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Sitting in a cafe. The warm autumn sun on some wooden chairs. The seats formed in a smooth shape were somehow in interaction with the sunlight. the Illumination of the seats emphasizes their surface, form, design and material.
View Large. Myna. Kāʻanapali, Maui Hawaii
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Fornebu (local form Fornebo) is a peninsular area in the suburban municipality of Bærum in Norway, bordering western parts of Oslo.
Oslo Airport, Fornebu (FBU) served as the main airport for Oslo and the country since before World War II and until the evening of October 7, 1998, when it was closed down. Overnight, a grand moving operation was performed, so that the following morning, the new main airport, located inland at Gardermoen (OSL), opened for operations as the main airport, as opposed to previously having been a minor airport.
As of 2001, the Fornebu area is being developed as a centre for information technology and telecom industry, as well as there being some housing project developments nearby. The new headquarters of Norway's telecom giant Telenor are located in the area.
The peninsula is connected to Langodden and Snarøya, which are more established areas of private residences.
Equipment=Nikon 750D
Lens Used=Tokina 17-35mm Lens
Exposures=7
Location=Fornebu, Norway
Workflow=Aurora 2018
Adobe Lightroom 5,
ON1 Photo 10=Increase Color,Dynamic Contrast, and Dark Glow
Nik Color=Brilliance/Warmth, Sunset, and Skylight
Aurora 2018=Realistic Dreamy
142058 formed of 55708 and 55754 is seen preserved at Spring Village Station on the Telford Steam Railway, complete with protective cover over the windscreens.
Peak Forest 27-9-22 37716 draws the loaded boxes to form 6F07 to Dallam out of Dove Holes Quarry into the "Long Sidings" ready for departure during its last week of work on hire to Victa Rail. NO POLE, STEPS, DRONES, TREES or other aids required. Just a hill!
Inscrito em 1983 na lista do Património Mundial da UNESCO, o conjunto monástico formado pelo Convento da Ordem de Cristo e o Castelo Templário, em Tomar, formam um conjunto monumental único no seu género.
Dom Gualdim Pais, Mestre provincial da Ordem do Templo em Portugal, construiu o Castelo em 1160. No espaço limitado pelas suas muralhas viveram os primeiros habitantes de Tomar. Filho de Paio Ramires e de Gontrode Soares, combateu ao lado de D. Afonso Henriques contra os mouros, vindo a ser ordenado Cavaleiro pelo soberano no campo de Ourique em 1139. Partiu depois para a Palestina, onde militou durante cinco anos como Cavaleiro da Ordem dos Templários, tendo participado do cerco à cidade de Gaza. Ao retornar, foi ordenado como quarto Grão-Mestre da Ordem em Portugal no ano de 1157, então sediada em Soure, onde tinham castelo desde 1128 o Castelo de Soure por doação de Dona Teresa. Fundou, nessa cidade, o Castelo de Tomar e o Convento de Cristo em 1160, que se tornou o Quartel-General dos Templários no país, dando foral à nova vila no ano de 1162. Também fundou o Castelo de Almourol, o de Idanha, o de Ceras, o de Monsanto e o de Pombal. Deu foral a Pombal em 1174. Cercado no ano de 1190 em Tomar pelas forças Almóadas sob o comando do califa Abu Yusuf Ya'qub al-Mansur, conseguiu defender o Castelo contra esse efectivo numericamente superior, detendo assim a invasão do norte do Reino de Portugal por esta parte. Faleceu em Tomar no ano de 1195, e ali se encontra sepultado, na Igreja de Santa Maria dos Olivais.
A Oriente foi construída a Alcáçova com a torre de menagem, que constitui o centro da fortaleza. A Ocidente foi erigida a Igreja octogonal Templária, onde os Templários puderam encontrar a continuidade da sua sagrada missão de Cavalaria. Em Portugal, a Ordem do Templo foi extinta em 1312, mas os seus bens foram transmitidos à Ordem de Cristo, criada em 1319, sob os auspícios de D. Dinis. Com a Ordem de Cristo, a nação portuguesa desperta para a empresa das descobertas marítimas do séc. XV, pois o Infante D. Henrique é o Mestre da Ordem. O Convento de Cristo apresenta testemunhos arquitectónicos da arte do Românico, templária, Gótico, Manuelino, Renascimento e joanino, nas suas várias facetas e, por fim, do Barroco, presente em várias ornamentações.
Na estrutura arquitectural do Convento, além das edificações construídas em torno da igreja templária, há a salientar o conjunto de quatro grandes claustros articulados por dois eixos em cruz latina, e também um aqueduto com seis quilómetros de extensão mandado edificar por Filipe II. Integra os domínios conventuais uma área de floresta e cultivo conhecida por Mata dos Sete Montes, por estar limitada por sete colinas. A célebre janela do capítulo ficou assim conhecida por iluminar uma sala que foi construída para servir de sacristia mas que acabou por ser palco das cortes gerais convocadas por Filipe I de Portugal. A janela é um dos exemplares mais significativos da arte manuelina, pois os elementos que a compõem fazem alusão aos Descobrimentos portugueses, estando bem presentes os elementos marítimos. O núcleo do mosteiro é a Charola do século XII, o Oratório dos Templários, tal como em muitos dos seus templos, baseia-se na Rotunda Do Santo Sepulcro de Jerusalém, adaptada pelo Infante D. Henrique.
