de altitude (Cwa e Cwb) e temperado.

A T.alba pode tolerar até 81 geadas em um ano. Ocorre em locais onde a temperatura média anual varia de 14,4ºC como mínimo e 22,4ºC como máximo.

Solo

A espécie prefere solos úmidos, com drenagem lenta e geralmente não muito ondulados (LONGHI, 1995).

Aparece em terras de boa à média fertilidade, em solos profundos ou rasos, nas matas e raramente cerradões (NOGUEIRA, 1977).

Pragas e Doenças

De acordo com CARVALHO (2003), possui como praga a espécie de coleópteros Cydianerus bohemani da família Curculionoideae e um outro coleóptero da família Chrysomellidae. Apesar da constatação de elevados índices populacionais do primeiro, os danos ocasionados até o momento são leves. Nas praças e ruas de Curitiba - PR, 31% das árvores foram atacadas pela Cochonilha Ceroplastes grandis.

ZIDKO (2002), ao estudar no município de Piracicaba a associação de coleópteros em espécies arbóreas, verificou a presença de insetos adultos da espécie Sitophilus linearis da família de coleópteros, Curculionidae, em estruturas reprodutivas. Os insetos adultos da espécie emergiram das vagens do ipê, danificando as sementes desta espécie nativa.

ANDRADE (1928) assinalou diversas espécies de Cerambycidae atacando essências florestais vivas, como ingazeiro, cinamomo, cangerana, cedro, caixeta, jacarandá, araribá, jatobá, entre outras como o ipê amarelo.

A Madeira

A Tabebuia alba produz madeira de grande durabilidade e resistência ao apodrecimento (LONGHI,1995).

MANIERI (1970) caracteriza o cerne desta espécie como de cor pardo-havana-claro, pardo-havan-escuro, ou pardo-acastanhado, com reflexos esverdeados. A superfície da madeira é irregularmente lustrosa, lisa ao tato, possuindo textura media e grã-direita.

Com densidade entre 0,90 e 1,15 grama por centímetro cúbico, a madeira é muito dura (LORENZI, 1992), apresentando grande dificuldade ao serrar.

A madeira possui cheiro e gosto distintos. Segundo LORENZI (1992), o cheiro característico é devido à presença da substância lapachol, ou ipeína.

Usos da Madeira

Sendo pesada, com cerne escuro, adquire grande valor comercial na marcenaria e carpintaria. Também é utilizada para fabricação de dormentes, moirões, pontes, postes, eixos de roda, varais de carroça, moendas de cana, etc.

Produtos Não-Madeireiros

A entrecasca do ipê-amarelo possui propriedades terapêuticas como adstringente, usada no tratamento de garganta e estomatites. É também usada como diurético.

O ipê-amarelo possui flores melíferas e que maduras podem ser utilizadas na alimentação humana.

Outros Usos

É comumente utilizada em paisagismo de parques e jardins pela beleza e porte. Além disso, é muito utilizada na arborização urbana.

Segundo MOREIRA & SOUZA (1987), o ipê-amarelo costuma povoar as beiras dos rios sendo, portanto, indicado para recomposição de matas ciliares. MARTINS (1986), também cita a espécie para recomposição de matas ciliares da Floresta Estacional Semidecidual, abrangendo alguns municípios das regiões Norte, Noroeste e parte do Oeste do Estado do Paraná.

Aspectos Silviculturais

Possui a tendência a crescer reto e sem bifurcações quando plantado em reflorestamento misto, pois é espécie monopodial. A desrrama se faz muito bem e a cicatrização é boa. Sendo assim, dificilmente encopa quando nova, a não ser que seja plantado em parques e jardins.

Ao ser utilizada em arborização urbana, o ipê amarelo requer podas de condução com freqüência mediana.

Espécie heliófila apresenta a pleno sol ramificação cimosa, registrando-se assim dicotomia para gema apical. Deve ser preconizada, para seu melhor aproveitamento madeireiro, podas de formação usuais (INQUE et al., 1983).

Produção de Mudas

A propagação deve realizada através de enxertia.

Os frutos devem ser coletados antes da dispersão, para evitar a perda de sementes. Após a coleta as sementes são postas em ambiente ventilado e a extração é feita manualmente. As sementes do ipê amarelo são ortodoxas, mantendo a viabilidade natural por até 3 meses em sala e por até 9 meses em vidro fechado, em câmara fria.

