Women,Art,Esthetic
View allAll Photos Tagged esthetic
Street art Barcelona
Banys Vells street /Old city
By Gastón Liberto
Gastón Liberto was born in Sierra Grande, Argentine, Patagonia.
He studied Art and Philosophy. The Circus and the Carnival are
the source of his former images of his childhood, they are his a
esthetic paradigm. Since the year 2000 he lives in Barcelona,
the city which inspires him for its culture and for its international
artistic community. His work is influenced by the Latino American
Magic Realism, the Surrealism Pop, the people, the travels, the
nature, the social events, the music, the technology. All the
chaos, and the anxiety of the post–modernity is wat he tries
to anderstand througt art. He has been working in painting
illustration and sculture for 12 years.
The thunderstorm and its cumulonimbus approach, they are behind me. But the first clouds over this field are very esthetic also he seems to me. Before the rain, small last ones bright periods of blue sky disappear.
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L'orage et ses cumulonimbus arrivent, ils sont derrière moi. Mais les premiers nuages au-dessus de ce champ sont très esthétiques aussi il me semble. Avant la pluie, les dernières petites éclaircies de ciel bleu disparaissent.
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Charente, France
Thank you to all for your kind words! I really appreciate each one of them !!!
See my shots with 1,000+ faves, in Explore or my 3 best.
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The Gold Collection ~ Invited photos
GORGEOUS: commented with gorgeous
...
view of sheep grazing in an enclosure in the Romantic Park in Arkadia
Arkadia (Polish pronunciation: [arˈkadja]) is a village in the administrative district of Gmina Nieborów, within Łowicz County, Łódź Voivodeship, in central Poland. It lies approximately 6 km east of Łowicz and 50 km north-east of the regional capital Łódź.
The village has an approximate population of 250. Arkadia is famous for its English Garden Park set up by Helena Radziwiłł in 1779 with the designers Szymon Bogumil Zug and Henryk Ittar.
In the 70s of the 18th century a new style in gardening called English style appeared in Poland. It originated at the beginning of the century in England and then was gradually spreading across the other European countries. The English style definitely opposed artificiality and regularity of baroque gardens. It promoted unrestricted and emotional compositions of sentimental or symbolic forms and architectural constructions referring to ancient and medieval works of arts as well as to the everyday life in the country, often also to the overseas exotic forms. The style had been transformed together with philosophic, ideological and esthetical changes of the epoch from sentimental forms to the vision of romantic garden.
A freezing blue hour in the deserted main old square of my hometown
Botosani ,Romania
Shot with Huawei P20 Leica lens cameraphone
that esthetic pleasure which comes from finding beauty in the commonest things :-)
Imogen Cunningham
HSS! Justice Matters!
rose, 'Love and Peace', little theater rose garden, raleigh, north carolina
Definitely a more "modern" style windmill that was actually advertised as being more aerodynamic and efficient. Puts the modern wind turbines to shame,more esthetically pleasing for sure....
Hope everyone enjoyed their day-Happy Windmill Wednesday!
Another year almost gone - and not exactly a good one! I lost my oldest living relative (at 94) and two cousins (one to COVID, one to suicide). I broke my arm (through and through!), could have easily died doing so, and was basically an invalid for the next three months, but somehow emerged as strong as ever (albeit with an arm that's a little bit crooked).
2022. I've lived through worse years. 2003, when my mom died. 2010, when my dad died. 2021, when my wife's uncle and both of her parents died within days of one another (of COVID). What can I say, except - I'm glad I'm still alive, glad I'm about to bag another year!
I took some photos this year (surprisingly, about twice the number I took last year, though not nearly as many as I did in the prior years). Seems I’m becoming a lot more selective as I get older. That’s a good thing!
There is a certain esthetic that I like, and this photo is a good example. Bright colors (extending just enough past what can be believed to be real). Sharp edges cutting into the mist, a hint of multi-dimensionality, a sense of motion, of passage of time.
What I like about this one in particular (above the above) is its musicality. Now I can’t play any instrument for $h!t, but I can hear the invisible fingers ping the rocks, as though they were piano keys, one by one, from bottom to top, toward the crescendo that is the lighthouse and the red-roofed/ red-sided structures to its left. Then the fast moving clouds… I imagine they take you, viewer/listener, out of the picture, only to bring you back, half circle, to the point you started from.