Em 1356, Tomar passou a ser a sede da Ordem de Cristo em Portugal, e a decoração da Charola reflecte a riqueza da Ordem. As pinturas e frescos, quase só cenas bíblicas do século XVI e a estatuária dourada sob a cúpula bizantina, foram cuidadosamente restauradas. Quando foi construída a igreja manuelina, esta ficou ligada à Charola por uma arcada. A Ordem dos Templários, ou Cavaleiros Templários (algumas vezes chamados de: Cavaleiros de Cristo, Cavaleiros do Templo, Pobres Cavaleiros, etc.). Foi uma das mais famosas Ordens Militares de Cavalaria.
A organização existiu por cerca de dois séculos na Idade Média, fundada no rescaldo da Primeira Cruzada de 1096, com o propósito original de proteger os cristãos que voltaram a fazer a peregrinação a Jerusalém após a sua conquista. Os seus membros fizeram voto de pobreza e castidade para se tornarem monges. Usavam os seus característicos mantos brancos com a cruz vermelha de malta, e o seu símbolo passou a ser um cavalo montado por dois cavaleiros. Em decorrência do local de sua sede a mesquita Al-Aqsa no cume do monte onde existira o Templo de Salomão em Jerusalém) e do voto de pobreza e da fé em Cristo surgiu o nome "Pobres Cavaleiros de Cristo e do Templo de Salomão". O sucesso dos Templários esteve vinculado ao das Cruzadas.
Quando a Terra Santa foi perdida, o apoio à Ordem foi reduzido. Rumores acerca da cerimónia de iniciação secreta dos Templários criaram desconfianças, e o rei Filipe IV de França profundamente endividado com a Ordem, começou a pressionar o Papa Clemente V a tomar medidas contra eles. Em 1307, muitos dos membros da Ordem em França foram detidos e queimados em estacas. Em 1312, o Papa Clemente dissolveu a Ordem. O súbito desaparecimento da maior parte da infra-estrutura europeia da Ordem deu origem a especulações e lendas, que mantém o nome dos Templários vivo até os dias de hoje.
O livro de Steve Berry (O Legado Dos Templários) é um excelente livro para quem quer começar a perceber os meandros desta ordem que tanto fascina grande parte dos historiadores. No entanto para quem preferir uma leitura menos ligeira e bem mais séria, sugeria (A Grande Aventura dos Templários da origem ao fim), livro este que nos leva a uma reflexão bem mais profunda e que nos transporta a esses tempos conturbados mas nem por isso menos belos da idade média. Um dos trabalhos mais sérios que conheço sobre os templários.
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Shadow play or shadow puppetry is an ancient form of storytelling and entertainment using opaque, often articulated figures in front of an illuminated backdrop to create the illusion of moving images. It is popular in various cultures. At present, more than 20 countries are known to have shadow show troupes.
The Turkish tradition of shadow play called Karagöz and Hacivat was widespread throughout the Ottoman Empire and featured characters representing all of the major ethnic and social groups in that culture. It was performed by a single puppet master, who voiced all of the characters, and accompanied by a classical Ottoman music ensemble. Its origins are obscure, deriving perhaps from an older Egyptian tradition, or possibly from an Asian source.
During the 19th century these characters were adapted to the Greek language and culture, Karagöz and Hacivat becoming Karagiozis and Hadjiavatis with each of the characters assuming stereotypically Greek personalities. This tradition thrived throughout Greece after independence as popular entertainment for a largely adult audience, particularly before competition arose from television. The stories did, however, retain the period setting in the late years of the Ottoman Empire. Karagiozis theatre has undergone some revival in recent years, with the intended audience tends largely juvenile.
...taken at the Energy Museum section of SantralIstanbul...
Istanbul, Turkey...
Kirkjugolfid, The Church Floor; east of Kirkjubaejarklaustur village, Iceland
The basalt columns were formed when lava cooled and contracted, cracking the rock. When this happened, the lava broke apart evenly, creating the distinctive hexagonal shape.
La Farmacia La Estrella forma parte de la historia nacional. Fue el Dr. Bernardino Rivadavia el creador de esta primera botica de la ciudad de Buenos Aires, cuando en 1834 encargó a un importante bioquímico y botánico la dirección de la misma. Con el tiempo, y ya bajo otro dominio, se sumó la droguería a la farmacia, llegando a convertirse en la más importante de Sudamérica. Fue en 1885 cuando la farmacia La Estrella inauguró este edificio con una decoración que impactaba por su valor artístico y detalles de gran nivel: cristales de murano, estanterías de nogal, mármol de carrara, y los frescos en los cielorrasos del artesano Barberis que se destacan por los simbolismos que aluden a “la salud”, “la enfermedad” y “la farmacopea”. Su fachada ostentan una herrería original en sus puertas y una cargada ornamentación, en la que tres angelitos parecen dejarse caer hacia la nada. La Estrella tuvo su fama bien ganada gracias a la oferta de prestigiosos productos originales, que aún son recordados con nostalgia: la limonada Roge, el tónico esperidina, y las píldoras para la tos Parodi, entre tantos otros. Además de su actividad comercial, en sus salones se realizaron importantes tertulias por donde pasaron las figuras más destacadas del ámbito político como Carlos Pelligrini, Julio A. Roca, y Bartolomé Mitre, entre otros. Es el comercio más antiguo de la Ciudad de Buenos Aires, que aún conserva su estilo y sus detalles originales de gran valor estético, gracias a lo cual ha merecido numerosos premios y reconocimientos. Hoy sigue prestando servicios de laboratorio Homeopático y Alopático de recetas magistrales, y ofrece importantes productos de herbonistería y perfumería.
ubicación: Defensa 201, Monserrat, Buenos Aires
fuente: info.todobuenosaires.com/descripcion/descripcion_lugar.ph...