A condução das mudas deve ser feita a pleno sol. A muda atinge cerca de 30 cm em 9 meses, apresentando tolerância ao sol 3 semanas após a germinação.

Sementes

Os ipês, espécies do gênero Tabebuia, produzem uma grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em poucos dias após a sua coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978).

As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A quebra natural leva cerca de 3 meses e a quebra na câmara leva 9 meses. A germinação ocorre após 30 dias e de 80%.

As sementes são ortodoxas e há aproximadamente 87000 sementes em cada quilo.

Preço da Madeira no Mercado

O preço médio do metro cúbico de pranchas de ipê no Estado do Pará cotado em Julho e Agosto de 2005 foi de R$1.200,00 o preço mínimo, R$ 1509,35 o médio e R$ 2.000,00 o preço máximo (CEPEA,2005).

 

Following, a text, in english, from Wikipedia the free encyclopedia:

Great Egret

For the similar Australasian species, see Eastern Great Egret.

The Great Egret (Ardea alba), also known as the Great White Egret or Common Egret or (now not in use) Great White Heron,[1][2] is a large, widely-distributed egret. Distributed across most of the tropical and warmer temperate regions of the world, in southern Europe it is rather localized. In North America it is more widely distributed, and it is ubiquitous across the Sun Belt of the United States and in the rainforests of South America. It is sometimes confused with the Great White Heron in Florida, which is a white morph of the closely related Great Blue Heron (A. herodias). Note, however, that the name Great White Heron has occasionally been used to refer to the Great Egret.

Description:

The Great Egret is a large bird with all-white plumage that can reach one meter in height, weigh up to 950 grams (2.1 lb) and a wingspan of 165 to 215 cm. It is thus only slightly smaller than the Great Blue or Grey Heron (A. cinerea). Apart from size, the Great Egret can be distinguished from other white egrets by its yellow bill and black legs and feet, though the bill may become darker and the lower legs lighter in the breeding season. In breeding plumage, delicate ornamental feathers are borne on the back. Males and females are identical in appearance; juveniles look like non-breeding adults. It is a common species, usually easily seen. It has a slow flight, with its neck retracted. This is characteristic of herons and bitterns, and distinguishes them from storks, cranes, ibises, and spoonbills, which extend their necks in flight.

The Great Egret is not normally a vocal bird; at breeding colonies, however, it often gives a loud croaking cuk cuk cuk.

Systematics and taxonomy:

Like all egrets, it is a member of the heron family, Ardeidae. Traditionally classified with the storks in the Ciconiiformes, the Ardeidae are closer relatives of pelicans and belong in the Pelecaniformes instead. The Great Egret—unlike the typical egrets—does not belong to the genus Egretta but together with the great herons is today placed in Ardea. In the past, however, it was sometimes placed in Egretta or separated in a monotypic genus Casmerodius.

Subspecies

There were four subspecies in various parts of the world, which differ but little. Differences are bare part coloration in the breeding season and size; the largest A. a. modesta from Asia and Australasia is now considered a full species, the Eastern Great Egret (Ardea modesta). The remaining three subspecies are:

Ardea alba alba (Europe)

Ardea alba egretta (Americas)

Ardea alba melanorhynchos (Africa)

Ecology and status:

The Great Egret is partially migratory, with northern hemisphere birds moving south from areas with colder winters. It breeds in colonies in trees close to large lakes with reed beds or other extensive wetlands. It builds a bulky stick nest.

The Great Egret is generally a very successful species with a large and expanding range. In North America, large numbers of Great Egrets were killed around the end of the 19th century so that their plumes could be used to decorate hats. Numbers have since recovered as a result of conservation measures. Its range has expanded as far north as southern Canada. However, in some parts of the southern United States, its numbers have declined due to habitat loss. Nevertheless, it adapts well to human habitation and can be readily seen near wetlands and bodies of water in urban and suburban areas. In 1953 the Great Egret in flight was chosen as the symbol of the National Audubon Society, which was formed in part to prevent the killing of birds for their feathers.[3][4]

The Great Egret is one of the species to which the Agreement on the Conservation of African-Eurasian Migratory Waterbirds (AEWA) applies.