There is a song I like, 'Englishman in New York', if you are guessing where my title comes from. This photo was taken on 'main street' of Toronto, which changed dramatically over past few years and it always catches me by surprise, when a whole bunch of typical Toronto buildings is suddenly gone. That happened right here. A hole in the ground for now, but the character of the street is definitely changed. The old small buildings have individually no historical or even esthetical value, but together they made Yonge Street strip an interesting destination.
♫Oh, I'm an alien, I'm a legal alien
I'm a foreign in Toronto ♫ (Sting)
910. Toronto. 2022-Jan 04; P1200378; Upload 2022-Jan 11. Lmx -ZS100
Smile on Saturday: "Odd One Out"
Hearing protection. If you have never been in a computer server room, the sound is close to a jet taking off. The servers and the HVAC make a lot of noise, so I had lots of these hearing protection devices in my pockets. The different colors are just the manufacturers esthetic choice.
O Sole Mio, Carlo Bergonzi
www.youtube.com/watch?v=0nNxw7c55Mk
Bunin: Debussy - Arabesque No. 1 in E major
www.youtube.com/watch?v=GStfo_f4L0g
An American living in China talking about the nCoV
www.youtube.com/watch?v=L5rhyBKJXb4
On the Death of Dr. Li in Wuhan
www.youtube.com/watch?v=b-Fy80yHYQo&t=9s
Toscha Seidel - Grieg Violin Sonata #3, Mvt 3
www.youtube.com/watch?v=anTp1BExGes
Raoul Koczalski : Chopin
www.youtube.com/watch?v=fcV3P6zS30Q
www.youtube.com/watch?v=xhfmiuVSnDw
www.youtube.com/watch?v=dFSPMrxTgdk
www.youtube.com/watch?v=au33_fvyJng
www.youtube.com/watch?v=elTSwjBY8nQ
www.youtube.com/watch?v=sOHg33Shwl8
www.youtube.com/watch?v=7fprBFVoMeU
www.youtube.com/watch?v=fmRMyRYYGtQ
Tschaiovsky
www.youtube.com/watch?v=Ugn1MPF-T84&list=RDV_22HZ7T_F...
Scriabin
www.youtube.com/watch?v=eHPFrCJP6c4&list=RDsOHg33Shwl...
Schubert-Liszt
www.youtube.com/watch?v=V_22HZ7T_FQ&list=RDV_22HZ7T_F...
*
In Conversation With: Toscha Seidel
"Studying with Professor Auer was a revelation. I had private lessons from him, and at the same time attended the classes at the Petrograd Conservatory. I should say that his great specialty, if one can use the word specialty in the case of so universal a master of teaching as the Professor, was bowing. In all violin playing the left hand, the finger hand, might be compared to a perfectly adjusted technical machine, one that needs to be kept well oiled to function properly. The right hand, the bow hand, is the direct opposite—it is the painter hand, the artist hand, its phrasing outlines the pictures of music; its nuances fill them with beauty of color. And while the Professor insisted as a matter of course on the absolute development of finger mechanics, he was an inspiration as regards the right manipulation of the bow, and its use as a medium of interpretation. And he made his pupils think. Often, when I played a passage in a concerto or sonata and it lacked clearness, he would ask me: 'Why is this passage not clear?' Sometimes I knew and sometimes I did not. But not until he was satisfied that I could not myself answer the question, would he show me how to answer it. He could make every least detail clear, illustrating it on his own violin; but if the pupil could 'work out his own salvation' he always encouraged him to do so.
"Most teachers make bowing a very complicated affair, adding to its difficulties. But Professor Auer develops a natural bowing, with an absolutely free wrist, in all his pupils; for he teaches each student along the line of his individual aptitudes. Hence the length of the fingers and the size of the hand make no difference, because in the case of each pupil they are treated as separate problems, capable of an individual solution. I have known of pupils who came to him with an absolutely stiff wrist; and yet he taught them to overcome it.