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... "We must, however, acknowledge, as it seems to me, that man with all his noble qualities... still bears in his bodily frame the indelible stamp of his lowly origin."
---Charles Darwin---
Just me.
The Eastern Ore Mountains form a natural region, that covers the eastern part of the Saxon Ore Mountains. It is part of the major landscape unit, the Saxon Highlands and Uplands. Its southern continuation covers an area of roughly the same extent in the Czech Republic.
The Eastern Ore Mountains is bounded in the west by the valley of the river Flöha and in the east by Saxon Switzerland, the German side of the Elbe Sandstone Mountains. The boundary with the Ore Mountain Foreland to the north is rather unclear, whilst in the south the crest of the mountain range closely follows the state border with the Czech Republic.
Das Osterzgebirge ist als Ostteil (flächenmäßig annähernd die Osthälfte) des sächsischen Erzgebirges ein Naturraum in Sachsen und Teil der Übereinheit Sächsisches Bergland und Mittelgebirge. Seine südliche Fortsetzung nimmt etwa gleich große Anteile Tschechiens ein.
Das Osterzgebirge wird im Westen vom Tal des Flusses Flöha und im Osten von der Sächsischen Schweiz, der deutschen, also der nördlichen Seite des Elbsandsteingebirges, begrenzt. Die Grenze zum Erzgebirgsvorland ist eher unscharf, während im Süden die Kammlinie annähernd mit der Staatsgrenze zu Tschechien zusammenfällt.
Three forms arranged on a minimalist stage: two black silhouettes and one pale sculptural object between them. Each represents a different perspective on the same reality—each observer convinced of their truth, each technically correct from their vantage point.
This image explores the philosophical proposition that truth is often relative to perspective. What appears as one shape from the left looks entirely different from the right. Both observers possess valid perceptions, yet neither grasps the complete reality. The actual truth exists somewhere in between—in the synthesis of multiple viewpoints, in the acknowledgment that our individual perspective, however certain, captures only a fragment of the whole.
A visual meditation on epistemology and the limits of perception: How do we know what we know? Can absolute truth exist when reality shifts with every angle of observation? The answer may lie not in choosing one perspective over another, but in embracing the complexity that emerges when we consider them all.
"Seaform Pavilion" ceiling.
I am a little tired of Chihuly — his works seem to be everywhere in the world, and he repeats himself too much to my taste. But I liked this installation in Tacoma.
The Bridge of Glass is a 500-foot (150 m) pedestrian partially-covered footbridge spanning Interstate 705 in Tacoma. It was opened in 2002 as a gift to the city. The Bridge of Glass connects the Museum of Glass on the Thea Foss Waterway to the downtown.
It was designed by Texas architect Arthur Andersson and is decorated with glass artworks by Dale Chihuly.
On the south end of the bridge, closest to the downtown is the "Seaform Pavilion", a 15-meter-long covered portion of the bridge suspending 2,364 pieces of colorful marine-life inspired glass on the ceiling overhead.
Tacoma, Washington. 2010
“These 'forms' were the subject of much banter between them. The one which Augusta called 'the bust' stood in the darkest corner of the room, upon a high wooden chest in which blankets and winter wraps were yearly stored. It was a headless, armless female torso, covered with strong black cotton, and so richly developed in the part for which it was named that the Professor once explained to Augusta how, in calling it so, she followed a natural law of language, termed, for convenience, metonymy. Augusta enjoyed the Professor when he was risque since she was sure of his ultimate delicacy. Though this figure looked so ample and billowy (as if you might lay your head upon its deep-breathing softness and rest safe forever), if you touched it you suffered a severe shock, no matter how many times you had touched it before. It presented the most unsympathetic surface imaginable. Its hardness was not that of wood, which responds to concussion with living vibration and is stimulating to the hand, nor that of felt, which drinks something from the fingers. It was a dead, opaque, lumpy solidity, like chunks of putty, or tightly packed sawdust — very disappointing to the tactile sense, yet somehow always fooling you again. For no matter how often you had bumped up against that torso, you could never believe that contact with it would be as bad as it was.”
(The Professor's House, Willa Cather)
Likely subject: a bromeliad-type rosette, possibly an air plant in the genus Tillandsia, or a related cultivated bromeliad such as Vriesea, Neoregelia, or Guzmania.
Confidence: moderate for “bromeliad/air plant type”; low for exact genus or species.
This appears to be a focus-stacked botanical macro of a rosette-form plant with long, narrow, recurving leaves. The stack gives unusually extended sharpness across leaves that bend through different depth planes.
Description
The image shows a dark, high-contrast botanical subject emerging from a nearly black background. Long straplike leaves rise from a central rosette, then arc outward and downward, especially on the right side. The leaves are mostly hidden in shadow, but their edges catch intense rim light.