Diet:

The Great Egret feeds in shallow water or drier habitats, feeding mainly on fish, frogs, small mammals, and occasionally small birds and reptiles, spearing them with its long, sharp bill most of the time by standing still and allowing the prey to come within its striking distance of its bill which it uses as a spear. It will often wait motionless for prey, or slowly stalk its victim.

Though it might appear that they feed on the parasites of African buffaloes, they actually feed on leafhoppers, grasshoppers and other insects which are stirred open as buffaloes move about in water.

In culture:

The Great Egret is depicted on the reverse side of a 5-Brazilian reais banknote.

"White Egrets" is the title of Saint Lucian Poet Derek Walcott's fourteenth collection of poems.

 

A seguir, texto em português da Wikipédia, a enciclopédia livre:

 

Garça-branca-grande

A garça-branca-grande (Casmerodius albus, sin. Ardea alba), também conhecida apenas como garça-branca, é uma ave da ordem Ciconiiformes. É uma garça de vasta distribuição e pode ser encontrada em todo o Brasil.

Dieta:

Se alimenta de presas aquáticas, depois de aproximar-se sorrateiramente com o corpo abaixado e o pescoço recolhido e bicar seu alimento, esticando seu longo pescoço.

Taxonomia:

Subespécies

C. a. modesta - Ásia e Australasia

C. a. alba - Europa

C. a. egretta - América do Norte

C. a. melanorhynchos - África

 

Ipê Amarelo, Tabebuia [chrysotricha or ochracea].

Ipê-amarelo em Brasília, Brasil.

This tree is in Brasília, Capital of Brazil.

 

Text, in english, from Wikipedia, the free encyclopedia

"Trumpet tree" redirects here. This term is occasionally used for the Shield-leaved Pumpwood (Cecropia peltata).

Tabebuia

Flowering Araguaney or ipê-amarelo (Tabebuia chrysantha) in central Brazil

Scientific classification

Kingdom: Plantae

(unranked): Angiosperms

(unranked): Eudicots

(unranked): Asterids

Order: Lamiales

Family: Bignoniaceae

Tribe: Tecomeae

Genus: Tabebuia

Gomez

Species

Nearly 100.

Tabebuia is a neotropical genus of about 100 species in the tribe Tecomeae of the family Bignoniaceae. The species range from northern Mexico and the Antilles south to northern Argentina and central Venezuela, including the Caribbean islands of Hispaniola (Dominican Republic and Haiti) and Cuba. Well-known common names include Ipê, Poui, trumpet trees and pau d'arco.

They are large shrubs and trees growing to 5 to 50 m (16 to 160 ft.) tall depending on the species; many species are dry-season deciduous but some are evergreen. The leaves are opposite pairs, complex or palmately compound with 3–7 leaflets.

Tabebuia is a notable flowering tree. The flowers are 3 to 11 cm (1 to 4 in.) wide and are produced in dense clusters. They present a cupular calyx campanulate to tubular, truncate, bilabiate or 5-lobed. Corolla colors vary between species ranging from white, light pink, yellow, lavender, magenta, or red. The outside texture of the flower tube is either glabrous or pubescentThe fruit is a dehiscent pod, 10 to 50 cm (4 to 20 in.) long, containing numerous—in some species winged—seeds. These pods often remain on the tree through dry season until the beginning of the rainy.

Species in this genus are important as timber trees. The wood is used for furniture, decking, and other outdoor uses. It is increasingly popular as a decking material due to its insect resistance and durability. By 2007, FSC-certified ipê wood had become readily available on the market, although certificates are occasionally forged.

Tabebuia is widely used as ornamental tree in the tropics in landscaping gardens, public squares, and boulevards due to its impressive and colorful flowering. Many flowers appear on still leafless stems at the end of the dry season, making the floral display more conspicuous. They are useful as honey plants for bees, and are popular with certain hummingbirds. Naturalist Madhaviah Krishnan on the other hand once famously took offense at ipé grown in India, where it is not native.

Lapacho teaThe bark of several species has medical properties. The bark is dried, shredded, and then boiled making a bitter or sour-tasting brownish-colored tea. Tea from the inner bark of Pink Ipê (T. impetiginosa) is known as Lapacho or Taheebo. Its main active principles are lapachol, quercetin, and other flavonoids. It is also available in pill form. The herbal remedy is typically used during flu and cold season and for easing smoker's cough. It apparently works as expectorant, by promoting the lungs to cough up and free deeply embedded mucus and contaminants. However, lapachol is rather toxic and therefore a more topical use e.g. as antibiotic or pesticide may be advisable. Other species with significant folk medical use are T. alba and Yellow Lapacho (T. serratifolia)

Tabebuia heteropoda, T. incana, and other species are occasionally used as an additive to the entheogenic drink Ayahuasca.

