View allAll Photos Tagged forms
form |fôrm| noun
the visible shape or configuration of something : the form, color, and texture of the tree. • arrangement of parts; shape : the entities underlying physical form. • the body or shape of a person or thing : his eyes scanned her slender form. • arrangement and style in literary or musical composition : these videos are a triumph of form over content.
line |līn|
noun
[as adj. ] Printing & Computing denoting an illustration or graphic consisting of lines and solid areas, with no gradation of tone : a line block | line art.
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The Karlstad sofa, an Ikea sofa inspired by the Florence Knoll sofa.
I wanted to get back to the set I started earlier, Form @ Home, where I try to capture the mood and feeling of some things we’ve got at home. This time I tried to use a cooler, blueish toned color instead of the sepia. Again, I'm trying to find form and details, capturing the mood and feeling of the object. For this I used the 5D with the 100mm L IS macro lens. All shot handheld with available light.
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
This is my son's thumb, peering through the small hole in a sculpture by Jonathan Loxley at the On Form sculpture exhibition.
The sculpture is made of calacatta marble and stands on one of the main lawns at Asthall Manor.
spent the weekend at a workshop for studio lighting for the figure. 12 photographers, 3 models, 3 assistants, 1 instructor, and 2 days worth of images to process.
L'intérieur de la mosquée Juma Masjid, construite au 18ème siècle.
De nombreuses colonnes en bois sculpté soutiennent le plafond de la "mosquée du vendredi" Juma Masjid.
Certains piliers sont très anciens, leur style décoratif est caractéristique de Khiva.
Sur la partie inférieure de ce pilier consacré aux religions, on décèle la forme du Bouddha.
An unusual form of tourism to say the least. However. We went to the funeral of a rich business man. It's a celebration of life and the colors for Ghanaian funerals are red and black. Ungewöhnlicher tourismus - die Beerdigung eines reichen Geschäftsmanns.
This work by Jasmine Nears is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License
La neve deriva dall'acqua e come tale non ha una forma, assume quella accumulata sopra e contro gli ostacoli.
Bain News Service,, publisher.
On a play Street, N.Y.
[between ca. 1910 and ca. 1915]
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Title from unverified data provided by the Bain News Service on the negatives or caption cards.
Forms part of: George Grantham Bain Collection (Library of Congress).
Subjects:
N.Y.
Format: Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.19569
Call Number: LC-B2- 3549-12
NARMADA PARIKRAMA
The Narmada also called the Rewa, is a river in central India and the fifth longest river in the Indian subcontinent. It is the third longest river that flows entirely within India, after the Godavari and the Krishna. It is also known as "Life Line of Madhya Pradesh" for its huge contribution to the state of Madhya Pradesh in many ways. It forms the traditional boundary between North India and South India and flows westwards over a length of 1,312 km (815.2 mi) before draining through theGulf of Khambhat into the Arabian Sea, 30 km (18.6 mi) west of Bharuch city of Gujarat. It is one of only three major rivers in peninsular India that run from east to west (longest west flowing river), along with the Tapti River and the Mahi River. It is the one of the rivers in India that flows in a rift valley, flowing west between the Satpura and Vindhya ranges. The other rivers which flows through rift valley include Damodar River in Chota Nagpur Plateau and Tapti. The Tapti River and Mahi River also flow through rift valleys, but between different ranges. It flows through the states of Madhya Pradesh(1,077 km (669.2 mi)), and Maharashtra, (74 km (46.0 mi))– (35 km (21.7 mi)) then along the border between Madhya Pradesh and Maharashtra (39 km (24.2 mi) and the border between Madhya Pradesh and Gujarat and in Gujarat (161 km (100.0 mi)).
The Periplus Maris Erythraei (c. 80 AD) calls it the Nammadus, and theBritish Raj called it the Nerbudda or Narbada. Narmadā is a Sanskrit word meaning "the Giver of Pleasure".
To Hindus the Narmada is one of the five holy rivers of India; the other four beingGanges, Yamuna, Godavari and Kaveri. It is believed that a dip in any of these five rivers washes one's sins away. According to a legend, the river Ganges, polluted by millions of people bathing in it, assumes the form of a black cow and comes to the Narmada to bathe and cleanse itself in its holy waters. Legends also claim that the Narmada River is older than the river Ganges.
The river was mentioned by Ptolemy in the second century AD as Namade and by the author of the Periplus. The Ramayana, the Mahabharat, and thePuranas refer to it frequently. The Rewa Khand of Vayu Purana and the Rewa Khand of Skanda Purana are entirely devoted to the story of the birth and the importance of the river, and hence Narmada is also called the Rewa.
There are many fables about the origin of the Narmada. According to one of them, once Lord Shiva, the Destroyer of the Universe, meditated so hard that he started perspiring. Shiva's sweat accumulated in a tank and started flowing in the form of a river – the Narmada. Another legend has it that two teardrops that fell from the eyes of Lord Brahma, the creator of the universe, yielded two rivers – the Narmada and the Son.
Legends also say that for Lord Shiva, the Hindu God, the river is especially sacred on account of its origin, and it is often called Shankari, i.e., daughter of Shankar (Lord Shiva). All the pebbles rolling on its bed are said to take the shape of his emblem with the saying, "Narmada Ke Kanker utte Sankar" (a popular saying in the Hindi belt of India), which means that 'pebble stones of Narmada get a personified form of Shiva'. These lingam shaped stones (cryptocrytalline quartz), calledBanalinga also called (Banashivalingas) are much sought after for daily worship by the Hindus. The Brihadeeswara Temple in Thanjavur, Tamil Nadu, constructed by Rajaraja Chola, has one of the biggest Banalingas. Adi Shankara met his guru Govinda Bhagavatpada on the banks of the river Narmada.
Narmada is also said to have been in love with the Sonbhadra, another river flowing on the Chota Nagpur Plateau. According to the Puranas, the Narmada is also called the Rewa, from its leaping motion (from the root 'rev') through its rocky bed.