The visible color is concentrated along the illuminated leaf margins: copper, amber, bronze, orange, yellow-green, violet, and electric blue-white highlights. The central growth remains greener, while the outer leaves read as darker bronze and maroon.
The plant is not presented as a conventional botanical specimen. It reads as an abstract structure of curved blades, ribbons, or calligraphic strokes traced by light.
Focus-stacking discussion
This image clearly benefits from stacking. A single macro exposure would probably leave only a narrow slice of the plant sharp. Here, multiple parts of the rosette remain defined even though they sit at different distances from the lens:
* the central upright green leaves
* the vertical bronze leaves on the left
* the long recurving arcs on the right
* the repeated rim-lit edges and ridges
* overlapping leaf tips at different depths
The stack allows the form to hold together as a sculptural object instead of dissolving into shallow-focus blur.
There are also visible stack/process traits:
* bright halos along some leaf edges
* abrupt dark transitions where leaves overlap
* local contrast buildup along ridges and margins
* compressed shadow areas that hide detail
* a slightly metallic or enamel-like edge quality
Those effects do not read as accidental here. They support the image’s darkfield, high-contrast abstraction.
Botanical discussion
The rosette structure and straplike recurving leaves strongly suggest a bromeliad. Many bromeliads grow from a central cup or crown, with overlapping leaves arranged in a radial pattern. Some Tillandsia species have narrow, arching leaves, while larger potted bromeliads such as Vriesea, Neoregelia, and Guzmania can also show similar rosette architecture.
Exact identification is limited because the lighting hides key traits:
* leaf surface texture
* scale or trichome pattern
* margin teeth or spines
* whole plant size
* flower spike or bracts
* pot/epiphytic growth habit
So the safest ID is: bromeliad-type rosette, possibly Tillandsia / air plant.
Artistic reading
The strongest visual passage is the right side, where several curved leaves repeat in parallel arcs. That repetition gives the image rhythm and depth. The left side is denser and more vertical, acting as a structural counterweight.
The stack reinforces the graphic quality: instead of one sharp plane, the image offers a constructed depth field where many illuminated edges remain legible. The black background and heavy shadows suppress ordinary plant context, leaving form, light, and color as the main subject.
I am always reminding myself that although DSLRs are necessary for most photographers, myself included, the camera on most smartphones today, have far better performance capacity and capability than what was available to the old Masters of Photography, during the era in which they lived and worked. This is why I am not shy about putting my iPhone7 camera to uses. I hope the results are well received.
Aberration is fairly frequently met with in this species and even quite small colonies can produce interesting forms year after year. It is always worth having a close look at any Small Copper that you see in the field.
Upperside ground colour can vary from pure silver-white through oranges and fiery reds, to deeply suffused specimens that appear almost entirely black. The amount of copper on the hindwing band can be greatly exaggerated or reduced to the point of absence. The number, size, and shape of the black forewing spots can also vary considerably on both the upperside and underside; and even the tails on the hind wings can be markedly exaggerated in length. Heavy suffusion on the upperside is probably environmentally triggered and can sometimes be met with relative frequency in the autumn generation following a particularly hot summer.
Rarely (as in other species) more than one genetically inherited aberration can be expressed in the same specimen. This becomes particularly impressive where, for example, the silver-white ab. schmidtii also expresses the blue markings on the hindwings known as ab. caeruleopunctata and the reduced forewing markings of ab. bipunctata. Such multiple aberrations are almost unknown in the wild but have been produced in captivity by selective pairing of aberrant imagines through successive generations. There are 140 named aberrations known to occur in Britain.
Citation;
Hiroshi Yoshimura (吉村弘) - Wet Land (1993)
For almost everyone, Spring is associated with an abundance of nascent forms and a variety of vibrant colors...
I suggest we look at this magical time without "superfluous" colors. After all, colors usually adhere to existing forms. This means that form and content are the foundation upon which we can apply as many layers of the most vibrant and impressive colors as we like... But if form and content are absent... then color becomes superfluous...
Nature gives us a great variety of forms, imbuing them with a wide variety of meanings and purposes. After all, if you look closely, everything around us carries something special; something that can serve us in a variety of ways – inspire, help us heal, impart valuable lessons, nourish us, and even... send us to other dimensions...
Previously, I wrote that everything around us is connected. And we are connected to everything. Moreover, there is a feeling that everything around us is different forms of the same thing. Different forms of ...Ourselves ...Source ...Nature ...God ...Universe...
What forms fill your life?
What do you feel when the form becomes more tangible?
The Giants Causeway, Bushmills, County Antrim, Northern Ireland
Through personal experience of visiting the ‘Giants Causeway’ over the years I’ve learned that trying to capture a totally unique & unseen photo here is near impossible, however I’m very stubborn so still tried anyhow lol Climbing onto these high unusually twisted columns that are normally in vertical positions, I was pleasantly surprised to find a young man enjoying this moment to himself whilst listening to his favourite music.
Unknowingly to him he was now the interest point for my composition! Working very quietly with respect not to disturb this gentleman’s moment or show his identity, I captured the suns dying light illuminate across the ocean’s surface onto these twisted formations. After the sunset had passed, I snuck away without the fella ever knowing I was even there. It’s a ‘win win’ for everyone as he will always remember his magical moment all alone here on the Giants Causeway, yet it’s also now eternalised in photo for many others to share this moment long after it had passed.....