Mycosphaerella tabebuiae, a plant pathogenic sac fungus, was first discovered on an ipê tree.

Tabebuia alba

Tabebuia anafensis

Tabebuia arimaoensis

Tabebuia aurea – Caribbean Trumpet Tree

Tabebuia bilbergii

Tabebuia bibracteolata

Tabebuia cassinoides

Tabebuia chrysantha – Araguaney, Yellow Ipê, tajibo (Bolivia), ipê-amarelo (Brazil), cañaguate (N Colombia)

Tabebuia chrysotricha – Golden Trumpet Tree

Tabebuia donnell-smithii Rose – Gold Tree, "Prima Vera", Cortez blanco (El Salvador), San Juan (Honduras), palo blanco (Guatemala),duranga (Mexico)

A native of Mexico and Central Americas, considered one of the most colorful of all Central American trees. The leaves are deciduous. Masses of golden-yellow flowers cover the crown after the leaves are shed.

Tabebuia dubia

Tabebuia ecuadorensis

Tabebuia elongata

Tabebuia furfuracea

Tabebuia geminiflora Rizz. & Mattos

Tabebuia guayacan (Seem.) Hemsl.

Tabebuia haemantha

Tabebuia heptaphylla (Vell.) Toledo – tajy

Tabebuia heterophylla – roble prieto

Tabebuia heteropoda

Tabebuia hypoleuca

Tabebuia impetiginosa – Pink Ipê, Pink Lapacho, ipê-cavatã, ipê-comum, ipê-reto, ipê-rosa, ipê-roxo-damata, pau d'arco-roxo, peúva, piúva (Brazil), lapacho negro (Spanish); not "brazilwood"

Tabebuia incana

Tabebuia jackiana

Tabebuia lapacho – lapacho amarillo

Tabebuia orinocensis A.H. Gentry[verification needed]

Tabebuia ochracea

Tabebuia oligolepis

Tabebuia pallida – Cuban Pink Trumpet Tree

Tabebuia platyantha

Tabebuia polymorpha

Tabebuia rosea (Bertol.) DC.[verification needed] (= T. pentaphylla (L.) Hemsley) – Pink Poui, Pink Tecoma, apama, apamate, matilisguate

A popular street tree in tropical cities because of its multi-annular masses of light pink to purple flowers and modest size. The roots are not especially destructive for roads and sidewalks. It is the national tree of El Salvador and the state tree of Cojedes, Venezuela

Tabebuia roseo-alba – White Ipê, ipê-branco (Brazil), lapacho blanco

Tabebuia serratifolia – Yellow Lapacho, Yellow Poui, ipê-roxo (Brazil)

Tabebuia shaferi

Tabebuia striata

Tabebuia subtilis Sprague & Sandwith

Tabebuia umbellata

Tabebuia vellosoi Toledo

 

Ipê-do-cerrado

Texto, em português, da Wikipédia, a enciclopédia livre.

Ipê-do-cerrado

Classificação científica

Reino: Plantae

Divisão: Magnoliophyta

Classe: Magnoliopsida

Subclasse: Asteridae

Ordem: Lamiales

Família: Bignoniaceae

Género: Tabebuia

Espécie: T. ochracea

Nome binomial

Tabebuia ochracea

(Cham.) Standl. 1832

Sinónimos

Bignonia tomentosa Pav. ex DC.

Handroanthus ochraceus (Cham.) Mattos

Tabebuia chrysantha (Jacq.) G. Nicholson

Tabebuia hypodictyon A. DC.) Standl.

Tabebuia neochrysantha A.H. Gentry

Tabebuia ochracea subsp. heteropoda (A. DC.) A.H. Gentry

Tabebuia ochracea subsp. neochrysantha (A.H. Gentry) A.H. Gentry

Tecoma campinae Kraenzl.

ecoma grandiceps Kraenzl.

Tecoma hassleri Sprague

Tecoma hemmendorffiana Kraenzl.