Important religious places and Ghats along the course of the river, starting from its origin at Narmadakhund at Amarkantakhill, are a) the Amarkantak (in Sanskrit: Neck of Shiva) or Teertharaj (the King of Pilgrimages), b) Omkareshwar, Maheshwar, and Mahadeo temples, Nemawar Siddeshwar Mandir in the middle reach of the river – all named after Shiva, c) Chausath Yogini (sixty four yoginis) temple, d) Chaubis Avatar temple, e) Bhojpur Shiva temple and Bhrigu Rishi temple in Bharuch. The Narmada River is also worshipped as mother goddess by Narmadeeya Brahmins.
The importance of the Narmada River as sacred is testified by the fact that the pilgrims perform a holy pilgrimage of aparikrama or circumambulation of the river.[17] The Narmada Parikrama, as it is called, is considered to be a meritorious act that a pilgrim can undertake. Many sadhus and pilgrims walk on foot from the Arabian Sea at Bharuch in Gujarat, along the river, to the source in Maikal Mountains (Amarkantak hills) in Madhya Pradesh and back along the opposite bank of the river. It is a 2,600-kilometre (1,600 mi) walk.[18] Important towns of interest in the valley are Jabalpur, Barwani, Hoshangabad, Harda, Narmada Nagar, Omkareshwar, Dewas (Nemavar, Kity, Pipri), Mandla and Maheshwar in Madhya Pradesh, andRajpipla and Bharuch in Gujarat. Some places of historical interest are Joga Ka Quilla, Chhatri of Baji Rao Peshwa andBhimbetka, and among the falls are the Dugdhdhara, Dhardi falls, Bheraghat, Dhuandhara, Kapiladhara and Sahastradhara. By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
NARMADA PARIKRAMA
The Narmada also called the Rewa, is a river in central India and the fifth longest river in the Indian subcontinent. It is the third longest river that flows entirely within India, after the Godavari and the Krishna. It is also known as "Life Line of Madhya Pradesh" for its huge contribution to the state of Madhya Pradesh in many ways. It forms the traditional boundary between North India and South India and flows westwards over a length of 1,312 km (815.2 mi) before draining through theGulf of Khambhat into the Arabian Sea, 30 km (18.6 mi) west of Bharuch city of Gujarat. It is one of only three major rivers in peninsular India that run from east to west (longest west flowing river), along with the Tapti River and the Mahi River. It is the one of the rivers in India that flows in a rift valley, flowing west between the Satpura and Vindhya ranges. The other rivers which flows through rift valley include Damodar River in Chota Nagpur Plateau and Tapti. The Tapti River and Mahi River also flow through rift valleys, but between different ranges. It flows through the states of Madhya Pradesh(1,077 km (669.2 mi)), and Maharashtra, (74 km (46.0 mi))– (35 km (21.7 mi)) then along the border between Madhya Pradesh and Maharashtra (39 km (24.2 mi) and the border between Madhya Pradesh and Gujarat and in Gujarat (161 km (100.0 mi)).
The Periplus Maris Erythraei (c. 80 AD) calls it the Nammadus, and theBritish Raj called it the Nerbudda or Narbada. Narmadā is a Sanskrit word meaning "the Giver of Pleasure".
To Hindus the Narmada is one of the five holy rivers of India; the other four beingGanges, Yamuna, Godavari and Kaveri. It is believed that a dip in any of these five rivers washes one's sins away. According to a legend, the river Ganges, polluted by millions of people bathing in it, assumes the form of a black cow and comes to the Narmada to bathe and cleanse itself in its holy waters. Legends also claim that the Narmada River is older than the river Ganges.
The river was mentioned by Ptolemy in the second century AD as Namade and by the author of the Periplus. The Ramayana, the Mahabharat, and thePuranas refer to it frequently. The Rewa Khand of Vayu Purana and the Rewa Khand of Skanda Purana are entirely devoted to the story of the birth and the importance of the river, and hence Narmada is also called the Rewa.
There are many fables about the origin of the Narmada. According to one of them, once Lord Shiva, the Destroyer of the Universe, meditated so hard that he started perspiring. Shiva's sweat accumulated in a tank and started flowing in the form of a river – the Narmada. Another legend has it that two teardrops that fell from the eyes of Lord Brahma, the creator of the universe, yielded two rivers – the Narmada and the Son.
Legends also say that for Lord Shiva, the Hindu God, the river is especially sacred on account of its origin, and it is often called Shankari, i.e., daughter of Shankar (Lord Shiva). All the pebbles rolling on its bed are said to take the shape of his emblem with the saying, "Narmada Ke Kanker utte Sankar" (a popular saying in the Hindi belt of India), which means that 'pebble stones of Narmada get a personified form of Shiva'. These lingam shaped stones (cryptocrytalline quartz), calledBanalinga also called (Banashivalingas) are much sought after for daily worship by the Hindus. The Brihadeeswara Temple in Thanjavur, Tamil Nadu, constructed by Rajaraja Chola, has one of the biggest Banalingas. Adi Shankara met his guru Govinda Bhagavatpada on the banks of the river Narmada.
Narmada is also said to have been in love with the Sonbhadra, another river flowing on the Chota Nagpur Plateau. According to the Puranas, the Narmada is also called the Rewa, from its leaping motion (from the root 'rev') through its rocky bed.
Important religious places and Ghats along the course of the river, starting from its origin at Narmadakhund at Amarkantakhill, are a) the Amarkantak (in Sanskrit: Neck of Shiva) or Teertharaj (the King of Pilgrimages), b) Omkareshwar, Maheshwar, and Mahadeo temples, Nemawar Siddeshwar Mandir in the middle reach of the river – all named after Shiva, c) Chausath Yogini (sixty four yoginis) temple, d) Chaubis Avatar temple, e) Bhojpur Shiva temple and Bhrigu Rishi temple in Bharuch. The Narmada River is also worshipped as mother goddess by Narmadeeya Brahmins.