Created around 50 to 60 million years ago, Ireland was subjected to intense volcanic activity, when highly fluid molten basalt intruded through chalk beds to form an extensive lava plateau. As the lava cooled, contraction occurred. The extensive fracture network produced the distinctive columns seen today at The Giants Causeway. We are truly fortunate to have this wonder of the world right here on our coastline. I can't help but feel totally mesmerised each time I visit here.
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Se recomienda ampliar. It is recommended to expand.
Formas. Pintadas por el Sol y el mar sobre las piedras de la playa, al atardecer.
A Mariña lucense ya dispone de un exclusivo aparato que, entre otros, ayudará a medir la subida que está experimentando el nivel del mar como consecuencia del cambio climático. De esta manera, el mareógrafo inaugurado el pasado miércoles por la Cofradía de Pescadores Santiago Apóstol de Celeiro con motivo de su centenario, y que previsiblemente comenzará a funcionar la próxima semana, será, además de un punto de referencia atractivo para vecinos y visitantes, un instrumento que aportará valiosos datos científicos.
En forma de reloj, está ubicado en la Praza do Monumento ó Náufrago. Sus esferas han sido realizadas en cerámica de Sargadelos sobre un timón metálico con adornos en bronce fundido y están montadas sobre una columna de fundición asentada sobre una piedra maciza de 1,30 metros da altura por 1 de diámetro. En esa base se colocarán azulejos con los nombres de todos los patrones mayores de la cofradía en el último siglo. Por una parte, el artilugio indica el tiempo en horas que resta para la siguiente marea (sea bajamar o pleamar), y por otra, la altura que alcanza el nivel del mar en cada momento. «Nunha das esferas explícase de maneira didáctica como o sol e a lúa inflúen nas mareas polo desfase que ten a Terra ó xirar e á distancia á lúa», resume Antonio Lage, socio de Lages Chavín, la empresa de Viveiro especializada en la fabricación de relojes y piezas de relojería monumental que se ha ocupado del proyecto.
La Cofradía de Celeiro festeja su centenario mirando al futuro: «Calquera pobo vai seguir tendo vida se segue habendo actividade económica»
Esta esfera muestra el tiempo que resta para la próxima marea
Esta esfera muestra el tiempo que resta para la próxima marea
Una sonda sumergida
El mareógrafo de la Cofradía está conectado a dos sondas. Una de ellas está sumergida en el agua, mientras que la otra no tiene contacto con ella y funciona tipo radar. El aparato realiza las mediciones mediante un sistema electrónico que lleva a cabo de manera automática una serie de correcciones y cálculos antes de que los datos sean reflejados en las esferas.
Diseño y fabricación de una empresa de Viveiro
Tanto del diseño como de la fabricación, de principio a fin, del mareógrafo de Celeiro se ha ocupado una empresa de Viveiro, Lages Electrónica, que cuenta con más de cuarenta años de experiencia en el sector. En el 2021, la firma ya se había ocupado de llevar a cabo la compleja restauración del reloj monumental que preside la cúpula de la Cofradía, y que forma parte del patrimonio histórico-pesquero de la localidad mariñana. Su desgaste era generalizado.
En esta ocasión, Lages Electrónica, que también rehabilitó, por ejemplo, el reloj de la iglesia de Santa María, en el centro histórico, ha realizado un proyecto exclusivo, totalmente a medida. Sus profesionales se han encargado del diseño, creación y ensamblaje de los sistemas electrónicos, pero también de encargar la base de piedra, tallada de manera manual, o la columna de fundición.
Esta fotografía forma parte de una sesión muy especial.
Fue una sesión corta de la que no obtuvimos demasiado archivo fotográfico pero que al haber estado muy pensada y trabajada en pre-producción el resultado me pareció satisfactorio.
Un Boudoir de embarazada de nueve meses, a la que posteriormente se sumó una sesión de New Born, son sesiones muy especiales para cualquier fotógrafo pero en este caso al tratarse de familia se convirtió en un privilegio.
Solo puedo agradecer a los padres el que me hayan permitido compartir con ellos momentos tan íntimos como estos.
Italien / Toskana - San Gimignano
Piazza Duomo
San Gimignano (Italian pronunciation: [san dʒimiɲˈɲaːno]) is a small walled medieval hill town in the province of Siena, Tuscany, north-central Italy. Known as the Town of Fine Towers, San Gimignano is famous for its medieval architecture, unique in the preservation of about a dozen of its tower houses, which, with its hilltop setting and encircling walls, form "an unforgettable skyline". Within the walls, the well-preserved buildings include notable examples of both Romanesque and Gothic architecture, with outstanding examples of secular buildings as well as churches. The Palazzo Comunale, the Collegiate Church and Church of Sant' Agostino contain frescos, including cycles dating from the 14th and 15th centuries. The "Historic Centre of San Gimignano" is a UNESCO World Heritage Site. The town also is known for saffron, the Golden Ham, pecorino cheese and its white wine, Vernaccia di San Gimignano, produced from the ancient variety of Vernaccia grape which is grown on the sandstone hillsides of the area.
Territory
The municipality of San Gimignano extends for 138 km² and is located on a hill in Val d'Elsa. The altitude difference is between a minimum of 64 meters a.s.l. in the plain of the river Elsa near Certaldo at a maximum of 631 meters in the area of Cornocchio.
