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The Joint Tactical Radio System (JTRS) Handheld, Manpack, and Small Form Fit (HMS) is a materiel solution meeting the requirements of the DOD Chief Information Officer for a Software Communications Architecture (SCA) compliant hardware system hosting SCA-compliant software waveforms (applications). HMS is an Acquisition Category ID program that encompasses specific requirements to support Special Operations Command, Army, Marine Corps, Air Force, and Navy communication needs. It provides the warfighter with a software re-programmable, networkable, multi-mode system-of-systems capable of simultaneous voice, data, and video communications, and meets the radio requirements for Soldiers and small platforms, such as missiles and
ground sensors. The JTRS HMS is a product of Program Executive Office Command Control Communications-Tactical.
Read more on page 200 of the 2013 U.S. Army Weapon Systems Handbook: armyalt.va.newsmemory.com/wsh.php
Exposition
Du 14/06/2017 au 10/09/2017
L’exposition Le Rêve des formes, présentée à l’occasion du vingtième anniversaire du Fresnoy – Studio national des arts contemporains, est conçue comme un paysage imaginaire, un jardin monstrueux où se cultivent des formes périssables et des surfaces en germination, des organismes protubérants et de plates silhouettes.
Les artistes et chercheurs rassemblés dans Le Rêve des formes témoignent de leur rencontre avec de nouvelles possibilités de représentation, issues de découvertes scientifiques et techniques récentes, qui bouleversent notre façon de voir et de montrer. En renouvelant grâce à cela le champ du perceptible – nanotechnologies, imagerie de synthèse, scan 3D, stéréolithographie… –, ces nouvelles visualisations nous laissent présumer de géométries encore inconnues.
Des images, des transcriptions, des modélisations, des formes spéculatives produites par les inventeurs et savants des sciences prospectives, issues des mathématiques, de la physique, de la biologie, de l’optique ou de la chimie par exemple, rejoignent ou inspirent des œuvres qui résultent des greffes opérées entre art et science, entre spéculation et invention, par une vingtaine d’artistes contemporains.
Avec : Francis Alÿs, Hicham Berrada & Sylvain Courrech du Pont & Simon de Dreuille, Michel Blazy, Juliette Bonneviot, Dora Budor, Damien Cadio, Julian Charrière, Sylvie Chartrand, Clément Cogitore, Hugo Deverchère, Bertrand Dezoteux, Mimosa Echard, Alain Fleischer, Fabien Giraud & Raphaël Siboni, Bruno Gironcoli, Spiros Hadjidjanos, Patrick Jouin, Ryoichi Kurokawa, Annick Lesne & Julien Mozziconacci, Adrien Missika, Jean-Luc Moulène, Marie-Jeanne Musiol, Katja Novitskova, Jonathan Pêpe & Thibaut Rostagnat & David Chavalarias, Olivier Perriquet & Jean-Paul Delahaye, Arnaud Petit, Jean-François Peyret & Alain Prochiantz, Gaëtan Robillard, Gwendal Sartre, SMITH & Antonin-Tri Hoang, Anicka Yi
Esta fotografía, forma parte de una exposición virtual titulada "En Tierra de Campos", que permanecerá durante el mes de Abril en el grupo Valladolid (España-Spain)
Herrín de Campos - Valladolid
09/08/09
Pentax k20
Lente: SIGMA 10-20mm F4-5,6 DC EX
Distancia focal en película de 35mm: 15 mm
Filtro polarizador kenko 77mm
f5,6 – 1/250 – 200 ISO
Formed 1915.
Nickname. The Taffs.
Motto. Cymru Am Byth. Wales Forever.
Quick March The Rising of the Lark.
Slow March. Men of Harlech.
Anniv. Saint Davids Day March the 1st
Dianella sandwicensis (Ukiuki)
Flower form sandwicensis at Hawea Pl Olinda, Maui, Hawaii.
April 11, 2011
#110411-4938 - Image Use Policy
Also placed in Liliaceae and Hemerocallidaceae.
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Catedrales e Iglesias
© Álbum 2243
By Catedrales e Iglesias
Plaza Hidalgo 99 Tepotzotlán,
Estado de México, México.
Tels. 58-76-27-70, 58-76-02-45, 58-76-27-70 Fax: 58-76-03-32
virreinato.museo@inah.gob.mx
El Museo Nacional del Virreinato del Instituto Nacional de Antropología e Historia, es uno de los sitios de cultura más importantes de México en donde converge la mejor colección de arte virreinal del país, una muestra completa de retablos de estilo barroco churrigueresco y un lugar que fue construido con formas arquitectónicas distintas, que en su conjunto reúnen más de 300 años del periodo novohispano.
Se trata de un lugar único donde se tiene la oportunidad de conocer y de admirar detalles sobre el ex colegio jesuita de San Francisco Javier y de la vida de sus antiguos moradores. Al mismo tiempo, descubrir los rincones de un edificio colonial de una gran belleza y conocer de cerca cientos de piezas de arte que reflejan la forma de pensar y de actuar de quienes vivieron en los siglos XVI al XIX.
Uno de los principales atractivos del lugar, actualmente convertido en el Museo Nacional del Virreinato, son los retablos de la iglesia de San Francisco Javier, que diseñó el destacado pintor oaxaqueño Miguel Cabrera y que ejecutó el escultor Higinio de Chávez, en el siglo XVIII.
Los retablos son una obra de especial belleza que integran una amplia gama de imágenes, de esculturas y de decoraciones talladas en madera de cedro blanco, recubiertas en hoja de oro de 23.5 kilates.
La iglesia y el ex colegio jesuita se construyeron en honor de San Francisco Javier, en el siglo XVI. Fue un santo misionero de la Compañía de Jesús que hizo labor de evangelización en la Nueva España, el cual murió en Asia, ese mismo siglo.