HOW TO STUDY
"Scale study—all Auer pupils had to practice scales every day, scales in all the intervals—is a most important thing. And following his idea of stimulating the pupil's self-development, the Professor encouraged us to find what we needed ourselves. I remember that once—we were standing in a corridor of the Conservatory—when I asked him, 'What should I practice in the way of studies?' he answered: 'Take the difficult passages from the great concertos. You cannot improve on them, for they are as good, if not better, as any studies written.' As regards technical work we were also encouraged to think out our own exercises. And this I still do. When I feel that my thirds and sixths need attention I practice scales and original figurations in these intervals. But genuine, resultful practice is something that should never be counted by 'hours.' Sometimes I do not touch my violin all day long; and one hour with head work is worth any number of days without it. At the most I never practice more than three hours a day. And when my thoughts are fixed on other things it would be time lost to try to practice seriously. Without technical control a violinist could not be a great artist; for he could not express himself. Yet a great artist can give even a technical study, say a Rode étude, a quality all its own in playing it. That technic, however, is a means, not an end, Professor Auer never allowed his pupils to forget. He is a wonderful master of interpretation. I studied the great concertos with him—Beethoven, Bruch, Mendelssohn, Tschaikovsky, Dvoøák, the Brahms concerto (which I prefer to any other); the Vieuxtemps Fifth and Lalo (both of which I have heard Ysaye, that supreme artist who possesses all that an artist should have, play in Berlin); the Elgar concerto (a fine work which I once heard Kreisler, an artist as great as he is modest, play wonderfully in Petrograd), as well as other concertos of the standard repertory. And Professor Auer always sought to have us play as individuals; and while he never allowed us to overstep the boundaries of the musically esthetic, he gave our individuality free play within its limits. He never insisted on a pupil accepting his own nuances of interpretation because they were his. I know that when playing for him, if I came to a passage which demanded an especially beautiful legato rendering, he would say: 'Now show how you can sing!' The exquisite legato he taught was all a matter of perfect bowing, and as he often said: 'There must be no such thing as strings or hair in the pupil's consciousness. One must not play violin, one must sing violin!'
A côté de l'église de San Filiberto se trouve un véritable enclos paroissial : un calvaire d'une seule croix et tout autour de l'église, sous leur auvent de lauzes, les stations d'un chemin de croix. L'ensemble qui fait la ronde sur un tapis de gazon est très esthétique en bord de Lac d'Orta.
Next to the church of San Filiberto is a real parochial enclosure: an ordeal of a single cross and everything around the church, under their canopy of lauzes, stations of the Way of the Cross. The set which makes the round on a turfing is very esthetic in edge of Lake of Orta.
“Let the labyrinth of wrinkles be furrowed in my brow with the red-hot iron of my own life... on condition that I can save the intelligence of my soul - let my unformed childhood soul, as it ages, assume the rational and esthetic forms of an architecture, let me learn just everything that others cannot teach me, what only life would be capable of marking deeply in my skin”
-- Salvador Dalí
(photo taken in Utah, U.S.A.)
"It's the kind of human junk that deepens the landscape, makes it sadder and lonelier and places a vague sad subjective regret at the edge of your response - not regret so much as a sense of time's own esthetic, how strange and still and beautiful a chunk of concrete can be, lived in fleetingly and abandoned, the soul of wilderness signed by men and women passing through."
— Don DeLillo
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This shot is taken at Key's Ranch (Joshua Tree State Park, California).
Thanks to all for 21,000.000+ views, visits and kind comments..!!
Please don't use this image on websites, blogs or other media without my explicit permission.
© ALL RIGHTS RESERVED
This is the second and last one with the big borders. Personally think that they suit this shot better.
I don't know which station this was. I took this shot in a rush, but liked the way it turned out.
What exactly is the use of those stickers? In my opinion they're not that good looking, so I think it isn't esthetical. It isn't practical either, because it makes looking out of the windows a little bit harder.
Explored Thank you all!
"Whenever I see a photograph of some sportsman grinning over his kill, I am always impressed by the striking moral and esthetic superiority of the dead animal to the live one."
Edward Abbey
for the medium, and instead simply pursued it as a way of producing evidence of intelligent life on earth :-)
Allan Douglass Coleman
Climate Change Matters! Resist the Ignorant Orange Clown and his Cabinet of Stooges and Buffoons!
tall bearded iris, 'Going Dutch', denver botanic garden, colorado
they can debase taste and narcotize people to prefer the image to the experienced reality it represents. But photographs also can preserve, comfort, inform, and clarify. They can provide esthetic pleasure of the highest order and enlarge our vision of the universe :-)
Arthur Goldsmith
Climate Change Matters! Resist the Ignorant Orange Cockroach and his Cabinet of Stooges and Buffoons!
mexican sunflower. sarah p duke gardens, duke university, durham, north carolina
Description and Credits: You can get more details of this Post in my Blog in the section about me in my profile.
◐ The Wishes - The Bearded Guy ◐
2MUCH EVENT.