History
In the 3rd century BC a small Etruscan village stood on the site of San Gimignano. Chroniclers Lupi, Coppi and Pecori relate that during the Catiline conspiracy against the Roman Republic in the 1st century, two patrician brothers, Muzio and Silvio, fled Rome for Valdelsa and built two castles, Mucchio and Silvia (now San Gimignano). The name of Silvia was changed to San Gimignano in 450 AD after Bishop Geminianus, the Saint of Modena, intervened to spare the castle from destruction by the followers of Attila the Hun. As a result, a church was dedicated to the saint, and in the 6th and 7th centuries a walled village grew up around it, subsequently called the "Castle of San Gimignano" or Castle of the Forest because of the extensive woodland surrounding it. From 929 the town was ruled by the bishops of Volterra.
In the Middle Ages and the Renaissance era, it was a stopping point for Catholic pilgrims on their way to Rome and the Vatican, as it sits on the medieval Via Francigena. The city's development was also improved by the trade of agricultural products from the fertile neighbouring hills, in particular saffron, used in both cooking and dyeing cloth and Vernaccia wine, said to inspire popes and poets.
In 1199, the city made itself independent of the bishops of Volterra and established a podestà, and set about enriching the commune with churches and public buildings. However, the peace of the town was disturbed for the next two centuries by conflict between the Guelphs and the Ghibellines, and family rivalries within San Gimignano. This resulted in competing families building tower houses of increasingly greater heights. Towards the end of the Medieval period, there were 72 tower houses in number, up to 70 metres (230 feet) tall. The rivalry was finally restrained when the local council ordained that no tower was to be taller than that adjacent to the Palazzo Comunale.
While the official patron is Saint Geminianus, the town also honours Saint Fina, known also as Seraphina and Serafina, who was born in San Gimignano 1238 and whose feast day is 12 March. The Chapel of Santa Fina in the Collegiate Church houses her shrine and frescos by Ghirlandaio. The house said to be her home still stands in the town.
On 8 May 1300, San Gimignano hosted Dante Alighieri in his role as ambassador of the Guelph League in Tuscany.
The city flourished until 1348, when it was struck by the Black Death that affected all of Europe, and about half the townsfolk died. The town submitted to the rule of Florence. Initially, some Gothic palazzi were built in the Florentine style, and many of the towers were reduced to the height of the houses. There was little subsequent development, and San Gimignano remained preserved in its medieval state until the 19th century, when its status as a touristic and artistic resort began to be recognised.
Description
The city is on the ridge of a hill with its main axis being north/south. It is encircled by three walls and has at its highest point, to the west, the ruins of a fortress dismantled in the 16th century. There are eight entrances into the city, set into the second wall, which dates from the 12th and 13th centuries. The main gates are Porta San Giovanni on the ridge extending south, Porta San Matteo to the north west and Porta S. Jacopo to the north east. The main streets are Via San Matteo and Via San Giovanni, which cross the city from north to south. At the heart of the town are four squares: the Piazza Duomo, on which stands the Collegiate Church; the Piazza della Cisterna, the Piazza Pecori and the Piazza delle Erbe. To the north of the town is another significant square, Piazza Agostino, on which stands the Church of Sant' Agostino. The locations of the Collegiate Church and Sant' Agostino's and their piazzas effectively divide the town into two regions.
Main sights
The town of San Gimignano has many examples of Romanesque and Gothic architecture. As well as churches and medieval fortifications, there are examples of Romanesque secular and domestic architecture which may be distinguished from each other by their round and pointed arches, respectively. A particular feature which is typical of the region of Siena is that the arches of openings are depressed, with doorways often having a second low arch set beneath a semi-circular or pointed arch. Both Romanesque and Gothic windows sometimes have a bifurcate form, with two openings divided by a stone mullion under a single arch.
Culture
San Gimignano is the birthplace of the poet Folgore da San Gimignano (1270–1332).
A fictionalised version of San Gimignano is featured in E. M. Forster's 1905 novel, Where Angels Fear to Tread as Monteriano.
M. C. Escher's 1923 woodcut San Gimignano depicts the celebrated towers.
Franco Zeffirelli used San Gimignano as a stand-in for the town of Assisi in his 1972 Saint Francis of Assisi biopic Brother Sun, Sister Moon. Most of the "Assisi" scenes were filmed here
Tea with Mussolini, a 1999 drama about the plight of English and American expatriate women in Italy during World War II, was filmed in part in San Gimignano. The frescoes that the women save from being destroyed during the German Army's withdrawal are inside the Duomo, the town's main church. The account of this episode is, to a large extent, fictional, because, although there are reports of intended retribution against the town, there is no evidence of a plan to destroy the churches. However, the reference to risk of cultural destruction is historic, as the Allies bombed the area for ten days.
In the 2005 novel The Broker by John Grisham, Joel Backman takes his second of three wives on vacation in Italy to keep her from divorcing him. They rent a 14th-century monastery near San Gimignano for a month.
A 15th-century version of the town is featured in the 2009 video game Assassin's Creed II.