La devoción que le mostraron los integrantes de la Compañía de Jesús al misionero, se reflejó en las tallas que ocupan el retablo central donde puede verse a San Francisco Javier rodeado por la Virgen María y sus padres, San Joaquín y Santa Ana; San José y el Niño Dios -esposo e hijo de María, respectivamente-, y San Juan Bautista -primo de Jesús-. Todos integran una explicación teológica de la familia.
Otros dos retablos principales, fueron los que se dedicaron a la Virgen de Guadalupe y a San Ignacio de Loyola, cuya elaboración se atribuye también al pintor Miguel Cabrera, según consta en un contrato antiguo que fue descubierto por investigadores del museo.
Foto: Medios/INAH
En Tepotzotlán
En la misma iglesia de San Francisco Javier, pueden apreciarse otras diez tallas del mismo estilo barroco churrigueresco, que se caracterizó por la colocación de pilastras que sostienen la estructura y por la abundancia de imágenes en su decoración, la cual fue preponderante en la época virreinal, cuya técnica semejante se utilizó para construir fachadas de edificios en México, Guanajuato y Puebla, principalmente.
El Museo Nacional del Virreinato tiene 35 puntos de interés, que pueden conocerse a través de un paseo que dura tres horas 15 minutos aproximadamente. La ruta más larga es la que se hace al visitar el ex colegio de San Francisco Javier, un lugar que ocupó esa orden religiosa hasta que el Rey Carlos III ordenó la expulsión de esa congregación religiosa todos los reinos españoles, en 1767.
El itinerario consiste en visitar la entrada del museo, la portería, el Claustro de los Aljibes, la botica, las pinturas de Cristóbal de Villalpando, la biblioteca antigua, la Iglesia de San Francisco Javier y la Capilla Doméstica o de los Novicios, siendo ésta última un sitio donde se celebraba misa y se rezaba el rosario diariamente, desde la primera mitad del siglo XVII hasta la segunda mitad del siglo XVIII.
En la bóveda de la Capilla Doméstica pueden verse pintados los escudos de los franciscanos, los dominicos, los agustinos, los jesuitas, los carmelitas y los mercedarios, mismos que fueron acomodados del altar hacia la puerta, de acuerdo con su llegada a España, en 1524, 1526, 1533, 1527, 1585 y 1589, respectivamente.
Foto: Medios/INAH
Arte virreinal
Los visitantes también pueden conocer los espacios que fueron usados en forma cotidiana por los integrantes de la Compañía de Jesús como el patio de cocinas, la cava y el frigorífico, la despensa, la cocina, el refectorio y el jardín de los naranjos así como la huerta de 3 hectáreas, principal lugar de esparcimiento y una zona en la que se cultivaron plantas medicinales, frutas y hortalizas.
En la parte más alta del impresionante edificio colonial que alberga el Museo Nacional del Virreinato, se ubica un mirador desde donde se puede apreciar el área norte del pueblo Tepotzotlán, los claustros y los Aljibes, una estructura hidráulica, que sirvió para captar el agua de lluvia y llevarla hacia la cocina, donde se utilizó para el consumo de los inquilinos.
Información tomada
MUSEO FORMA DE EL SALVADOR
Ubicado en las proximidades del monumento a El Salvador del Mundo, punto clave de la trama urbana de la ciudad, el Museo FORMA abre sus puertas a espacios y actividades para la educación cultural de los salvadoreños. Su enorme compromiso está hacia el público nacional en pos de contribuir en su educación y en el cultivo de su valoración hacia el significado de las artes plásticas nacionales.
Fundado en 1983, tras la iniciativa de la prestigiosa pintora Julia Díaz primera dama en la profesión, el proyecto FORMA se planteo como el misionero para resguardar con celo y altruismo las creaciones salvadoreñas con el fin de legarlas a las futuras generaciones. Por otra parte su fundadora tenía como precepto dedicar salas o galerías (no importa su término o función arquitectónica) para la incorporación de exposiciones temporales de nuevos talentos.
Dirección: Alameda Manuel Enrique Araujo,pasaje Senda Florida sur, costado poniente de AFP/CONFIA, San Salvador, El Salvador Centroamérica.
Telefono: (503) 22984269
Email: info@museoforma.com
Web: www.museoforma.com
Horarios:
De lunes a viernes de 8:00 a.m. a 5:00 p.m.
Sábados de 8:00 a.m. a 12:00 p.m.
We do hope this stretches a smile on your face...
KOXBOX Live (Twisted Records/ Ibiza/Denemark)
Formed in Copenhagen early in the '90s, Koxbox made some of the first moves toward
the psychedelic trance sound that became a standard later in the decade. The duo
was formed by Frank E (aka Frank Madsen) and Peter Candy, who first met back in 1980
while playing in rock bands around Copenhagen. Even though the KoxBox evolution has
taken many twists and turns, one thing stayed constant: the music is of unimaginable
quality and they can surely be called legends in our scene. We are very excited to
host one of the only artists that have constantely elevated their music to be on top
of the psychedelic trance scene.
OCELOT Live (Vertigo Records/ Portugal)
oCeLoT aka Aaron Peacock is based in Portugal after many years in San Fran. Aaron produces
high-impact psychedelic trance, sometimes deviating into fresh morning goa style creating
music for your nonstop dancing, listening pleasure. While producing since 1993, the oCeLoT
project began in the year 2000 and has been heard on 5 continents in forests, on beaches,
on mountains, in clubs, warehouses, in fields, and just about anywhere a trance party has
been held.
Frank'E DJ Set (Twisted Records/ Ibiza/Denemark)
By the words of the DJ, get ready for a "KILLER" DJ set by the mastermind of KoxBox.
Ocelot chill set (Vertigo Records/ Portugal)
We are treated by this multi talented artist to a couple of hours of on the chill stage
that will surely have you levitating..