The importance of the Narmada River as sacred is testified by the fact that the pilgrims perform a holy pilgrimage of aparikrama or circumambulation of the river.[17] The Narmada Parikrama, as it is called, is considered to be a meritorious act that a pilgrim can undertake. Many sadhus and pilgrims walk on foot from the Arabian Sea at Bharuch in Gujarat, along the river, to the source in Maikal Mountains (Amarkantak hills) in Madhya Pradesh and back along the opposite bank of the river. It is a 2,600-kilometre (1,600 mi) walk.[18] Important towns of interest in the valley are Jabalpur, Barwani, Hoshangabad, Harda, Narmada Nagar, Omkareshwar, Dewas (Nemavar, Kity, Pipri), Mandla and Maheshwar in Madhya Pradesh, andRajpipla and Bharuch in Gujarat. Some places of historical interest are Joga Ka Quilla, Chhatri of Baji Rao Peshwa andBhimbetka, and among the falls are the Dugdhdhara, Dhardi falls, Bheraghat, Dhuandhara, Kapiladhara and Sahastradhara. By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
NARMADA PARIKRAMA
The Narmada also called the Rewa, is a river in central India and the fifth longest river in the Indian subcontinent. It is the third longest river that flows entirely within India, after the Godavari and the Krishna. It is also known as "Life Line of Madhya Pradesh" for its huge contribution to the state of Madhya Pradesh in many ways. It forms the traditional boundary between North India and South India and flows westwards over a length of 1,312 km (815.2 mi) before draining through theGulf of Khambhat into the Arabian Sea, 30 km (18.6 mi) west of Bharuch city of Gujarat. It is one of only three major rivers in peninsular India that run from east to west (longest west flowing river), along with the Tapti River and the Mahi River. It is the one of the rivers in India that flows in a rift valley, flowing west between the Satpura and Vindhya ranges. The other rivers which flows through rift valley include Damodar River in Chota Nagpur Plateau and Tapti. The Tapti River and Mahi River also flow through rift valleys, but between different ranges. It flows through the states of Madhya Pradesh(1,077 km (669.2 mi)), and Maharashtra, (74 km (46.0 mi))– (35 km (21.7 mi)) then along the border between Madhya Pradesh and Maharashtra (39 km (24.2 mi) and the border between Madhya Pradesh and Gujarat and in Gujarat (161 km (100.0 mi)).
The Periplus Maris Erythraei (c. 80 AD) calls it the Nammadus, and theBritish Raj called it the Nerbudda or Narbada. Narmadā is a Sanskrit word meaning "the Giver of Pleasure".
To Hindus the Narmada is one of the five holy rivers of India; the other four beingGanges, Yamuna, Godavari and Kaveri. It is believed that a dip in any of these five rivers washes one's sins away. According to a legend, the river Ganges, polluted by millions of people bathing in it, assumes the form of a black cow and comes to the Narmada to bathe and cleanse itself in its holy waters. Legends also claim that the Narmada River is older than the river Ganges.
The river was mentioned by Ptolemy in the second century AD as Namade and by the author of the Periplus. The Ramayana, the Mahabharat, and thePuranas refer to it frequently. The Rewa Khand of Vayu Purana and the Rewa Khand of Skanda Purana are entirely devoted to the story of the birth and the importance of the river, and hence Narmada is also called the Rewa.
There are many fables about the origin of the Narmada. According to one of them, once Lord Shiva, the Destroyer of the Universe, meditated so hard that he started perspiring. Shiva's sweat accumulated in a tank and started flowing in the form of a river – the Narmada. Another legend has it that two teardrops that fell from the eyes of Lord Brahma, the creator of the universe, yielded two rivers – the Narmada and the Son.
Legends also say that for Lord Shiva, the Hindu God, the river is especially sacred on account of its origin, and it is often called Shankari, i.e., daughter of Shankar (Lord Shiva). All the pebbles rolling on its bed are said to take the shape of his emblem with the saying, "Narmada Ke Kanker utte Sankar" (a popular saying in the Hindi belt of India), which means that 'pebble stones of Narmada get a personified form of Shiva'. These lingam shaped stones (cryptocrytalline quartz), calledBanalinga also called (Banashivalingas) are much sought after for daily worship by the Hindus. The Brihadeeswara Temple in Thanjavur, Tamil Nadu, constructed by Rajaraja Chola, has one of the biggest Banalingas. Adi Shankara met his guru Govinda Bhagavatpada on the banks of the river Narmada.
Narmada is also said to have been in love with the Sonbhadra, another river flowing on the Chota Nagpur Plateau. According to the Puranas, the Narmada is also called the Rewa, from its leaping motion (from the root 'rev') through its rocky bed.
Important religious places and Ghats along the course of the river, starting from its origin at Narmadakhund at Amarkantakhill, are a) the Amarkantak (in Sanskrit: Neck of Shiva) or Teertharaj (the King of Pilgrimages), b) Omkareshwar, Maheshwar, and Mahadeo temples, Nemawar Siddeshwar Mandir in the middle reach of the river – all named after Shiva, c) Chausath Yogini (sixty four yoginis) temple, d) Chaubis Avatar temple, e) Bhojpur Shiva temple and Bhrigu Rishi temple in Bharuch. The Narmada River is also worshipped as mother goddess by Narmadeeya Brahmins.