(Wikpedia)
Piazza della Cisterna is a piazza in San Gimignano, Italy. It has a triangular shape with a slight natural slope and is connected to the nearby Piazza del Duomo by an open passage. The pavement is brick and the piazza is surrounded by houses and medieval towers. There are presently 5 towers onto the square or very near it and the bases of other five are visible on the facade of the various palaces, plus one, the Ridolfi tower, which is no longer in existence having collapsed in 1646 onto the family palace, thus making this relatively small area a concentrate of medieval architecture. In the south-west corner, the piazza meets the Arc of Becci, (l'arco dei Becci), an ancient city gate. The arc is flanked by the massive rectangular towers of Becci (torri dei Becci) on the left and Cugnanesi (torri dei Cugnanesi) on the right.
Past the access to via di Castello, which led down to the original Bishop’s castle, the northern side is characterized by the renaissance Cortesi Palace, which includes la torre del Diavolo, and extends along the north side of the square including the old houses of the Cattani family. There remains of two pre-existing towers are clearly visible onto the facade of the Cortesi Palace.
The west side is adorned with various towers, like the twin towers of Ardinghelli and the tower of palazzo Pellari visible over the roofs.
History
The piazza is located at the intersection of two main streets of the village of San Gimignano: la via Francigena that run north to south and la via Pisa - [[Siena]that runs east to west]. The piazza was used as a market and a stage for festivals and tournaments. Originally the area was divided in two squares by the palace and tall tower of the Ridolfi family, the Piazza dell’ Olmo in the inferior and western part and the Piazza delle Taverne in the eastern side and with the cisterna in the middle. In 1646 the tall Ridolfi tower suddenly collapsed, destroying the palace and thus the two squares were merged into one, the Piazza della Cisterna.
The piazza is named after the underground cistern (Cisterna) built in 1287. The cistern is capped by a travertine octagonal pedestal, which was built in 1346 under the mayor Guccio Malavolti whose coat of arms with the ladder is carved onto the stones, and is close to the center of the square.
(Wikipedia)
San Gimignano ist eine italienische Kleinstadt in der Toskana mit einem mittelalterlichen Stadtkern. San Gimignano wird auch „Mittelalterliches Manhattan“ oder die „Stadt der Türme“ genannt. Die Stadt liegt in der Provinz Siena und hat 7717 Einwohner (Stand 31. Dezember 2019). Sie gehört neben Florenz, Siena und Pisa zu den von Touristen meistbesuchten Zielen in der Toskana.
Allgemeines
Der historische Stadtkern ist seit dem Jahr 1990 Teil des Weltkulturerbes der UNESCO. San Gimignano besitzt noch einige der mittelalterlichen Geschlechtertürme, die in anderen Städten nur als Stümpfe erhalten blieben. Im Mittelalter versuchten die Patrizierfamilien, sich in der Höhe ihres Geschlechterturmes zu übertreffen, obwohl ein luxuriöses Leben darin nicht möglich war. Von den einst 72 Geschlechtertürmen existieren in San Gimignano heute noch 15. Die beiden höchsten, der Torre Grossa aus dem Jahr 1311 und der Torre della Rognosa, weisen eine Höhe von 54 bzw. 51 Metern auf. Die Zisterne auf der Piazza della Cisterna entstand 1287 und wurde 1346 durch den Podestà Guccio Malavolti erweitert.
Geografie
Die Stadt liegt ca. 40 km südwestlich der Regionalhauptstadt Florenz und ca. 28 km nordwestlich der Provinzhauptstadt Siena an der Via Francigena und im Elsatal. San Gimignano liegt in der klimatischen Einordnung italienischer Gemeinden in der Zone D, 2 085 GR/G.
Zu den Ortsteilen gehören Badia a Elmi (94 m, gehört teilweise zu Certaldo), Castel San Gimignano (377 m, gehört teilweise zu Colle di Val d’Elsa), Pancole (272 m), Santa Lucia (268 m) und Ulignano. Weitere wichtige Orte im Gemeindegebiet sind Montauto (277 m), Monteoliveto (275 m) Ranza und San Donato (357 m). Größter Ortsteil ist Ulignano mit ca. 690 Einwohnern.
Die wichtigsten Flüsse im Gemeindegebiet sind der Elsa (4 von 81 km im Gemeindegebiet) sowie die Torrenti Foci (4 von 15 km im Gemeindegebiet) und Riguardi (7 von 7 km im Gemeindegebiet).
Die Nachbargemeinden sind Barberino Tavarnelle (FI), Certaldo (FI), Colle di Val d’Elsa, Gambassi Terme (FI), Poggibonsi und Volterra (PI).
Geschichte
San Gimignano soll bereits um 300 bis 200 v. Chr. von den Etruskern besiedelt worden sein. Erstmals dokumentiert wurde der Ort 929. Den Namen erhielt die Stadt von dem heiligen Bischof von Modena, San Gimignano. Es heißt, er habe das Dorf vor den barbarischen Horden des Totila geschützt.
Diese Stadt verdankt ihre Existenz der Via Francigena (Frankenstraße). Auf diesem Hauptverkehrsweg des mittelalterlichen Italiens zogen Händler und Pilger vom Norden nach Rom. Der Ort bildete sich als Marktstätte zwischen dem frühmittelalterlichen Castello und der Pieve, dem Vorgängerbau der Collegiata. Ein erster Stadtmauerring wurde im 10. Jahrhundert angelegt. Dessen Verlauf markieren zwei noch erhaltene Stadttore, im Norden der Arco della Cancelleria und im Süden der Arco dei Becci.