Tecoma heteropoda A. DC.

Tecoma hypodictyon A. DC.

Tecoma ochracea Cham.

Ipê-do-cerrado é um dos nomes populares da Tabebuia ochracea (Cham.) Standl. 1832, nativa do cerrado brasileiro, no estados de Amazonas, Pará, Maranhão, Piauí, Ceará, Pernambuco, Bahia, Espírito Santo, Goiás, Mato Grosso, Mato Grosso do Sul, Minas Gerais, Rio de Janeiro, São Paulo e Paraná.

Está na lista de espécies ameaçadas do estado de São Paulo, onde é encontrda também no domínio da Mata Atlântica[1].

Ocorre também na Argentina, Paraguai, Bolívia, Equador, Peru, Venezuela, Guiana, El Salvador, Guatemala e Panamá[2].

Há uma espécie homônima descrita por A.H. Gentry em 1992.

Outros nomes populares: ipê-amarelo, ipê-cascudo, ipê-do-campo, ipê-pardo, pau-d'arco-do-campo, piúva, tarumã.

Características

Altura de 6 a 14 m. Tronco tortuso com até 50 cm de diâmetro. Folhas pilosas em ambas as faces, mais na inferior, que é mais clara.

Planta decídua, heliófita, xerófita, nativa do cerrado em solos bem drenados.

Floresce de julho a setembro. Os frutos amadurecem de setembro a outubro.

FloresProduz grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em menos de 90 dias após coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978). As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A germinação ocorre após 30 dias e de 80%. As sementes são ortodoxas e há aproximadamente 72 000 sementes em cada quilo.

O desenvolvimento da planta é rápido.

Como outros ipês, a madeira é usada em tacos, assoalhos, e em dormentes e postes. Presta-se também para peças torneadas e instrumento musicais.

 

Tabebuia alba (Ipê-Amarelo)

Texto, em português, produzido pela Acadêmica Giovana Beatriz Theodoro Marto

Supervisão e orientação do Prof. Luiz Ernesto George Barrichelo e do Eng. Paulo Henrique Müller

Atualizado em 10/07/2006

 

O ipê amarelo é a árvore brasileira mais conhecida, a mais cultivada e, sem dúvida nenhuma, a mais bela. É na verdade um complexo de nove ou dez espécies com características mais ou menos semelhantes, com flores brancas, amarelas ou roxas. Não há região do país onde não exista pelo menos uma espécie dele, porém a existência do ipê em habitat natural nos dias atuais é rara entre a maioria das espécies (LORENZI,2000).

A espécie Tabebuia alba, nativa do Brasil, é uma das espécies do gênero Tabebuia que possui “Ipê Amarelo” como nome popular. O nome alba provém de albus (branco em latim) e é devido ao tomento branco dos ramos e folhas novas.

As árvores desta espécie proporcionam um belo espetáculo com sua bela floração na arborização de ruas em algumas cidades brasileiras. São lindas árvores que embelezam e promovem um colorido no final do inverno. Existe uma crença popular de que quando o ipê-amarelo floresce não vão ocorrer mais geadas. Infelizmente, a espécie é considerada vulnerável quanto à ameaça de extinção.

A Tabebuia alba, natural do semi-árido alagoano está adaptada a todas as regiões fisiográficas, levando o governo, por meio do Decreto nº 6239, a transformar a espécie como a árvore símbolo do estado, estando, pois sob a sua tutela, não mais podendo ser suprimida de seus habitats naturais.

Taxonomia

Família: Bignoniaceae

Espécie: Tabebuia Alba (Chamiso) Sandwith

Sinonímia botânica: Handroanthus albus (Chamiso) Mattos; Tecoma alba Chamisso

Outros nomes vulgares: ipê-amarelo, ipê, aipê, ipê-branco, ipê-mamono, ipê-mandioca, ipê-ouro, ipê-pardo, ipê-vacariano, ipê-tabaco, ipê-do-cerrado, ipê-dourado, ipê-da-serra, ipezeiro, pau-d’arco-amarelo, taipoca.

Aspectos Ecológicos

O ipê-amarelo é uma espécie heliófita (Planta adaptada ao crescimento em ambiente aberto ou exposto à luz direta) e decídua (que perde as folhas em determinada época do ano). Pertence ao grupo das espécies secundárias iniciais (DURIGAN & NOGUEIRA, 1990).

Abrange a Floresta Pluvial da Mata Atlântica e da Floresta Latifoliada Semidecídua, ocorrendo principalmente no interior da Floresta Primária Densa. É característica de sub-bosques dos pinhais, onde há regeneração regular.

Informações Botânicas

Morfologia

As árvores de Tabebuia alba possuem cerca de 30 metros de altura. O tronco é reto ou levemente tortuoso, com fuste de 5 a 8 m de altura. A casca externa é grisáceo-grossa, possuindo fissuras longitudinais esparas e profundas. A coloração desta é cinza-rosa intenso, com camadas fibrosas, muito resistentes e finas, porém bem distintas.

Com ramos grossos, tortuosos e compridos, o ipê-amarelo possui copa alongada e alargada na base. As raízes de sustentação e absorção são vigorosas e profundas.

As folhas, deciduais, são opostas, digitadas e compostas. A face superior destas folhas é verde-escura, e, a face inferior, acinzentada, sendo ambas as faces tomentosas. Os pecíolos das folhas medem de 2,5 a 10 cm de comprimento. Os folíolos, geralmente, apresentam-se em número de 5 a 7, possuindo de 7 a 18 cm de comprimento por 2 a 6 cm de largura. Quando jovem estes folíolos são densamente pilosos em ambas as faces. O ápice destes é pontiagudo, com base arredondada e margem serreada.

As flores, grandes e lanceoladas, são de coloração amarelo-ouro. Possuem em média 8X15 cm.

Quanto aos frutos, estes possuem forma de cápsula bivalvar e são secos e deiscentes. Do tipo síliqua, lembram uma vagem. Medem de 15 a 30 cm de comprimento por 1,5 a 2,5 cm de largura. As valvas são finamente tomentosas com pêlos ramificados. Possuem grande quantidade de sementes.

As sementes são membranáceas brilhantes e esbranquiçadas, de coloração marrom. Possuem de 2 a 3 cm de comprimento por 7 a 9 mm de largura e são aladas.

Reprodução

A espécie é caducifólia e a queda das folhas coincide com o período de floração. A floração inicia-se no final de agosto, podendo ocorrer alguma variação devido a fenômenos climáticos. Como a espécie floresce no final do inverno é influenciada pela intensidade do mesmo. Quanto mais frio e seco for o inverno, maior será a intensidade da florada do ipê amarelo.

As flores por sua exuberância, atraem abelhas e pássaros, principalmente beija-flores que são importantes agentes polinizadores. Segundo CARVALHO (2003), a espécie possui como vetor de polinização a abelha mamangava (Bombus morio).

As sementes são dispersas pelo vento.

A planta é hermafrodita, e frutifica nos meses de setembro, outubro, novembro, dezembro, janeiro e fevereiro, dependendo da sua localização. Em cultivo, a espécie inicia o processo reprodutivo após o terceiro ano.

Ocorrência Natural

Ocorre naturalmente na Floresta Estaciobal Semidecicual, Floresta de Araucária e no Cerrado.

Segundo o IBGE, a Tabebuia alba (Cham.) Sandw. é uma árvore do Cerrado, Cerradão e Mata Seca. Apresentando-se nos campos secos (savana gramíneo-lenhosa), próximo às escarpas.

Clima

Segundo a classificação de Köppen, o ipê-amarelo abrange locais de clima tropical (Aw), subtropical úmido (Cfa), sutropical de altitude (Cwa e Cwb) e temperado.

A T.alba pode tolerar até 81 geadas em um ano. Ocorre em locais onde a temperatura média anual varia de 14,4ºC como mínimo e 22,4ºC como máximo.

Solo

A espécie prefere solos úmidos, com drenagem lenta e geralmente não muito ondulados (LONGHI, 1995).

Aparece em terras de boa à média fertilidade, em solos profundos ou rasos, nas matas e raramente cerradões (NOGUEIRA, 1977).

Pragas e Doenças

De acordo com CARVALHO (2003), possui como praga a espécie de coleópteros Cydianerus bohemani da família Curculionoideae e um outro coleóptero da família Chrysomellidae. Apesar da constatação de elevados índices populacionais do primeiro, os danos ocasionados até o momento são leves. Nas praças e ruas de Curitiba - PR, 31% das árvores foram atacadas pela Cochonilha Ceroplastes grandis.

ZIDKO (2002), ao estudar no município de Piracicaba a associação de coleópteros em espécies arbóreas, verificou a presença de insetos adultos da espécie Sitophilus linearis da família de coleópteros, Curculionidae, em estruturas reprodutivas. Os insetos adultos da espécie emergiram das vagens do ipê, danificando as sementes desta espécie nativa.

ANDRADE (1928) assinalou diversas espécies de Cerambycidae atacando essências florestais vivas, como ingazeiro, cinamomo, cangerana, cedro, caixeta, jacarandá, araribá, jatobá, entre outras como o ipê amarelo.

A Madeira

A Tabebuia alba produz madeira de grande durabilidade e resistência ao apodrecimento (LONGHI,1995).

MANIERI (1970) caracteriza o cerne desta espécie como de cor pardo-havana-claro, pardo-havan-escuro, ou pardo-acastanhado, com reflexos esverdeados. A superfície da madeira é irregularmente lustrosa, lisa ao tato, possuindo textura media e grã-direita.

Com densidade entre 0,90 e 1,15 grama por centímetro cúbico, a madeira é muito dura (LORENZI, 1992), apresentando grande dificuldade ao serrar.

A madeira possui cheiro e gosto distintos. Segundo LORENZI (1992), o cheiro característico é devido à presença da substância lapachol, ou ipeína.

Usos da Madeira

Sendo pesada, com cerne escuro, adquire grande valor comercial na marcenaria e carpintaria. Também é utilizada para fabricação de dormentes, moirões, pontes, postes, eixos de roda, varais de carroça, moendas de cana, etc.

Produtos Não-Madeireiros

A entrecasca do ipê-amarelo possui propriedades terapêuticas como adstringente, usada no tratamento de garganta e estomatites. É também usada como diurético.

O ipê-amarelo possui flores melíferas e que maduras podem ser utilizadas na alimentação humana.

Outros Usos

É comumente utilizada em paisagismo de parques e jardins pela beleza e porte. Além disso, é muito utilizada na arborização urbana.

Segundo MOREIRA & SOUZA (1987), o ipê-amarelo costuma povoar as beiras dos rios sendo, portanto, indicado para recomposição de matas ciliares. MARTINS (1986), também cita a espécie para recomposição de matas ciliares da Floresta Estacional Semidecidual, abrangendo alguns municípios das regiões Norte, Noroeste e parte do Oeste do Estado do Paraná.

Aspectos Silviculturais

Possui a tendência a crescer reto e sem bifurcações quando plantado em reflorestamento misto, pois é espécie monopodial. A desrrama se faz muito bem e a cicatrização é boa. Sendo assim, dificilmente encopa quando nova, a não ser que seja plantado em parques e jardins.

Ao ser utilizada em arborização urbana, o ipê amarelo requer podas de condução com freqüência mediana.

Espécie heliófila apresenta a pleno sol ramificação cimosa, registrando-se assim dicotomia para gema apical. Deve ser preconizada, para seu melhor aproveitamento madeireiro, podas de formação usuais (INQUE et al., 1983).

Produção de Mudas

A propagação deve realizada através de enxertia.

Os frutos devem ser coletados antes da dispersão, para evitar a perda de sementes. Após a coleta as sementes são postas em ambiente ventilado e a extração é feita manualmente. As sementes do ipê amarelo são ortodoxas, mantendo a viabilidade natural por até 3 meses em sala e por até 9 meses em vidro fechado, em câmara fria.

A condução das mudas deve ser feita a pleno sol. A muda atinge cerca de 30 cm em 9 meses, apresentando tolerância ao sol 3 semanas após a germinação.

Sementes

Os ipês, espécies do gênero Tabebuia, produzem uma grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em poucos dias após a sua coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978).

As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A quebra natural leva cerca de 3 meses e a quebra na câmara leva 9 meses. A germinação ocorre após 30 dias e de 80%.

As sementes são ortodoxas e há aproximadamente 87000 sementes em cada quilo.

Preço da Madeira no Mercado

O preço médio do metro cúbico de pranchas de ipê no Estado do Pará cotado em Julho e Agosto de 2005 foi de R$1.200,00 o preço mínimo, R$ 1509,35 o médio e R$ 2.000,00 o preço máximo (CEPEA,2005).