The importance of the Narmada River as sacred is testified by the fact that the pilgrims perform a holy pilgrimage of aparikrama or circumambulation of the river.[17] The Narmada Parikrama, as it is called, is considered to be a meritorious act that a pilgrim can undertake. Many sadhus and pilgrims walk on foot from the Arabian Sea at Bharuch in Gujarat, along the river, to the source in Maikal Mountains (Amarkantak hills) in Madhya Pradesh and back along the opposite bank of the river. It is a 2,600-kilometre (1,600 mi) walk.[18] Important towns of interest in the valley are Jabalpur, Barwani, Hoshangabad, Harda, Narmada Nagar, Omkareshwar, Dewas (Nemavar, Kity, Pipri), Mandla and Maheshwar in Madhya Pradesh, andRajpipla and Bharuch in Gujarat. Some places of historical interest are Joga Ka Quilla, Chhatri of Baji Rao Peshwa andBhimbetka, and among the falls are the Dugdhdhara, Dhardi falls, Bheraghat, Dhuandhara, Kapiladhara and Sahastradhara. By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
NARMADA PARIKRAMA
The Narmada also called the Rewa, is a river in central India and the fifth longest river in the Indian subcontinent. It is the third longest river that flows entirely within India, after the Godavari and the Krishna. It is also known as "Life Line of Madhya Pradesh" for its huge contribution to the state of Madhya Pradesh in many ways. It forms the traditional boundary between North India and South India and flows westwards over a length of 1,312 km (815.2 mi) before draining through theGulf of Khambhat into the Arabian Sea, 30 km (18.6 mi) west of Bharuch city of Gujarat. It is one of only three major rivers in peninsular India that run from east to west (longest west flowing river), along with the Tapti River and the Mahi River. It is the one of the rivers in India that flows in a rift valley, flowing west between the Satpura and Vindhya ranges. The other rivers which flows through rift valley include Damodar River in Chota Nagpur Plateau and Tapti. The Tapti River and Mahi River also flow through rift valleys, but between different ranges. It flows through the states of Madhya Pradesh(1,077 km (669.2 mi)), and Maharashtra, (74 km (46.0 mi))– (35 km (21.7 mi)) then along the border between Madhya Pradesh and Maharashtra (39 km (24.2 mi) and the border between Madhya Pradesh and Gujarat and in Gujarat (161 km (100.0 mi)).
The Periplus Maris Erythraei (c. 80 AD) calls it the Nammadus, and theBritish Raj called it the Nerbudda or Narbada. Narmadā is a Sanskrit word meaning "the Giver of Pleasure".
To Hindus the Narmada is one of the five holy rivers of India; the other four beingGanges, Yamuna, Godavari and Kaveri. It is believed that a dip in any of these five rivers washes one's sins away. According to a legend, the river Ganges, polluted by millions of people bathing in it, assumes the form of a black cow and comes to the Narmada to bathe and cleanse itself in its holy waters. Legends also claim that the Narmada River is older than the river Ganges.
The river was mentioned by Ptolemy in the second century AD as Namade and by the author of the Periplus. The Ramayana, the Mahabharat, and thePuranas refer to it frequently. The Rewa Khand of Vayu Purana and the Rewa Khand of Skanda Purana are entirely devoted to the story of the birth and the importance of the river, and hence Narmada is also called the Rewa.
There are many fables about the origin of the Narmada. According to one of them, once Lord Shiva, the Destroyer of the Universe, meditated so hard that he started perspiring. Shiva's sweat accumulated in a tank and started flowing in the form of a river – the Narmada. Another legend has it that two teardrops that fell from the eyes of Lord Brahma, the creator of the universe, yielded two rivers – the Narmada and the Son.
Legends also say that for Lord Shiva, the Hindu God, the river is especially sacred on account of its origin, and it is often called Shankari, i.e., daughter of Shankar (Lord Shiva). All the pebbles rolling on its bed are said to take the shape of his emblem with the saying, "Narmada Ke Kanker utte Sankar" (a popular saying in the Hindi belt of India), which means that 'pebble stones of Narmada get a personified form of Shiva'. These lingam shaped stones (cryptocrytalline quartz), calledBanalinga also called (Banashivalingas) are much sought after for daily worship by the Hindus. The Brihadeeswara Temple in Thanjavur, Tamil Nadu, constructed by Rajaraja Chola, has one of the biggest Banalingas. Adi Shankara met his guru Govinda Bhagavatpada on the banks of the river Narmada.
Narmada is also said to have been in love with the Sonbhadra, another river flowing on the Chota Nagpur Plateau. According to the Puranas, the Narmada is also called the Rewa, from its leaping motion (from the root 'rev') through its rocky bed.
Important religious places and Ghats along the course of the river, starting from its origin at Narmadakhund at Amarkantakhill, are a) the Amarkantak (in Sanskrit: Neck of Shiva) or Teertharaj (the King of Pilgrimages), b) Omkareshwar, Maheshwar, and Mahadeo temples, Nemawar Siddeshwar Mandir in the middle reach of the river – all named after Shiva, c) Chausath Yogini (sixty four yoginis) temple, d) Chaubis Avatar temple, e) Bhojpur Shiva temple and Bhrigu Rishi temple in Bharuch. The Narmada River is also worshipped as mother goddess by Narmadeeya Brahmins.
The importance of the Narmada River as sacred is testified by the fact that the pilgrims perform a holy pilgrimage of aparikrama or circumambulation of the river.[17] The Narmada Parikrama, as it is called, is considered to be a meritorious act that a pilgrim can undertake. Many sadhus and pilgrims walk on foot from the Arabian Sea at Bharuch in Gujarat, along the river, to the source in Maikal Mountains (Amarkantak hills) in Madhya Pradesh and back along the opposite bank of the river. It is a 2,600-kilometre (1,600 mi) walk.[18] Important towns of interest in the valley are Jabalpur, Barwani, Hoshangabad, Harda, Narmada Nagar, Omkareshwar, Dewas (Nemavar, Kity, Pipri), Mandla and Maheshwar in Madhya Pradesh, andRajpipla and Bharuch in Gujarat. Some places of historical interest are Joga Ka Quilla, Chhatri of Baji Rao Peshwa andBhimbetka, and among the falls are the Dugdhdhara, Dhardi falls, Bheraghat, Dhuandhara, Kapiladhara and Sahastradhara. By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
"Colour Form View Dress"
rapu caluson x mayako nakamura
MODESTE cafe・gallery / Hachioji, Tokyo
2013.08.20-25
www.modeste.info/mayako.rapu.tenji.html
いろ かたち みる まとう
rapu caluson x mayako nakamura
MODESTE cafe・gallery / 八王子
2013.08.20-25
www.modeste.info/mayako.rapu.tenji.html
ワークショップを開催いたします
Pillbox formed by a metal turret, which could be rotated through a full 360 degrees, set above a steel and brick-lined pit. It was designed for a machine gun to be fired either through the front loophole which was further protected by shutters, or through the circular opening in the roof in a light anti-aircraft role. According to the manufacturer, it was suitable for Vickers, Bren, Hotchkiss or Lewis machine guns in either a ground defence or anti-aircraft role, or a Boys anti-tank rifle or rifle grenade for ground defence. Weapon change requires selection of appropriate bracket. The army did not favour the design, most were installed at airfields.