◐ IMPACTS STORE - ESA CONJU ◐
Bodies: ESTHETIC, SIGNATURE, BELLEZA, LEGACY, SLINK
◐ [AMC] Cinque boxed Mark II 5.6.3 ◐
Please check out my new blog and cover story for Essence Magazine RP
elchanel000.wordpress.com/2023/03/01/essence-magazine-rp-...
Abbaye Saint Martin du Canigou.
Visitors, tackling a steep, half-hour climb from the parking area, come to make a pilgrimage—esthetic or spiritual—to this celebrated medieval abbey. It's one of the most photographed in Europe thanks to its sky-kissing location atop a triangular promontory at an altitude of nearly 3,600 feet. St-Martin du Canigou's breathtaking mountain setting was due, in part, to an effort to escape the threat of marauding Saracens from the Middle East. Constructed in 1009 by Count Guifré of Cerdagne, then damaged by an earthquake in 1428 and abandoned in 1783, the abbey was diligently (perhaps too diligently) restored by the Bishop of Perpignan early in the 20th century. The oldest parts are the cloisters and the two churches, of which the lower church, dedicated to Notre-Dame-sous-Terre, is the most ancient. Rising above is a stocky, fortified bell tower. Although the hours vary, Masses are sung daily; call ahead to confirm. Easter Mass here is especially joyous and moving.
The future Annie Leibovitz museum or gallery sits in the middle of downtown Healdsburg, a highly gentrified location where property values are sky high. It looks like an abandoned machine shop, which is exactly what it is. Now, just with the addition of a matching street number, the celebrity photographer makes an esthetic statement that ought to reassure the worried neighbors.
Il complesso di San Filiberto formato da chiesa, campanile, Via Crucis e cimitero.
Next to the church of San Filiberto is a real parochial enclosure: an ordeal of a single cross and everything around the church, under their canopy of lauzes, stations of the Way of the Cross. The set which makes the round on a turfing is very esthetic in edge of Lake of Orta.
Sprinkenhof from within. Delicate details, Obvious craftmanship, both technically and esthetically. This picture does not do justice, how impressive the interior of this building is.
Il complesso di San Filiberto formato da chiesa, campanile, Via Crucis e cimitero.
Next to the church of San Filiberto is a real parochial enclosure: an ordeal of a single cross and everything around the church, under their canopy of lauzes, stations of the Way of the Cross. The set which makes the round on a turfing is very esthetic in edge of Lake of Orta.
Just a decorative one !!!
Shot in Germignonville - Eure et Loir - France -
MY DEAR FRIENDS,
I have a favor to ask you, Please no MASSIVE INVITATIONS in Groups,
Because ,Marie is coming back from the hospital, after a surgical operation of the breast (unfortunely it's not an esthetic one) and i have less time to spend on Flickr !!!
Hope it will be better in a week !!!
Btw : Everythings are Ok, it's not too serious !!! Just a very little crab !!! LOL !!!
HaPPY KiNGs WeeKeND
Hope your weekend started sunny like mine.
Amazing sunshine today.
This one I found on a hill in Wiesbaden, Germany.
Bokehlicious place, called Neroberg.
Wonderful view over the city.
Thank you all for your kind comments, faves and friendships.
Take care of the lion and…………
Il complesso di San Filiberto formato da chiesa, campanile, Via Crucis e cimitero.
Sullo sfondo l'isola di San Giulio - Lago d'Orta
Next to the church of San Filiberto is a real parochial enclosure: an ordeal of a single cross and everything around the church, under their canopy of lauzes, stations of the Way of the Cross. The set which makes the round on a turfing is very esthetic in edge of Lake of Orta.
You can also find me here / Il est aussi possible de me retrouver ici : Facebook Page
FR : Arcus très esthétique à l'avant de l’œil d'une dépression passant sur notre région. Mère Nature sait toujours nous surprendre!
ENG : A very esthetic shelf cloud at the front of the depression's eye over our region. Mother Nature always knows how to surprise us!
Juin 2012 - Calvados / Normandie / France.
The picture is taken in the nearby (for me) forest of Bråstad (Braastad) Norway. There are many different falls within this area (if you know were to look), although this waterfall is somewhat typical for what you might find in the norwegian nature.
This one, (I personally belive), is one of the most esthetically appealing. The drop is about 5 m, and the waterfall is located in the middle of a 30 m deep gorge surrounded by "walls" of pine trees. I´ve taken many pictures of it earlier (thru the winter and spring) - and for some reason I keep coming back...