Progress Live (YogiBogeyBox/ NYC)
Yuriy Vaskevich is a discoverer of musical dreamscapes. His immense musical background
is not to be missed. He pushes the limits of psychedelic experimental music and reached
sounds that are progressively unique. By popular demand we bring back Yuriy. We assure
you that if you have not heard Yuriy before you will go back to your computers to have
another listen.
DJ K E N (Dreamcatcher / Psychollective, NYC / JP)
K e N's Psytrance style can be described as Full-On that is neither too bright or too dark.
Yet, powerful with a message, his infectious sounds make you smile & dance He plays for
the love of the music and the people. Always evolving, and trying to further define that
special moment, to make the crowd feel special on the dance floor.
We do hope this stretches a smile on your face...
KOXBOX Live (Twisted Records/ Ibiza/Denemark)
Formed in Copenhagen early in the '90s, Koxbox made some of the first moves toward
the psychedelic trance sound that became a standard later in the decade. The duo
was formed by Frank E (aka Frank Madsen) and Peter Candy, who first met back in 1980
while playing in rock bands around Copenhagen. Even though the KoxBox evolution has
taken many twists and turns, one thing stayed constant: the music is of unimaginable
quality and they can surely be called legends in our scene. We are very excited to
host one of the only artists that have constantely elevated their music to be on top
of the psychedelic trance scene.
OCELOT Live (Vertigo Records/ Portugal)
oCeLoT aka Aaron Peacock is based in Portugal after many years in San Fran. Aaron produces
high-impact psychedelic trance, sometimes deviating into fresh morning goa style creating
music for your nonstop dancing, listening pleasure. While producing since 1993, the oCeLoT
project began in the year 2000 and has been heard on 5 continents in forests, on beaches,
on mountains, in clubs, warehouses, in fields, and just about anywhere a trance party has
been held.
Frank'E DJ Set (Twisted Records/ Ibiza/Denemark)
By the words of the DJ, get ready for a "KILLER" DJ set by the mastermind of KoxBox.
Ocelot chill set (Vertigo Records/ Portugal)
We are treated by this multi talented artist to a couple of hours of on the chill stage
that will surely have you levitating..
Progress Live (YogiBogeyBox/ NYC)
Yuriy Vaskevich is a discoverer of musical dreamscapes. His immense musical background
is not to be missed. He pushes the limits of psychedelic experimental music and reached
sounds that are progressively unique. By popular demand we bring back Yuriy. We assure
you that if you have not heard Yuriy before you will go back to your computers to have
another listen.
DJ K E N (Dreamcatcher / Psychollective, NYC / JP)
K e N's Psytrance style can be described as Full-On that is neither too bright or too dark.
Yet, powerful with a message, his infectious sounds make you smile & dance He plays for
the love of the music and the people. Always evolving, and trying to further define that
special moment, to make the crowd feel special on the dance floor.
Pushkar (Hindi: पुष्कर) is a town in the Ajmer district in the Indian state of Rajasthan. It is situated 14 km northwest of Ajmer at an average elevation of 510 m and is one of the five sacred dhams (pilgrimage site) for devout Hindus. According to Hindu theology, the pond at the Katas Raj temple Near Choa Saidan Shah in Chakwal District of Pakistan has a theological association with Shiva; it was formed by the tears of Lord Shiva which he is believed to have shed after the death of his wife, Sati. The story goes that when Sati died, Shiva cried so much and for so long, that his tears created two holy ponds – one at Pushkara in Ajmer in India and the other at Ketaksha, which literally means raining eyes, in Sanskrit. It is from this name that the word Katas is derived. It is often called "Tirth Raj" – the king of pilgrimage sites – and has in recent years become a popular destination for foreign tourists.
Pushkar is one of the oldest existing cities of India. It lies on the shore of Pushkar Lake. The date of its actual origin is not known, but legend associates Brahma with its creation.
Pushkar has many temples. Most of the temples are not very old because MANY TEMPLES WERE DESTROYED DURING MUSLIM CONQUESTS in the area. Subsequently, the destroyed temples were rebuilt. The most famous among all is the Brahma Temple built during the 14th century CE. Very few temples to Lord Brahma exist anywhere in the world. Other temples of Brahma include Bithoor in Uttar Pradesh, India; Khedbrahma in Gujarat, India; village Asotra near Balotra city of Barmer district in Rajasthan; Uttamar Kovil (one of the Divya Desams) near Srirangam, Tamil Nadu; Mother Temple of Besakih in Bali, Indonesia; and Prambanan in Yogyakarta, Indonesia. The Pushkar lake has 52 ghats where pilgrims descend to the lake to bathe in the sacred waters.
Pushkar is also famous for its annual fair (Pushkar Camel Fair) held in November.
ETYMOLOGY
Pushkar in Sanskrit means blue lotus flower. Hindus believe that the gods released a swan with a lotus in its beak and let it fall on earth where Brahma would perform a grand yagna. The place where the lotus fell was called Pushkar. Pushkar word may be derived from word 'Pushkarni'means- lake. It may be derived from word Pushpa means flower and Kar means hand.
HISTORY
Pushkar is one of the oldest cities of India. The date of its actual founding is not known, but legend associates Brahma with its creation.
According to legend, Brahma was in search of a place for Mahayagna and he found this place suitable. After a long time, Brahma came to known that a demon, Vajranash, was killing people here so the Lord intoned a mantra on a lotus flower and killed the demon. During this process the parts of flower fell on three places which were later known as Jyaistha, Madhya and Kanistha Pushkar. After this Brahma performed a yagna to protect this place from demons. The consort of Brahma, Saraswati, were needed to offer Ahuti for the yagna but she was not there that time so Gayatri, a Gurjar girl, was married to brahma and performned yagna. This act made first wife of Brahma, Saraswati, angry and she cursed Brahma saying that he would be worshiped in Pushkar only.
The Mahabharata says that while laying down a programme for Maharaja Yudhishthara’s travel, “Maharaja after entering the Jungles of Sind and crossing the small rivers on the way should bathe in Pushkara". And, as per Vaman Purana, Prahlada on his pilgrimage to holy places visited Pushkarayana.
A Gurjara Pratihara ruler of Mandore, Nahadarava, restored this tirtha in the seventh century. He got the place cleared and the lake restored by making an embankment on the side of the river Luni. He rebuilt old palaces and built twelve dharmashalas (resting places) and ghats on three sides of the lake.
According to Rajputana Gazetteer Pushkar was held by Chechi Gurjars until about 700 years ago.Later Some shrines were occupied by Kanphati Jogis.
There are still priests from the Gurjar community in Pushkar temple, known as Bhopas.
The sage Parasara is said to have been born here. His descendants, called Parasara Brahamanas, are found in Pushkar and the surrounding area. The famous temple of Jeenmata has been cared for by Parasara Brahmans for the last 1,000 years.
It is also the venue of the annual Pushkar Camel Fair. In 1901, the town was part of the Rajputana Agency had a population of 3,831.
PUSHKAR FAIR
Pushkar fair continues for five days and these five days are a period of relaxation and merry-making for the villagers. This fair time is the most busy time for them, as this is one of the largest cattle fairs in the country. Animals, including over 50,000 camels, are brought from miles around to be traded and sold. Trading is brisk as several thousand heads of cattle exchange hands. All the camels are cleaned, washed, adorned, some are interestingly shorn to form patterns, and special stalls are set up selling finery and jewellery for the camels. Camels at the Pushkar fair are decorated with great care. They wear jewellery of silver and beads. There are silver bells and bangles around their ankles that jangle when they walk. An interesting ritual is the piercing of a camel's nose. It has more than 400 temples including the only one temple in India dedicated to the Hindu God Lord Brahma, the Creator of the Universe.
According to Indian mythology, after visiting all the Hindu pilgrim towns and temples (Four Dhams), if Pushkar is not visited for worship, then salvation is not achieved. According to the Hindu calendar Pushkar Fair commences in Nawami (ninth day of fortnightly phases of moon) and ends in Purnima (Full Moon) in the month of Kartika (October or November according to the lunar calendar). In Pushkar, one of the biggest Cattle Fair is also held for trading purposes and the best cattle in all categories are awarded. Countless people in their colourful attire gather to take a dip in the Holy Lake and pray to the deities. The whole town comes alive with vibrant folk music and dances, magic shows, horse and camel races and various other traditional entertainment competitions.Pushkar, with more than 12 local fairs and festivals of 10–15 days duration is a year round destination. It is a mellow town by the great lake of Pushkar amidst the perfume of jasmine and rose flowers. About 4,000 to 6,000 visitors from all over the world come to Pushkar everyday.
PUSHKAR LAKE
The prime attraction of Pushkar is the Pushkar Lake which is considered sacred like the Mansarovar Lake in Tibet. Pushkar has become a place of Hindu pilgrimage because of this holy lake. Legend has it that this lake was consecrated to Lord Brahma, the creator of the universe when a lotus dropped from his hand into the vale and a lake emerged in that place.
BRAHMA TEMPLE
The most important temple in Pushkar is the Temple of Lord Brahma, one of the holy trinity of Hinduism. The temple enshrines a life-size idol of Lord Brahma.
SAVITRI TEMPLE
This temple that is located at the top of the Ratnagiri Hill is dedicated to Savitri, the wife of Lord Brahma. The temple houses a statue of Goddess Savitri.
WIKIPEDIA
Former German Luftwaffe WWII Bunkers in Skanderborg forest,
Denmark
De Tyske Luftwaffe Bunkere i Dyrehaven ved Skanderborg.
1919. Aquarel·la, tinta i llapis de grafit sobre paper. 31,8 x 24,4 cm. Museu Solomon R. Guggenheim, Nova York. 49.347.
MUSEO FORMA DE EL SALVADOR
Ubicado en las proximidades del monumento a El Salvador del Mundo, punto clave de la trama urbana de la ciudad, el Museo FORMA abre sus puertas a espacios y actividades para la educación cultural de los salvadoreños. Su enorme compromiso está hacia el público nacional en pos de contribuir en su educación y en el cultivo de su valoración hacia el significado de las artes plásticas nacionales.
Fundado en 1983, tras la iniciativa de la prestigiosa pintora Julia Díaz primera dama en la profesión, el proyecto FORMA se planteo como el misionero para resguardar con celo y altruismo las creaciones salvadoreñas con el fin de legarlas a las futuras generaciones. Por otra parte su fundadora tenía como precepto dedicar salas o galerías (no importa su término o función arquitectónica) para la incorporación de exposiciones temporales de nuevos talentos.
Dirección: Alameda Manuel Enrique Araujo,pasaje Senda Florida sur, costado poniente de AFP/CONFIA, San Salvador, El Salvador Centroamérica.
Telefono: (503) 22984269
Email: info@museoforma.com
Web: www.museoforma.com
Horarios:
De lunes a viernes de 8:00 a.m. a 5:00 p.m.
Sábados de 8:00 a.m. a 12:00 p.m.
Between the earth and stars clouds gather, shape and form the light that we receive. Within the pattern they fashion in the sky they create food for the imagination. The mind seeks to recognise the world by looking out for the 'similar to' and by discovering the what is 'almost like'. At the edge of reflection there is a point of creation that can generate a new image not easily seen until joined original with the reflection.
The tails of the ascending Doves are quite easily seen as is the neck and jaw of a great head in the clouds. The nostrils of the head in the clouds are formed by a lateral figure of eight which conjures up notions of eternity and forms a trace of a track for a Möbius Ribbon to run along. Sometimes the clouds catch the light and bring about new creations and some intense revelations. Between the light we receive and the images that we perceive there is our imagination always seeking out an explanation of every aspect of creation and that brings about intense visualisation and at times wonderful peculiar even fantastic impossible conceptualisation.