Vom 11. Jahrhundert an dehnte sich das Stadtgebiet entlang der Frankenstraße in nördlicher und südlicher Richtung aus. An die Existenz des früheren Castello erinnern die Via di Castello, eine der ältesten Straßen, und die Kirche von San Lorenzo, die bei der Zugbrücke lag. Mindestens seit dem Jahr 929 gehörte das Kastell den Bischöfen von Volterra. Diese Bischöfe waren es auch, die die Herrschaft über die sich ausdehnende Stadt ausübten. Erst 1199 gelang es den von den Bürgern gewählten Konsuln, Verträge ohne die Zustimmung des Bischofs zu unterzeichnen. San Gimignano war nie Bischofssitz, sondern gehörte zum kirchlichen Verwaltungsbezirk (Diözese) Volterra und erlangte somit auch keine Stadtrechte. Trotzdem verlief die politische Entwicklung der Landkommune in ähnlichen Schritten wie die der großen Städte. Die Regierung der Konsuln wurde durch den Podestà (einem gewählten Administrator) abgelöst. Diesem standen ein kleiner und ein großer Rat zur Seite. Dem großen Rat gehörte eine bemerkenswert hohe Zahl von 1200 Mitgliedern an, obwohl San Gimignano nur 6000 Einwohner hatte.
Die freie Kommune stritt bis ins 14. Jahrhundert mit den Bischöfen von Volterra in langjährigen Kriegen um Besitzrechte. Sie musste gegen die Nachbarorte Castelfiorentino, gegen Colle und Poggibonsi zu Felde ziehen und nahm auf der Seite des guelfischen Florenz an den großen Machtkämpfen des 13. Jahrhunderts teil. Auch innerhalb der Stadtmauern setzten sich die Kämpfe zwischen Guelfen (Welfen) und Ghibellinen (Waiblinger) fort. Es kam zu blutigen Familienfehden zwischen den Familien der Salvucci (Ghibellinen) und der Ardinghelli (Guelfen).
Ab Mai 1300 hielt sich Dante Alighieri in diplomatischer Mission in San Gimignano auf. Vom 15. Juni bis 15. August 1300 amtierte er als eines von sechs Mitgliedern des Priorats, des höchsten Gremiums der Stadt. Im Jahre 1319 versuchte er in seiner Funktion als führender Florentiner Politiker vergeblich, die verfeindeten Parteien zu versöhnen. Eine Kommune wie San Gimignano konnte sich im 14. Jahrhundert nicht mehr neben den Großmächten behaupten. Im Jahre 1348 wurde die Stadt neben Kriegsverlusten und Familienfehden durch die Pest stark geschwächt. Vier Jahre später, im Jahre 1352, begab sich die Stadt unter den Schutz von Florenz.
Die Blütezeit der Stadt dauerte 160 Jahre an, ihr Wohlstand beruhte auf Handel und dem Anbau von Safran, mit dem man Seidenstoffe färbte. Die Frankenstraße verlor im Spätmittelalter allmählich an Bedeutung, weil der Handel die bequemeren Wege durch die weitgehend trockengelegten Sümpfe der Ebenen vorzog. Die Stadt, die einst Gesetze gegen übertriebenen Luxus erlassen hatte, verarmte.
Hochrenaissance (ca. 1500 bis 1530) und Barock (1575 bis 1770) hinterließen in San Gimignano so gut wie keine Spuren. Die Stadt war niemals ein eigenständiges Kunstzentrum. Künstler aus Siena und Florenz malten die Fresken und Altartafeln. Die Paläste und Kirchen zeigen pisanische, sienesische, lucchesische und florentinische Stilmerkmale. In San Gimignano ist die Zeit scheinbar im Jahr 1563 stehengeblieben. Der erste der toskanischen Großherzöge, Cosimo I. de’ Medici, entschied, es dürfen „auch keine geringen Summen“ mehr in diese Stadt investiert werden. Das musste akzeptiert werden, und so ist San Gimignano geblieben, wie es damals war.
(Wikipedia)
.
Un film.
La Forme de l'Eau.
Treize nominations aux Oscars.
Une fable sous la forme d'un magnifique film !
Cela nous fait penser à la diversité, à l'amour au-delà des frontières,
aucune bête, aucune beauté, aucune sexiste ou féministe, pas tellement,
juste très attachant et très charmant !
Je sais, tu essaieras de résister,
mais finalement un jour vous regarderez
et vous ne serez pas capable de oublier.
Pour quelle raison ?
C'est un film dans une belle fable, que vous trouverez dans cette action,
pour se retrouver à si meme dans les profondeurs de votre perception.
Oui, vous pouvez,
dans le 21 février
au cinéma.
"C’est quand on arrive à ce que le public fasse Ahh!"
oui surprenant Réalisateur je suis d'accord
: ]
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L'art du cinéma nous surprend rapidement
et d'un côté à l'autre elle nous joue,
initialement esthétiquement et à la fin dans notre intériorité,
même dans nos plus profonds préjugés,
oui Chaplin avait raison, le cinéma est la vie en mouvement,
oui, labourer la terre à la fin de l'hiver comment
couper et doulers comme aussi sur vous,
mais les graines germent
toujours.
Oui, ne l'oublie pas mon ami(e).
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Ivan