The waterfall is constantly changing wether it´s due to rain or the snowmelt in the spring, or icecaps in the winter. This waterfall for me - somewhat describes the scandinavian soul - a little dark, but with a dash of depth and serenity. The shot is taken on a cloudy afternoon, using a ND8 filter. Hopefully you can enjoy it, as I do.
Have a great day friends ; )
When you once started to post your pictures on a public space like Flickr (or any another service of this sort), your probably have in mind some criteria about what is worth posting. What is a good image ? How to make the difference between what's for the trash bin and your photostream ?
Most of the time, it's not difficult to answer these questions : you just have to look at the images and notice the effect it creates on you sensitivity. The difficulty begins when you have to justify your choice : what are the implicit and effective rules leading you to like or dislike a picture ? Of course, there's plenty of criteria. Some are really technical: is the rule of third respected ? is the subject properly lighted ? and so on. However, we all know that if these technical criterion are important, they are at best a first step to a good picture. Something more - which is not that easy to explain - is needed to get something that creates a real effect.
One of the criteria I started to follow when I got more and more seriously into photography is - I think - interesting because it's quite paradoxical. I personally think that all the pictures I really like (among the ones I took and the ones took by others) look as if they were taken in a fictional world, or at least not in the real world. In other words, if the picture smells too much of the boring reality of everyday life (with it's objects, poor light, colors, etc), I tend to consider them as esthetically defective. A good picture has to carry with it a world of its own which could be totally independent. I am not saying that this fictional world have to be "fantastic" or totally different than the real one. It could be "realistic". For example, a good street photo looks like it was taken in a real street. However, such picture would create the impression than the New York, London, or any city street on the picture is maybe not the real one. It's like a movie taking place in a real city : it's a real and an unreal space at the same time.
This idea can sounds a little bit strange when we consider the fact that photography IS the art of capturing the objective reality. Whatever the picture you take, it represent always a part of reality (I am not speaking of these 100% Photoshop creations. I am not a big fan). However, the art is precisely to take reality with some angles, light, colors, etc. that will create an impression of strangeness. It stops us in our life and make us thinking : "I never thought that a flower, a street, a landscape, a man, a woman, could look like that in my everyday world". If this criteria is not reached, if a picture is just the capture of a minute boring visual perception, then we are probably justified to say that it doesn't work.
Of course, most of the pictures we take cannot create this effect (it’s probably like a 1 / 1000 ratio). Most of the pictures of your parents and friends holidays cannot create this effect. That is why it's sometimes quite boring to watch them : it is so obvious that these places are real places! It is so visible that the reality is better than the picture ! How can such an image create a real emotion ? The only reasonable thing to do would be to go there by yourself : this kind of picture can't give you any hint of the emotion you could feel if you were there.
However, sometime, we successfully catch an image that has this "little thing" that changes everything and makes it potentially interesting for people who do not know you and have no interest in coming at the exact place where you took the picture. What makes the difference is often some very little details : the absence of a distracting object in the background that would recall too aggressively the reality, some blur at the right place, etc. The fictionality of a picture is quite fragile, that's why it is so difficult to get it.
I am now used to go at the Creux-du-Van to shoot the sunrise. I am always happy to do so. As always, I took a lot of images, trying new things. I also tried to recreate an image I already had (and already posted on Flickr). I had a precise idea in mind, I had my frame, my angle, and so on. However, I don't know exactly why, I try the same setting but I unzoomed at 10mm : then this frame of trees one the left and upper border appear and I realized that with the sun on the leafs, the roots and on this little pathway it looked quite magical. The only fact of passing from 14 to 10mm had - in my opinion - changed the picture and created the "unreal effect" : this could happen in a fairytale, this could be a magic tree in an enchanted forest. I spent two hours more after the sunrise on the place, taking panoramas and a lot of others "nice" pictures (I was secretly hoping to get something else that could create such an impression). But I knew the only worth posting picture would be this one ...
This picture was explored on the 26th of June 2016. Thank you !
I agree with Walt Whitman, who is quoted to have said, "As to scenery (giving my own thought and feeling), while I know the standard claim is that Yosemite, Niagara Falls, the Upper Yellowstone and the like afford the greatest natural shows, I am not so sure but the prairies and plains, while less stunning at first sight, last longer, fill the esthetic sense fuller, precede all the rest, and make North America's characteristic landscape."