This image features 1 Chakra Map by mpan and 4 Mandalas created by Morgan Phoenix. Details and links are listed below. Currently I hold on to copyright on my own images and happily work with the regulations as set by others on their images. I have tried to look at controls other than copyright to be able to protect my images and anyone featured in and through them.
PHH Sykes 2020
phhsykes@gmail.com
Two images in several layers have are featured in this composite the original photograph has been combined with an edited version of a Chakra Map and here are the details of the
Chakras map by mpan / CC0
upload.wikimedia.org/wikipedia/commons/2/2a/Chakras_map.svg
made available under the Creative Commons CC0 1.0 Universal Public Domain Dedication see links below
en.wikipedia.org/wiki/Creative_Commons
creativecommons.org/publicdomain/zero/1.0/deed.en
Sahasrara Mandala
Ajna Mandala
Vishuddha Mandala
Anahata Mandala
Al Mandala images by Morgan Phoenix
commons.wikimedia.org/wiki/User:Morgan_Phoenix
Licensed under the Creative Commons Attribution-Share Alike 3.0 Unported
From downloading the originals I have edited them each with a slight colour shift and then stretchered them to fit the Chakra Map. The coloured and stretchered images were then embossed and faded to fit into the original photograph and the reflection.
Mandala (Sanskrit: मण्डल Maṇḍala, 'circle') is a spiritual and ritual symbol in Hinduism and Buddhism, representing the Universe. The basic form of most mandalas is a square with four gates containing a circle with a center point. Each gate is in the general shape of a T. Mandalas often exhibit radial balance.
The term is of Sanskrit origin. It appears in the Rig Veda as the name of the sections of the work, but is also used in other Indian religions, particularly Tibetan Buddhism.
In various spiritual traditions, mandalas may be employed for focusing attention of practitioners and adepts, as a spiritual guidance tool, for establishing a sacred space, and as an aid to meditation and trance induction.
In common use, mandala has become a generic term for any diagram, chart or geometric pattern that represents the cosmos metaphysically or symbolically; a microcosm of the universe.
HINDUISM
RELIGIOUS MEANING
A yantra is a two- or three-dimensional geometric composition used in sadhanas, puja or meditative rituals. It is considered to represent the abode of the deity. Each yantra is unique and calls the deity into the presence of the practitioner through the elaborate symbolic geometric designs. According to one scholar, "Yantras function as revelatory symbols of cosmic truths and as instructional charts of the spiritual aspect of human experience"
Many situate yantras as central focus points for Hindu tantric practice.Yantras are not representations, but are lived, experiential, nondual realities. As Khanna describes:
Despite its cosmic meanings a yantra is a reality lived. Because of the relationship that exists in the Tantras between the outer world (the macrocosm) and man’s inner world (the microcosm), every symbol in a yantra is ambivalently resonant in inner–outer synthesis, and is associated with the subtle body and aspects of human consciousness.
BUDDHISM
The mandala can be found in the form of the Stupa and in the Atanatiya Sutta in the Digha Nikaya, part of the Pali Canon. This text is frequently chanted.
A mandala can also represent the entire universe, which is traditionally depicted with Mount Meru as the axis mundi in the center, surrounded by the continents.
PRACTICE
Mandalas are commonly used by tantric Buddhists as an aid to meditation.
The mandala is "a support for the meditating person", something to be repeatedly contemplated to the point of saturation, such that the image of the mandala becomes fully internalised in even the minutest detail and can then be summoned and contemplated at will as a clear and vivid visualized image. With every mandala comes what Tucci calls "its associated liturgy [...] contained in texts known as tantras", instructing practitioners on how the mandala should be drawn, built and visualised, and indicating the mantras to be recited during its ritual use.
By visualizing "pure lands", one learns to understand experience itself as pure, and as the abode of enlightenment. The protection that we need, in this view, is from our own minds, as much as from external sources of confusion. In many tantric mandalas, this aspect of separation and protection from the outer samsaric world is depicted by "the four outer circles: the purifying fire of wisdom, the vajra circle, the circle with the eight tombs, the lotus circle." The ring of vajras forms a connected fence-like arrangement running around the perimeter of the outer mandala circle.
As a meditation on impermanence (a central teaching of Buddhism), after days or weeks of creating the intricate pattern of a sand mandala, the sand is brushed together into a pile and spilled into a body of running water to spread the blessings of the mandala.
Kværne in his extended discussion of sahaja, discusses the relationship of sadhana interiority and exteriority in relation to mandala thus:
...external ritual and internal sadhana form an indistinguishable whole, and this unity finds its most pregnant expression in the form of the mandala, the sacred enclosure consisting of concentric squares and circles drawn on the ground and representing that adamant plane of being on which the aspirant to Buddha hood wishes to establish himself. The unfolding of the tantric ritual depends on the mandala; and where a material mandala is not employed, the adept proceeds to construct one mentally in the course of his meditation."
CHRISTIANITY
Forms which are evocative of mandalas are prevalent in Christianity: the celtic cross; the rosary; the halo; the aureole; oculi; the Crown of Thorns; rose windows; the Rosy Cross; and the dromenon on the floor of Chartres Cathedral. The dromenon represents a journey from the outer world to the inner sacred centre where the Divine is found.
Similarly, many of the Illuminations of Hildegard von Bingen can be used as mandalas, as well as many of the images of esoteric Christianity, as in Christian Hermeticism, Christian Alchemy, and Rosicrucianism.
A superb example of Christian and alchemical symbolism in Mandala art can be seen in the Church of Saint John the Baptist, Maddermarket, Norwich in the Layer Monument dating from circa 1600.
WESTERN PSYCHOLOGICAL INTERPRETATIONS
According to art therapist and mental health counselor Susanne F. Fincher, we owe the re-introduction of mandalas into modern Western thought to Carl Jung, the Swiss psychoanalyst. In his pioneering exploration of the unconscious through his own art making, Jung observed the motif of the circle spontaneously appearing. The circle drawings reflected his inner state at that moment. Familiarity with the philosophical writings of India prompted Jung to adopt the word "mandala" to describe these circle drawings he and his patients made. In his autobiography "Memories, Dreams, Reflections," Jung wrote:
"I sketched every morning in a notebook a small circular drawing,...which seemed to correspond to my inner situation at the time....Only gradually did I discover what the mandala really is:...the Self, the wholeness of the personality, which if all goes well is harmonious." pp 195 – 196.
Jung recognized that the urge to make mandalas emerges during moments of intense personal growth. Their appearance indicates a profound re-balancing process is underway in the psyche. The result of the process is a more complex and better integrated personality. As Jungian analyst Marie Louise von Franz explains:
"The mandala serves a conservative purpose—namely, to restore a previously existing order. But it also serves the creative purpose of giving expression and form to something that does not yet exist, something new and unique….The process is that of the ascending spiral, which grows upward while simultaneously returning again and again to the same point.
Creating mandalas helps stabilize, integrate, and re-order inner life.
According to the psychologist David Fontana, its symbolic nature can help one "to access progressively deeper levels of the unconscious, ultimately assisting the meditator to experience a mystical sense of oneness with the ultimate unity from which the cosmos in all its manifold forms arises."
WIKIPEDIA
RAPUCALUSON x 中村眞弥子 ふたり展
"いろ かたち みる まとう"
cafe・gallery MODESTE
192-0063 東京都八王子市元横山町 3-5-4-101
Tel : 042-686-0758
開催日: 2016年10月5日(水)-9日(日)
営業時間 : 10:30-18:30
(初日 13:00-18:30・最終日 10:30-17:00)
○在廊日
RAPUCALUSON 10月5日13:00-15:00, 9日 14:00-
中村眞弥子 10月7日10:30-14:40・8日14:00-16:00・9日14:00-
・・・・・・・・・・・・・・・・・・・・・・・・・・
RAPUCALUSON x Mayako Nakamura
Colour Form View Dress
at cafe・gallery MODESTE / Hachioji, Tokyo
2015.06.30-07.05
・・・・・・・・・・・・・・・・・・・・・・・・・・
RAPUCALUSON
Mayako Nakamura
cafe・gallery MODESTE
Forms of Nature #8
digital collage
by Kenneth Rougeau
The eighth image in the new "Forms of Nature" series of digital collages I'm currently constructing. Prints are available in my Etsy store (artfamilia). At present, I'm planning several individual pieces and at least one triptych for the set. More to come soon!
This was taken at a sculpture garden in a estate called Grande Provence, Franschhoek, Cape Town, South Africa.
Red soil (laterite) that has formed from weathering of basaltic lava flows, Kauai. Basaltic bedrock crops out over the bottom half of the photo.
African Ambassadors & Diaspora Interactive Form AAIF Awards Gala Dinner United Nations buildings International Maritime Organization HQ IMO London. Photo Opportunity Portraits with Chereena Miller Positive Runway Global Catwalk
Schloss Marschlins ( Baujahr Mitte 13. Jahrhundert - Ehemaliges Wasserschloss - château castle castello ) in Igis bei Landquart im Rheintal im Kanton Graubünden - Grischun der Schweiz
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Schloss Marschlins
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Das ehemalige Wasserschloss Marschlins liegt in der Ebene circa einen Kilometer
nordöstlich von Igis im schweizerischen Kanton Graubünden, etwa 250 Meter von
der rechten Talflanke entfernt. Der Name geht auf einen 1225 erstmals erwähnten
Flurnamen Marschanines zurück, der sich von marcidus ( =sumpfiger Boden ) her-
leiten dürfte.
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Anlage
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Die aussergewöhnliche Anlage ist eine bischöfliche Gründung und stammt vermutlich
aus der Mitte des 13. Jahrhunderts. Ein Vorgängerbau ist nicht auszuschliessen.
Die Anlage bildet ein Rechteck von circa 34 auf 39 Metern. Um das Gebäude liegen
zwei Gräben, die auf der Westseite zugeschüttet sind. Die heute trocken liegenden
Gräben waren früher mit Wasser gefüllt, das vermutlich von Hangquellen im Osten
des Schlosses stammte.
Eine Herleitung des Wassers von der L.andquart ist eher unwahrscheinlich, da ein
etwa zwei Kilometer langer K.anal hätte gebaut werden müssen. Spuren davon im
Gelände finden sich keine. Der W.assergraben wurde schon im 16. Jahrhundert
trocken gelegt.
Der Grundriss entspricht dem Typ des savoyischen Mauergevierts mit drei schwächeren
Ecktürmen ( Durchmesser 8,7 m ) und einem stärkeren Eckdonjon mit einem Durch-
messer von 11 Metern. Die heutige Form der Kegeldächer ist schon für das 17. Jahr-
hundert belegt. Verbindungen zum Haus S.avoyen ergeben sich über Bischof Ulrich
von K.yburg ( † 1237 ), dessen Bruder mit Margarete von S.avoyen verheiratet war.
Der Zugang erfolgt von Westen über eine Steinbrücke, die vermutlich aus dem 17. Jahr-
hundert stammt. Die Gebäude im Innern der Mauern liegen um einen zentralen Hof mit
einer 17 Meter tiefen Z.isterne. Spuren der ursprünglichen mittelalterlichen Bausubstanz
finden sich nur noch im Bereich der Fundamente. Aus der Gründungszeit ausserdem
die Türme und die nördlichen Mauerpartien des Osttraktes.
Nach einem B.rand im Jahr 1460 wurde die Burg durch Ulrich von B.randis wieder auf-
gebaut, vom Aufbau haben sich jedoch keine Spuren erhalten. Nach einer Verwahrlosung
um 1600 wurde Marschlins um 1635 durch M.arschall U.lysses von S.alis zum neuzeit-
lichen Schloss ausgebaut.
Die zerfallenden Innenbauten wurden niedergelegt, der Ost-, West- und Nordtrakt unter
Einbezug der alten Türme neu aufgebaut. Der nach diesen Umbauten frei geblieben
Raum längs der südlichen Umfassungsmauer wurde 1771 durch einen Riegelbau
geschlossen und obere Bauteile des Südflügels erneuert.
Die heutige Form des Schlosses ist Eugen Probst zu verdanken, dem Gründer des
Schweizerischen Burgenvereins, der die Anlage 1905 umfassend renovierte und um-
baute. Bei diesen Umbauten wurde auch der Südostturm um das vorkragende Ober-
geschoss erhöht.
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Inneres
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Im Inneren finden sich mehrere reich ausgestattete Räume. Erwähnenswert sind das
“ Marschallstübli ” oder “ Salis - Stübli ” im zweiten Obergeschoss. Es entstand um 1638
unter Ulysses von S.alis mit reich geschnitztem Täfer mit Intarsien aus verschiedenen
Hölzern und eingelegter Kassettendecke, einem Turmofen von 1638 aus der Werkstatt
P.fau aus W.interthur, einer Kabinettscheibe von 1674 mit Allianzwappen Heinrich Hirzel-
Yolanda von S.alis.
Die “ Offiziersstube ” von 1638 ist mit eingelegtem Volltäfer aus A.rvenholz und einer
Kassettendecke mit S.alis-Wappen im Mittelfeld ausgestattet sowie einem S.teckborner
O.fen aus der ersten Hälfte des 18. Jahrhunderts.
Das “ Goldene Stübli ” entstand 1670 im zweiten Obergschoss des Nordostturmes. Es
ist besonders reich ausgestattet; die Füllungen des geschnitzten Täfers sind bemalt,
unter anderem mit S.chlachtendarstellungen. In den Deckenkassetten sind Darstellungen
der S.onne, dreiundvierzig S.ternbildern und der vier W.inde eingelassen.
Weitere Teile der Innenausstattung stammen aus anderen Regionen: aus I.lanz das Täfer
aus der C.asa G.ronda, aus Z.ürich das N.ussbaumtäfer aus dem Stüssisaal im “ Haus
zum S.ilberschmied”.
In der 1771 eingerichteten Schlosskapelle im Hauptturm hängen vier Rundscheiben aus
der Mitte des 17. Jahrhundert mit Bildern der Evangelisten. Im Hof steht eine K.anone des
Schweizerregiments von Salis, datiert 1676, mit dem Wappen der von Salis.
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Geschichte
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Am 12. Mai 1324 wird Marschlins als castrum Marzhenins erstmals schriftlich erwähnt:
Der Ritters Jacob von M.armels fand im Dienst der K.irche vor der Burg den Tod. 1336
stritten sich der Bischof Ulrich von C.hur und Graf Ulrich von M.ontfort um den Besitz der
Burg und vertrauten sie bis zu einer schiedsgerichtlichen Entscheidung Hug Thumb von
N.euburg an.
Der Bischof scheint gesiegt zu haben, denn 1337 belehnte er als Anhänger Ö.sterreichs
Herzog Albrecht von Ö.sterreich mit Marschlins.
1348 bis 1354 sassen die Herren von S.tadion aus dem P.rättigau für H.absburg-Ö.ster-
reich auf der Burg, bis Herzog Albrecht sie am 3. Oktober 1354 als Lehen an Graf Friedrich
von T.oggenburg vergab, um so dessen Unterstützung in der Regensburger Fehde gegen
Z.ürich und die Eidgenossen zu erhalten.
Nach dem Tod des letzten T.oggenburgers 1436 kam zunächst ein M.ontforter Amman auf
Marschlins, später kam die Anlage durch Erbschaft an die Familie B.randis, welche sie
1442 an Heinrich von S.igberg verpfändete. Marschlins blieb jedoch als bischöfliches Lehen
im Besitz der Herzöge von Ö.sterreich.
Nach einem B.rand 1460 stritten sich die B.randis und die S.igberg über die Kosten des
Wiederaufbaus. Abgeordnete der Drei Bünde entschieden, dass die S.igberg das Schloss
an die Brandis zurückgeben sollten und dafür mit 2340 Gulden entschädigt werden sollte.
Die Reparaturkosten sollten beiden Parteien teilen.
1462 verkaufte Herzog Sigmund von Ö.sterreich Marschlins, die bisher lang wüstlich und
öde gestanden an seinen Vogt Ulrich von Brandis und setzte sich damit über Oberlehns-
hoheit des Bischofs hinweg. Ulrich sollte die Burg nach dem besten aufpauwen und sie für
die Ö.sterreicher bereithalten.
Weil Johann von B.randis seinen Anteil an den Kriegskosten für den S.chwabenkrieg nicht
bezahlen wollte oder konnte, verpfändete er Marschlins um 1509 an Ulrich Goeldin. 1518
wurde Marschlins von der Witwe des Lutz Gugelberg für 800 Gulden eingelöst.
Im 17. Jahrhundert kam die Burg nach an die Familie von S.alis, die sich bald darauf von
S.alis - Marschlins nannte. 1717 wurden hier die ersten K.artoffeln und der erste M.ais des
Kantons Graubünden angebaut.
Ab 1771 war für sechs Jahre die Lehranstalt „ Philantropin “ in der Burg untergebracht, die
in Schloss H.aldenstein von Martin von Planta und Johann Peter Nesemann gegründet
worden war. Später wurde mit T.abakanbau, M.aulbeerbäumen und Seidenspinnen
experimentiert.
Vom M.ärz 1799 bis Ende 1800 waren rund 10'000 S.oldaten und 3000 P.ferde auf dem
G.ut untergebracht. 1934 wurde Marschlins von den Erben des Professors L.R. von Salis
an die Familie Engi verkauft, in deren Besitz sie heute noch ist.
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( BeschriebSchlossMarschlins SchlossMarschlins AlbumSchweizerSchlösser,BurgenundRuinen
AlbumSchlösserKantonGraubünden AlbumGraubünden KantonGraubünden Grischun Schloss
Castle Château Castello Kasteel 城 Замок Castillo Mittelalter Geschichte History Gebäude
Building Archidektur Schweiz Suisse Switzerland Svizzera Suissa Swiss Sveitsi Sviss スイス Zwitserland Sveits Szwajcaria Suíça Suiza )
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Besuch R.uine R.appenstein und S.chloss M.arschlins mit El M.ese und N.adia am Dienstag
den 28. September 2010
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Mit dem Z.ug von B.ern über Z.ürich - L.andquart nach U.ntervaz - T.rimmis und weiter
mit dem P.ostauto bis U.ntervaz D.orf
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W.anderung zur R.uine R.appenstein ob U.ntervaz ( etwa 1 Stunde ) und zurück nach U.ntervaz
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Mit El M.ese und N.adia im E.rnesto zum S.chloss M.arschlins bei L.andquart
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W.anderung entlang der L.andquart zurück nach L.andquart
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Mit dem Z.ug nach Z.ürich O.erlikon
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B.esuch K.onzert S.ting
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Mit dem Z.ug von Z.ürich O.erlikon über Z.ürich zurück nach B.ern
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Hurni100928 AlbumZZZZ100928BurgentourGraubünden AlbumGraubünden KantonGraubünden
KantonGrischun
E - Mail : chrigu.hurni@bluemail.ch
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Letzte Aktualisierung - Ergänzung des Textes : 070216
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NIF
The forms are in place and concrete is poured at the brand-new CCS-agriKomp on-farm reference plant in Millbrook, Ontario.
More info here:
info.octaform.com/blog/bid/38924/Canadians-Bring-German-B...
titre : Deux Grandes Formes
auteur : Henry Moore (Anglais, 1898 - 1986)
technique : sculpture en bronze
dimensions : L : 610cm
date de création : 1966
lieu de conservation : Royal Botanic Gardens, Kew , Londres
Commentaires : La composition est très élégante et sensuelle comme une danse. La sculpture provoque une lecture plus proche et attentive du public, à découvrir doucement ses angles et contempler le paysage à travers elle. L'artiste préférait ses oeuvres exposées en dehors des murs et il avait raison, puisqu'elles composent le paysage.
photo :
www.kew.org/henry-moore/explore/slideshows/sculpture13/sc...
Opal is a stone of inspiration which enhances the imagination and creativity as well. It helps one release inhibitions and enhances the memory.
"Anything above form, called the Tao.
Anything below form, called things "
"Book of Changes"
Models: Bob & Bertran
Place: My Studio
Date: October 6, 2009
Esta rara palmera crece de forma retorcida, entrelanzando su tronco con sus raices y forma 7 cabezas o troncos. Cuenta una antigua leyenda que cuando la septima cabeza brote, Ica será destruida por algun desastre natural, por eso siempre la cortan. Dicen por ahi que la última inundación de Ica, hace algunos años, fue porque no cortaron la septima cabeza...
Imágen formada con 14 fotos
Ica - Peru
Zwei Tonlampen in Form von Gladiatorenhelmen.
Links ein Murmillo oder Thraex Helm des zweiten bis dritten Jahrhunderts.
Das Punktmuster entspricht der Fischschuppenähnlichen Verzinnung des echten Helmes:
www.flickr.com/photos/40060535@N05/galleries/721576229692...
Rechts ein Secutor Helm.
Die Verstärkung um die Augenlöcher ist aufwendig verziert.
Two lamps formed like Gladiator helmets.
The left one is a 2nd-3rd AD Murmillo or Thraex helmet.
The dotet surface resembles the tinned "fishscales" of the real helmet:
www.flickr.com/photos/40060535@N05/galleries/721576229692...
Right a Secutor helmet.
The reinforcement around the eyeholes is elaborately ornamented
Fachzeitschrift der Industriegewerkschaft Druck und Papier für alle Berufssparten des graphischen Gewerbes und der Papier verarbeitenden Industrie
INHALT
— SCHRIFTLEITUNG: Der Weg zur Qualität
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— JOHN VOLGEMANN: Galvanoplastik I
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— ALFRED MÜLLER: Maßnahmen zur Verhinderung des Rakelschlags an Bogentiefdruckmaschinen
FORM UND TECHNIK
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Zamek Tenczyn, a raczej to co po nim pozostało, zbudowany na dawno wygasłym wulkanie, przez długie lata siedziba rodu Tęczyńskich. Pierwsze zabudowania zamku powstały w latach 1331-1361. Jego upadek zaś miał miejsce w XVII wieku, podczas Potopu Szwedzkiego, gdy zamek po rocznym oblężeniu został przez wojska agresora spalony. Później jeszcze go odbudowano, ale w 1768 roku spłonął ponownie - tym razem od uderzenia pioruna. W latach 1816 - 1944 był własnością rodziny Potockich, która podjęła pierwsze próby odbudowy (z powodu zakazu władz austriackich bez powodzenia) a następnie zabezpieczenia w formie trwałej ruiny - i w takiej postaci trwa do dziś.
Tenczyn Castle, or rather what is left of it, built on a long-extinct volcano, for many years the seat of the Tęczyński family. The first buildings of the castle were built in the years 1331-1361. Its fall took place in the 17th century, during the Swedish Deluge, when the castle was burned down by the aggressor's army after a year-long siege. Later it was rebuilt, but in 1768 it burned down again - this time from a lightning strike. In the years 1816 - 1944 it was owned by the Potocki family, which made the first attempts to rebuild it (unsuccessfully due to the ban by the Austrian authorities) and then to protect it in the form of a permanent ruin - and it remains in this form to this day.