The turret was designed by A.H. Williams in conjunction with Colonel V.T.R. Ford and Lieutent Williamson. Williams was the Managing Director of Rustproof Metal Windows Company in Saltney, Chester where the turrets were produced.
The company had been engaged in war work since 1939, mainly manufacturing ammunition boxes for the Admiralty using a patented galvanising process.
The turret had a garrison of two men or, if necessary three men, for whom there were folding seats inside.One man can rotate the cupola which is on roller bearings and requires 15 lb of force to move it.
According to the manufacturer, four men could dig the position out and erect the turret ready for firing in two hours and remove it completely removed in 30 minutes.[64] Cost about £125.
Nearly 200 Allan Williams Turrets were made and installed, salvaging of the metal after the war means that today very are few
Basilique romane de Sant’ Angelo in Formis ; commune de Capoue, province de Caserte, région de Campanie, Italie
C’est un édifice basilical sans transept, subdivisé en trois nefs, suivies de trois absides, par deux rangées de colonnes libres (sept de chaque côté) sur lesquelles retombent huit arcs en plein cintre.
La construction est précédée d’un porche à cinq arcs brisés soutenus par de grosses colonnes de remploi; l’arc central est sensiblement plus haut et plus large que les arcs latéraux. Les fenêtres des absides, trois dans l’abside centrale et une dans les latérales, ont été obturées afin de disposer de toute la surface pour la décoration picturale à l’intérieur. Il s’agit évidemment d’une modification du projet originel exécutée à une époque immédiatement postérieure à l’achèvement de construction, comme le montre (au moins pour l’abside centrale et celle de gauche) la parfaite identité du matériau employé. …
… Avant d’en venir à l’analyse de la décoration du porche et de l’intérieur, jetons un bref regard sur le clocher. Construit sur plan carré en retrait par rapport à la façade du porche, ce campanile semble contemporain de la basilique. C’est en effet à un moment assez voisin de la renaissance classiciste de l’art figuratif, survenue en Campanie vers la fin du XIe siècle, que renvoient les motifs décoratifs sculptés le long de la corniche qui sépare le premier registre du second. La présence de certains éléments de nature nettement dassicisante (denticules, cordelière et oves), parfaitement combinés avec des motifs végétaux de divers genres, offre des points de comparaison précis avec des solutions analogues (par exemple sur les portails de la cathédrale d’Aversa) datables avec certitude des vingt dernières années du XIe siècle. Une telle combinaison, légèrement simplifiée toutefois, se retrouvera dans les corniches extérieures de la nef et du transept de la cathédrale de Calvi, de trente ou quarante ans plus tardive. …
Ne subsistant qu’aux deux tiers de sa hauteur, le campanile avait un troisième étage légèrement en retrait (d’après certaines aquarelles de G. Carelli) et se terminait par une « petite coupole ou chapeau d’une très grande beauté à son sommet et par une croix ».
Les fresques qui ornent l’église à l’intérieur constituent la manifestation la plus importante, en quantité et en qualité, des tendances formelles apportées au Mont-Cassin par les mosaïstes byzantins. Homogènes entre elles, c’est-à-dire certainement de la même époque, on en peut fixer la date avec certitude entre 1072 et 1087. En effet, sur l’abside, l’abbé Desiderius est figuré avec un nimbe rectangulaire qui, dans la coutume médiévale, voulait dire explicitement que le personnage en question était vivant …. Le riche programme de la campagne décorative, qui recouvre encore aujourd’hui la presque totalité des parois disponibles, s’articule de la façon suivante : dans l’abside centrale, entouré des symboles des évangélistes, trône le Christ en majesté donnant la bénédiction (sur son livre le verset à nette référence eschatologique montre une des « incompréhensions » … dues à des peintres locaux, de celle sorte que l’oméga qui, en même temps que l’alpha, est le symbole du commencement et de la fin des temps, est figuré à tort comme un omicron. Au registre inférieur sont figurés en vraie grandeur les trois archanges, l’abbé Desiderius offrant le modèle architectural réduit de l’église, et (entièrement repeint) saint Benoît. Sur les écoinçons de l’arc d’entrée de l’abside, deux séraphins. Les trois registres de chacune des parois de la nef centrale se subdivisent en cadres où sont (ou étaient) représentées des scènes au contenu christologique, disposées dans leur ensemble comme dans les basiliques paléochrétiennes (par exemple à Saint-Paul-hors-les-Murs), Ces scènes commençaient au registre supérieur du mur de droite près de l’abside. De là, se développant dans le sens de l’écriture, elles arrivaient au mur d’entrée et de là, passant sur le mur opposé, elles retournaient vers l’abside. De nouveau sur le mur de droite elles se
poursuivaient au registre médian pour se terminer enfin, en suivant la même progression, auprès de l’abside au terme du troisième registre. Bien que les scènes initiales soient totalement perdues, on peut faire crédit à l’hypothèse que formule avec justesse M. de Jerphanion, et qui voit dans l’Annonciation la première scène et dans les autres récits de l’enfance du Christ les scènes qui suivent immédiatement; ce qui termine la longue séquence, c’est l’Ascension, développée sur les deux registres inférieur et médian. Au revers de la façade, sur la paroi tout entière est peinte une majestueuse représentation du jugement dernier (la figure du Christ-Juge y est malheureusement repeinte de façon irrémédiable), Sur les écoinçons entre les arcs sont figurés des prophètes, parmi lesquels trouve place même la sibylle Éri- thrée. Chaque prophète tient un cartouche dont les versets permettent des références précises aux scènes qui les surmontent, présentant ainsi cette concordantia Veteris et Novi Testament qui, dans l’art chrétien, nous est connue dès ses réalisations monumentales originelles (à Rome comme à Ravenne) mais qui, dans le milieu oriental et particulièrement dans le célèbre manuscrit syriaque (VIe siècle) aujourd’hui à Rossano Calabro, se présente dans les formes les plus proches de cette concordance campanienne (de Francovich). Sur l’absidiole de droite (celle qui lui correspondait à gauche a disparu) figure le buste de la Vierge à l’Enfant entre deux anges, au-dessus d’un registre inférieur avec des saints martyrs. Sur les murs des collatéraux (en y incluant les parties latérales du revers de la façade) se déploie, fort incomplet, sur deux registres le cycle vétéro-testamentaire. Une scène y est étrangère par son thème : le martyre de saint Pantaléon, sur le registre inférieur au mur occidental du côté gauche (en entrant dans l’église). Sur les écoinçons des deux collatéraux sont peints enfin les figures de saints de l’ordre bénédictin et de saintes. L’état de conservation des fresques, bien que bon en général (les zones altérées ayant été repeintes), a été cependant gâché par les restaurations des années 30, En effet, comme on l’a révélé seulement récemment (Thiery) et comme le prouve la comparaison entre les photos antérieures aux années 30 et l’état actuel, à cette occasion, on a enlevé par un lavage malheureux les glacis à la détrempe qui faisaient partie intégrante de la contexture dernière de l’œuvre. Il s’ensuit que les scènes maltraitées en question (de la partie droite de la Crucifixion jusqu’à l’Ascension, y compris les figures des prophètes) présentent un caractère estompé et une légèreté de couleur nullement voulus par le peintre. Malgré cela subsiste la possibilité de distinguer les « mains » des nombreux peintres qui, tous membres d’une équipe unique d’où émergent quelques « maîtres » plus vigoureux (parmi lesquels ceux qui ont travaillé, par exemple, sur le cul-de-four de l’abside ou dans la scène de la Samaritaine au puits) durent exécuter le travail en un temps relativement court. Leur formation artistique, pour la compréhension de laquelle la perte de la décoration cassinaise est sans remède, est substantiellement d’origine byzantine, teintée cependant de reflets provenant des manières de faire occidentales (tant dans l’iconographie, par exemple dans le thème même de l’abside, que pour les composantes du style, par exemple dans les bandes polychromes servant de fond aux scènes). … A l’extérieur, le décor pictural couvre les deux tympans au fond de l’arcade centrale et les quatre qui correspondent aux arcades latérales du porche. Le tympan supérieur, … porte l’image de la Vierge en majesté à l’intérieur d’une gloire soutenue par deux anges en plein vol (celui de droite est entièrement repeint); le tympan inférieur, encore en place, représente l’archange Michel en buste. Les étroites coïncidences de style entre l’un et l’autre ont toujours porté les historiens de l’art à leur donner une même date. Celle-ci doit se situer en un second temps par rapport à la campagne désidérienne de travaux, du fait que la fresque de la Vierge se superpose à une autre dont des traces fragiles ont été révélées à la suite de la dépose (dans la partie basse du tympan sur la droite). …
(extrait de : Campanie romane ; Mario d’Onofrio, Ed. Zodiaque, Coll. La nuit des Temps, 1981, pp. 169-178)
Coordonnées GPS : N41.118396 ; E14.260211
miss susan.
so lovely in her saucy outfit.
and great photographic form.
the night is almost ending.
time to get in a few snaps before the gathering at tom's house.
loser for not showing.
loser -- just tom -- loser.
:)
The Massed Pipes and Drums of The Edinburgh Military Tattoo, 2006.
BBC highlight video of the Massed Pipes and Drums.
Innalzandosi maestosamente dalle acque dello Ionio, l’Etna, maggiore vulcano d’Europa, si impone prepotentemente al visitatore offrendogli una ricchezza di paesaggi.Colate laviche antiche e recenti dalle forme più varie, canneti vulcanici, dicchi, “timpe” e creste, valli e valloni, canaloni e sprofondamenti sono elementi che caratterizzano la complessa morfologia della montagna etnea. Su queste forme in continuo divenire si è insediata la vita vegetale, che ne segue momento per momento le vicissitudini e gli svariati mutamenti, in un succedersi incessante di distruzioni e ricostruzioni.Salendo lungo le pendici dell’Etna, man mano che si penetra nelle zone più elevate, si vedono succedere agli alberi gli arbusti, le erbe dai fiori intensamente colorati e dalle dimensioni sempre più ridotte, fino all’arresto della vita vegetale; in prossimità della cima è il vulcano attivo a prendere il sopravvento.Le diversità del paesaggio vegetale con l’altitudine, hanno consentito di riconoscere sul vulcano, dei piani altitudinali, paesaggisticamente caratterizzati dagli aspetti della vegetazione propri a ciascuno di essi. Si fa riferimento in particolare alle formazioni vegetali che in ciascuno dei piani e orizzonti distinti costituiscono la massima espressione oggi possibile della vegetazione.I neri fiumi di lava che solcano a tutti i livelli i fianchi del vulcano, i numerosi conetti eruttivi, sparsi o allineati lungo linee radiali, costituiscono elementi paesaggistici di notevole rilevanza. Le superfici che gli uni e gli altri interessano, offrono ai vegetali tutta una serie di situazioni ambientali, da quelle più inospitali, che sono la maggior parte, a quelle particolarmente favorevoli.La vita vegetale si trova qui impegnata in un’opera di colonizzazione che dura secoli e millenni. Lo svolgersi di tale processo avviene secondo tappe ben precise.Il primo stadio visibile della colonizzazione vegetale è costituito da “Muschi e Licheni”. Sui substrati ove riesce ad accumularsi un leggerissimo strato di terra si insediano le prime piante a fiore, che si organizzano in piccoli tappeti erbacei molto bassi, costituiti da elementi a ciclo molto breve (effimerofite) come ad esempio quelle rappresentate dalle specie del genere “Sedum”. Gli stadi che seguono sono dominati da erbe e suffrutici, fra cui ruolo importante assume il “Romice dell’Etna”. Negli anfratti più o meno profondi si insediano le piante legnose, arbustive e arboree, fra cui la “Ginestra dell’Etna”. Fra gli arbusti sono spesso presenti le specie arboree proprie del territorio, le quali danno inizio alla lenta opera di organizzazione degli esempi più maturi di vegetazione . Fra le specie arboree particolare significato assume il “Pino laricio”, capace di colonizzare da solo vaste estensioni laviche.
2015 Retromobile (fevrier) Paris
Lors de lâédition 2015 du salon Rétromobile, une très rare Bugatti EB 110 GT de 1995 était exposée sur lâun des stands, afin dâêtre vendue. La voiture ne totalise que 16 000 km dâorigine et provient de la République Tchèque.
Lâémotion est au rendez-vous au Mondial de lâAutomobile de Paris, en 1991, lorsque renaît le nom Bugatti, sous la forme dâune Grand Tourisme de lâextrême. Présentée sur le parvis de la Défense le 15 septembre 1991 aux côtés de nombreuses anciennes Bugatti et sous le parrainage dâAlain Delon, la Bugatti EB 110 est le premier nouveau véhicule de la société depuis la reprise de la marque Bugatti par Romano Artioli en 1987 et la création en 1989 de Bugatti Automobili SpA. Lâ EB 110 a ainsi été la première voiture Bugatti produite depuis 1956, permettant de relancer cette marque automobile légendaire.
La Bugatti EB 110 célèbre le 110e anniversaire de la naissance dâEttore Bugatti.
Tous les superlatifs peuvent être appliqués à cette voiture pour laquelle des designers du niveau de Gandini, ingénieurs prestigieux et entreprises de haute technologie telles que lâAérospatiale ou la SNECMA ont été réunis.
Ses caractéristiques techniques lui permettent de revendiquer des performances de premier plan: une vitesse de pointe de près de 350 km/h, le 0 à 100 km/h abattu en moins de 3,5 sec. et le 1000 m départ arrêté en 20 secondes!
A cela sâajoute une tenue de cap à couper le souffle avec ses quatre roues motrices et une grande facilité dâutilisation, à moins de la pousser dans ses derniers retranchements: des talents de pilote sont alors nécessairesâ¦
La Bugatti EB 110 (EB 110 GT) propose une véritable pièce dâorfèvrerie en guise de motorisation, un V12 dâune cylindrée de 3,5 l gavé par 4 turbos qui développe 560 ch à 8000 tr/min avec un couple de 611 Nm, mais également une transmission intégrale. Le châssis nâest pas en reste, avec une structure entièrement réalisée en matériaux composites et des suspensions qui reprennent des techniques issues de lâaéronautique.
Dans le respect des traditions de la marque Bugatti, lâhabitacle et la sellerie font lâobjet des plus grands soins : intérieur tendu des plus beaux cuirs, tableau de bord réalisé dans les meilleures essences de bois précieux.
Quelques mois plus tard, au Salon de Genève 1992, la jeune firme décide dâaller encore plus loin ! Avec pour principal objectif dâinscrire lâEB 110 en compétition, lâusine de Campogalliano développe très rapidement la Bugatti EB 110 S (S pour Supersport) pour laquelle nombre de retouches ont été apportées.
Désormais, la puissance sâétablit à 611 ch, le couple a augmenté dans les mêmes proportions, le poids a diminué, et les performances déjà remarquables de lâauto se sont encore améliorées.
Des baquets ont fait leur apparition dans lâhabitacle, ainsi que le carbone et lâaluminium bouchonné. Lâambiance devient résolument sportive!
En 1995, pressentant que lâaventure « Bugatti Automobili » allait tourner court, Romano Artioli, son fondateur, décide de faire construire par les ouvriers de lâusine sa propre EB 110 S, celle quâil pourrait garder en souvenir de Bugatti Automobili. Il sâagit de la toute dernière Supersport produite, la 31ème, et la mécanique va connaître une préparation spéciale, qui fait passer la puissance de 611 à 650 ch.
Au final, Bugatti Automobili a produit 95 exemplaires de la Bugatti EB 110 GT et 30 exemplaires de la Bugatti EB 110 S puis 1 seul exemplaire surpuissant de la EB 110 S pour Romano Artioli.
Revenons à la Bugatti EB 110 GT présente au salon Rétromobile 2015.
Cette Bugatti EB 110 GT a tout pour elle: lâexclusivité, lâhistoire, la sophistication technique, ce qui en fait une automobile unique et exclusive.
Elle est dans une très rare livrée noire, Bugatti nâayant livrée que 6 exemplaires de la EB 110 GT dans cette couleur. Lâintérieur est en cuir gris.
Cette EB 110 GT nâa connu quâun seul propriétaire précédent, qui habitait en République Tchèque.
En janvier 2015, cette Bugatti EB 110 GT a eu une révision complète chez le spécialiste des Bugatti EB 110, Gianni Sighinolfi à Campogalliano en Italie. Elle est ainsi prête à rouler avec des pneus Michelin Pilot Sport sur des jantes BBS en 18 pouces.
Son prix de vente dépasse les 300 000 euros. Avis aux amateurs!
Copyright AudiPassion.com
For Take a Class with Dave and Dave Assignment: "Photographer's Choice", I went right to abstract. When you don't have to take a picture of "something", you might as well take a picture of "nothing"!
BTW, this particular "nothing" is a rusted hub on a piece of farm equipment in a junkyard. i have no idea what it actually was - feel free to venture a guess.
D’Leedon Condominium | Singapore
Designed by internationally renowned Pritzker Architecture Prize winner Zaha Hadid, D’Leedon Condominium is shaped into sweeping fluid forms—a style that characterizes the intricate work of one of the greatest Architects of our time.
Having found this vantage point, I was in awe of the masterpiece in front of me and was stoked to have finally immortalized it in a frame.
© Lemjay Lucas
Dipper on the Exe in an ideal habitat, a weir which diverts water to a mill stream. More shots to follow but I'm on limited WiFi with analogue TV and no phone signal being all of 20 miles from a major British city in a river valley
When you announce to your teacher at the moment she is starting to position you for the class photo that you need to visit the lavatory, expect some form of revenge after the accident.
Where originally it might have been intended to have a row of eight boys at the front row and a second row of ten girls, a rather uneven second row of ten girls and one boy is the final result.
The accident has been made more evident after the boy has been made to keep the hands by the side by the teacher, rather than to fold them like the other boys, thus bringing the attention of the problem to all parents and friends who later see the photograph.
Showing up a child was always a more lasting punishment than a quick hit with the plimsoll or cane.
Some of the teachers at a junior school I was at, would forbid many of us from the Children's Home to leave a classroom in the middle of a lesson if we needed a pee.
Often short of money, a few would use these unsupervised moments to search other children's coats for money or sweets (as they were not allowed in the classroom, so they were left in coat pockets), if no actual need for a pee had been there, ten minutes alone could bring good pickings.
To be fair it was not just the kids that were from the Children's Home that had this rule, but also a couple of other boys who might also might not be trusted were also included in the ban of leaving the classroom during a lesson.
Those of us who suffered this lack of trust, tried to make sure that all our breaks were used for visits to the lavatory, both at the start and at the end of our play times.
Once we knew that asking certain teachers if we could leave the room resulted in the NO answer, we didn't bother asking and tried to hold on to the end of the lesson.
Whilst other children might tease us a little when we did wet ourselves, it was mild compared to the reception we would receive when returned to the Home.
At the end of the day and returning to the Home, there was no point in trying to hide the matter from Sister, it would only get you into more trouble. There was no punishment, just the comment that it might be best if you wore waterproof pants to school to stop the matter happening, and then going to school in them until she decided otherwise was not too much of a problem.
More mild teasing from our friends, but you dare not take them off and hide them, had they become lost the punishment for loosing them would be unthinkable. Eventually the teasing would end. The worst time to be in them was when it came to change for PE or games.
You became happy that the teacher could no longer torture you in class, with the problem of wet stains on your shorts, and a puddle under your chair. The fear of needing to visit the toilet vanished, you had no worries that you might need to go. Wearing waterproofs for many became an everyday event in primary school and there were only a few accidents.
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Those of us from the Children's Home were always short of money, a dare from friends if they promised to put in a penny each for you to do something daft, often ended with the slipper when you were found out if the dare had not been too stupid.
Getting in around 1/- (that would buy a very large bar of chocolate or two Mars bars) from your group of friends was a decent amount of money, it made up for the pain. Fail to complete the dare meant you had to give your friends the penny each instead.
When the stakes were higher, you needed friends to put in 3d each if it would probably end in the cane for your deed if you were caught. 2/6 - 3/- for a dare was always worth the risk.
Holding a lighted banger in your hand, removing the teachers lesson from the blackboard when it was clearly marked DO NOT REMOVE, and making a puddle on the Headmasters carpet, were among the higher dares.
If you were to be seen by the headmaster at morning break. You were first made to drink your one third of a pint milk, then taken straight to see the headmaster due your latest bit of bad behaviour, waiting outside his office until he was ready to see you, and not allowed to a pay a visit to the toilet until you had been seen. I never did make a puddle in his office, other friends did out of fear or for a dare. Due to a long wait outside his office, my shorts and the door mat did suffer.
Club membership application form included as part of a full-page advertisement in the Buster children's comic.
The Airfix Modellers Club was launched in May 1974 by Fleetway Publications in conjunction with the Airfix Company. The club ran from May 1974 to March 1981 and was promoted through Fleetway's comic titles such as Valiant, Lion, Battle Picture Weekly and Buster ( www.bustercomic.co.uk/features.html ). By the end of the club's lifetime, it achieved a cumulative membership of over 150,000.
The club heavily promoted new Airfix products through the comics by advertisements and competitions for club members and for those who remember the adverts which featured Dick Emery, who was the club's president. Every new member received their membership pack comprising of a certificate, voucher stamps for Airfix kits, sticker, membership card and the club badge.
Airfix is a British company founded by Nicholas Kove (1891-1958) in 1939 and famous for their scale plastic model kits. In the late 1940’s the company began to experiment with the mass production of scale self-assembly plastic (polystyrene) kits and in 1952 launched their first mass produced kit of the Golden Hind ship. It was an immediate success and within a year Airfix followed with the release of the Spitfire aircraft. Their first retail outlet was Woolworth stores and this in no small way contributed to Airfix’s success. The plastic scale model kit flourished during it’s peak during the 1960’s and 1970’s but the hobby went into decline during the 1980’s and the Airfix company too until they became bankrupt. However, such was the fame of the Airfix brand-name that the company was bought by Hornby Hobbies Lid in 2006 and so the Airfix name continues on.
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For more information:
www.airfix.com/official-airfix-club-membership/
www.collectors-club-of-great-britain.co.uk/magazines/arti... (a short historical article about Airfix).
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Thank you for reading.
Stuart.