The Canadian Prairies are partially covered by grasslands, plains, and lowlands, mostly in the southern regions. This image was taken in Southern Alberta, just north of the Hamlet of Rosebud which is less than a half hour southeast of Drumheller. The image captures the expanse of green fields flowing eastward towards the Big Sky.
Just add time to see him at the windows, opening my backpack to take the camera and shot... One second later the window was closed...
#1 on Explore! ⭐ August 4, 2021
From PHILOSOPHY OF SURFING
"The explorer and captain James Cook was the first ocean dancer on the sequoia board in 1778 in Hawaii. He wrote in his journal he assisted a He'henalu session on the Pacific coast, meaning "become one with the waves'' in Hawaiian. Therefore, it is a dance on the foam, an ancestral practice in which men and women initiate to the ocean beauty contemplation. A century later, some notorious writers got to know about it, such as Mark Twain and Jack London, who made surfing popular and developed the esthetic dimension of it."
— saltwater-magazine.com
#MookyBD
#Sony A1
#California
There's an undeniable esthetic that borders on enchantment this time of year. Woodland scenes in particular, with brightly colored foliage and the textured ground cover of fallen leaves. The starkness of tree trunks and branches all seem to contribute. The effect of light and shadow seem somehow magnified in autumn. I find these backdrops particularly conducive for model shoots. This pre-winter phase makes it so much easier to bring to life scenes that generally exist only in my imagination. Staging scenes such as this, then experiencing the reality of my creation often overshadows the actual photography. I often marvel that, were it not for photography, this scene or that scene would never have been created, let alone manifest itself in a form that could be shared with others. And this has proven true for me in so many aspects of photography. It's to the point where much of my recent life experience would not exist without it. Not that other life experiences would have evolved to fill the void. But these experiences seem to be the ones I was meant to fulfill, at least for now. And so I run with them, not wanting to miss a single opportunity.
The contemplation of the imposing Ahu Tongariki with the Pacific Ocean on its back is the fulfilled dream of most travelers who cross the planet to reach Easter Island. The image of Tongariki, together with that of the statues of the nearby Rano Raraku volcano, is the one that has most spread in books, magazines and documentaries of Easter Island. And, since its restoration, this colossal structure has become a symbol and the maximum exponent of the collective imagination about Rapa Nui.
15 imposing giants:
Now, thanks to the restoration, the current visitors are lucky enough to be able to observe this wonderful structure in a similar way to how it could look in its period of maximum splendor.
Fifteen giants observe from their dominant position the astonished travelers who arrive at this unique place in the world. These megalithic images, which form a row on a central altar about 100 meters long, turn their backs to the sea to project their mana or spiritual protection to the ancient village that existed here.
The variety in the shapes and sizes of the statues is striking. Here, contrary to what happens in other platforms such as Ahu Nau Nau or Ahu Akivi, they are all different. There are thin, thick, high and low, and even the expressions seem different.
It is possible, as some theories point out, that they reflect in this way, the character or features of each represented ancestor. Although esthetic differences are more likely to be due to the different times in which they were manufactured. During the reconstruction, some old heads were found that show a more round and natural shape, but it seems that with the passage of time, the features became more and more stylized.
All the moai statues were carved in volcanic tuff from the quarries of the Rano Raraku volcano, located one kilometer northwest. Despite their relative closeness, it is still not explained how they were able to transport to Tongariki these huge giants that have an average weight of 40 tons.
The moai measure between 5.6 and 8.7 meters, being the highest and heaviest (86 tons) the fifth on the right. If at the height of the moai, we add the 4 meters of the back wall and the almost 2 meters of the pukao or headdresses that adorned the head, the complete monument reaches a maximum height of 14 meters.
Formerly all the moai of the ahu carried a pukao on their head, but during the restoration only one could be placed on the second moai on the right. The others, due to the passage of time and the tsunami, were too eroded. On the right side of the platform you can see seven of these huge cylinders carved in red scoria extracted from the Puna Pau volcano.
The statues sit on the highest part of the platform, which takes the form of an inclined plane when descending towards the front. Here, as a finishing touch, there appear a series of rows formed by large marine boulders, called poro, which are characteristic of this type of ahu.
It is interesting to approach the back of the platform, to appreciate more closely the size of the statues and other details of this megalithic structure. Here I also saw some remains of heads and torsos of other moai used in the first phases of construction of the ahu. According to the remains found, it is estimated that at least 30 moai were part of Tongariki in its different stages over a period that lasted more than 700 years.
Comparison of the size of several moai on the whole island with men: