View allAll Photos Tagged harmonious
Rom - Kapitolsplatz
The bird's-eye view of the engraving by Étienne Dupérac shows Michelangelo's solution to the problems of the space in the Piazza del Campidoglio. Even with their new facades centering them on the new palazzo at the rear, the space was a trapezoid, and the facades did not face each other squarely. Worse still, the whole site sloped. Michelangelo's solution was radical.
The three remodelled palazzi enclose a harmonious trapezoidal space, approached by the ramped staircase called the "Cordonata". The stepped ramp of the cordonata was intended, like a slow-moving escalator, to lift its visitors toward the sky and deposit them on the threshold of municipal authority. Since no "perfect" forms would work within the dimension of the plaza, his apparent ellipse in the paving is actually egg-shaped (oval), narrower at one end than at the other. The oval shape combined with the diamond pattern within it was a play on the previous Renaissance geometries of the circle and square. The travertine design set into the paving is perfectly level: Around its perimeter, low steps arise and die away into the paving as the slope requires. Its centre springs slightly, so that one senses that he/she is standing on the exposed segment of a gigantic egg all but buried at the centre of the city at the centre of the world, as Michelangelo's historian Charles de Tolnay pointed out. An interlaced twelve-pointed star makes a subtle reference to the constellations, revolving around this space called Caput mundi, Latin for "head of the world." This paving design was never executed by the popes, who may have detected a subtext of less-than-Christian import, but Benito Mussolini ordered the paving completed to Michelangelo's design in 1940.
Michelangelo looked at the center to find a solution to the Capitoline disorder. The statue provided a center and a focus. The buildings defined the space, and it is this space, as much as the buildings, that is the impressive achievement of the Capitoline complex. It is a giant outdoor room, a plaza enclosed and protected but open to the sky and accessible through five symmetrical openings. Axiality and symmetry govern all parts of the Campidoglio. The aspect of the piazza that makes this most immediately apparent is the central statue, with the paving pattern directing the visitors’ eyes to its base. Michelangelo also gave the medieval Palazzo del Senatore a central campanile, a renovated façade, and a grand divided external staircase. He designed a new façade for the colonnaded Palazzo dei Conservatori and projected an identical structure, the Palazzo Nuovo, for the opposite side of the piazza. On the narrow side of the trapezoidal plan, he extended the central axis with a magnificent stair to link the hilltop with the city below.
(Wikipedia)
Der Kapitolsplatz, italienisch Piazza del Campidoglio, ist seit der Frühen Neuzeit bis heute der zentrale Platz auf dem Kapitol in Rom. Der italienische Staat hat den Kapitolsplatz mit dem Europäischen Kulturerbe-Siegel ausgezeichnet.
In der Antike befand sich an dieser Stelle eine Senke, die als Asylum bezeichnet wurde. Diese Senke wurde eingerahmt von den beiden Hügelkuppen Capitolium, auf dem sich der Tempel des Jupiter befand, und der Arx, auf der eine Burg und der Tempel der Iuno Moneta standen. Zugang zu dieser auf dem Kapitolshügel befindlichen Senke hatte man nur vom Forum Romanum aus.
Im Spätmittelalter wurde die Senke aufgefüllt, um dem Senatorenpalast eine dorthin gewandte Ausrichtung zu ermöglichen. Da der Anblick des Forums den damaligen Besitzern nicht mehr gefiel, verlegten sie die Fassade von dort weg auf die gegenüberliegende Seite. Als die Päpste nach ihrem Exil in Avignon wieder die Macht in Rom erlangten und sich gegen die Adligen zu behaupten wussten, übernahmen sie auch die Macht auf dem Kapitol. Unter ihrer Regie entstanden hier weitere Gebäude.
Im ersten Drittel des 16. Jahrhunderts erhielt Michelangelo von Papst Paul III. den Auftrag, den Platz des Kapitolshügels in Rom neu zu gestalten. Im Jahre 1538 hatte man das bronzene Reiterstandbild des Kaisers Mark Aurel hierher gebracht und gedachte nun, einen würdigen Rahmen dafür zu schaffen. Während die meisten seiner Ideen schon im 16., spätestens jedoch im Laufe des 17. Jahrhunderts umgesetzt wurden, wurde die optische Hervorhebung durch die besondere Art der Pflasterung erst im Jahre 1940 ergänzt.
Der Entwurf von Michelangelo für den Kapitolsplatz sah folgende Elemente vor:
Die Cordonata, eine Freitreppe in Form einer großen Rampe, die den Zugang von Norden her ermöglichen sollte. Die Stufen und die Steigung der Rampe waren so konzipiert, dass sie für Reiter zu Pferd tauglich war.
Die Cordonata von heute ist eine Treppe, welche die Piazza d'Aracoeli mit dem Kapitolsplatz verbindet.
Die Basis der Treppe wird flankiert von zwei Löwen. Auf halber Höhe auf der linken Seite steht eine Skulptur Cola di Rienzis, die 1887 von Girolamo Masini geschaffen wurde. Das obere Ende der Treppe wird markiert von den dominanten Statuen der Dioskuren Kastor und Pollux mit ihren Pferden am Zügel, die hier 1585 an Stelle der von Michelangelo vorgesehenen Statuen installiert wurden. Wie alle Statuen auf dem Platz sind es Kopien, die meisten der Originale werden in den Kapitolinischen Museen aufbewahrt..
Die Gebäude (Senatorenpalast, Palazzo Nuovo, Konservatorenpalast) sollten trapezförmig zueinander stehen, damit der Platz optisch größer wirkte.
Die Statue des Mark Aurel sollte nach Norden in Richtung Vatikan ausgerichtet sein. Das Reiterstandbild sollte durch Linien auf dem Pflaster, die einen zwölfzackigen Stern, der in ein Oval eingepasst ist, darstellen sollten, optisch hervorgehoben werden.
Das Reiterstandbild wurde 1538 auf Anordnung von Papst Paul III. Farnese von seinem alten Standort vor dem Lateranpalast auf den Kapitolsplatz umgesetzt. Daher befinden sich auf dem Sockel des Standbildes, der ebenfalls von Michelangelo entworfen wurde, die Lilien der Farnese. Nach Abschluss der Renovierung 1990 befindet sich das Original in den Kapitolinischen Museen.
Der Senatorenpalast sollte eine große Doppeltreppe erhalten, die die Symmetrie des Platzes unterstreichen sollte.
Erbaut wurde der Palast nach Michelangelos Entwurf, aus der Zeit zwischen 1547 und 1579 stammt aber die Fassade von Giacomo della Porta und Girolamo Rainaldi.
Die zweiläufige Treppe, die zum Portal des Palastes führt, wurde zwischen 1547 und 1754 errichtet, ohne den im Entwurf vorgesehenen säulengestützten Baldachin.
In der Arkadennische unter der Treppe steht auf einem Sockel eine antike Skulptur der Minerva, die in eine Roma Dea umgewidmet wurde, als 1588/89 der von Matteo di Città di Castello (1555–1632) entworfene, der Treppe vorgelagerte Brunnen gebaut wurde. Die beiden flankierenden Kolossalstatuen, die den Nil und den Tiber symbolisieren, stammen von den Konstantinsthermen und wurden 1518 auf den Kapitolsplatz gebracht.
Heute ist der Senatorenpalast das Rathaus der Stadt Rom und Amtssitz des Bürgermeisters von Rom.
Am 25. März 1957 wurden im Senatorenpalast die Römischen Verträge von der Bundesrepublik Deutschland, Frankreich, Italien, Luxemburg und den Niederlanden unterzeichnet.
Der Palazzo Nuovo wurde erst im 17. Jahrhundert im Auftrag von Innozenz X. unter der Leitung von Girolamo und Carlo Rainaldi ausgeführt, die zumindest in der Gestaltung der Fassade den Vorgaben Michelangelos folgten. Abgeschlossen war das Projekt erst 1663. Heute ist der Palazzo Nuovo Teil der Kapitolinischen Museen.
(Wikipedia)
@ Gateshead
It is often controversial when period and contemporary styles of building inhabit the same space. Can it be done successfully and harmoniously? And what of the occasions when elements of modern architecture are incorporated into the renovation of old buildings? For many, these questions can evoke an emotional response; yet it is not usually realistic to stem the tide of progress, nor is it acceptable or desirable to demolish the finest buildings of yesteryear.
One example is the former Baltic Flour Mill on the Gateshead quayside, which forms the brick shell of the building pictured (Centre For Contemporary Arts). Next to it are high rise apartments and it can be seen that efforts have been made to achieve some commonality in design.
"Goldfinch and Daisies" by Patti Deters. Amid a lush meadow of pretty white daisies (Leucanthemum vulgare), a yellow American Goldfinch (Spinus tristis) perches gracefully on a slender daisy stem, blending harmoniously with the soft yellows of the flower centers. As if painted onto a canvas of wildflowers, the composite goldfinch appears to float among the blooms. The songbird's delicate grip on the stem sways slightly with the breeze, creating a moment of quiet poetry in motion. This serene moment captures the beauty of spring and the intricate connection between pollinators, flora, and the avian world, offering a glimpse into the tranquility of nature. This picture is one of several where the subject color closely matches its surroundings - some of which are at the links below. If you like outdoor nature photography, please enjoy more birds, animals, and other wildlife images at patti-deters.pixels.com. If you like outdoor nature photography, please enjoy more birds, animals, and other wildlife artworks at patti-deters.pixels.com.
patti-deters.pixels.com/featured/red-bellied-woodpecker-i...
patti-deters.pixels.com/featured/winter-bluebird-in-hackb...
patti-deters.pixels.com/featured/canada-jay-in-the-snow-p...
patti-deters.pixels.com/featured/hummingbird-euphorbia-pa...
there's something beautiful harmonious about the sharing beloved places to the beloved people in your life. it's like connecting two halves of a stone that was broken in half fifty years ago. the edges are worn down, no sharp parts. there's a discussion there, a connection between the two halves. because you love them both. because they are both in your heart.
i was just talking to a friend of mine this past week, sarah nieman, and i told her that i wanted to be more personal on this photostream. i wanted to be more honest with you. i'm not here to show you the glamourous bits of my life, or just a series of a pretty girls in pretty places.
i've recently fallen in love, and it has made me so brave. i don't mind speaking to you now, to tell you that i've found this beautiful boy and i have finally shown him this beautiful place. he's from the west coast. he hasn't seen much of this ocean before.
Detail of the decorations on the lobby Christmas Tree in "Westbrook," the historic mansion of industrialist William Bayard Cutting, at the Bayard Cutting Arboretum State Park on Long Island in New York. Volunteers do a great job of decorating the mansion for the holidays. If you look closely, you can see a handsome photographer reflected in the red ball. You can visit the Arboretum at www.bayardcuttingarboretum.com.
Harmonious is Epcot's fireworks and light display show dedicated to "The World’s Most Magical Celebration" —celebrating the 50th anniversary of Walt Disney World Resort.
Over a year ago on a change encounter I snapped THIS PICTURE. After some research I found that the man in the picture was the enigmatic HK Edgerton. The former head of the Asheville chapter of the NAACP who has made it his personal mission to defend the confederate flag marching from NC to Texas in order to spread his gospel.
And an extremly controversial gospel it is: Edgerton claims that slavery wasn't the horrible institiution that there was a harmonious relationship between slave and slaveowner. He likens his work to that of Martin Luther King, but civil rights leaders refer to him as a white supremist.
I most certainly do not agree with his viewpoint, but I fully recognize him as a remarkeable charcter and a living legend of the South. I have been quite fascinated and curious about him.
While viewing a local Christmas parade, HK popped up in front of me....flanking Santa Clause himself, no less. After seeing him pass I took off after him, injecting myself in the parade and nearly bowling over another confederate soldier so that I could snap this picture.
I ran up to him and asked if he was indeed HK Edgerton (Don't tell me their are TWO black confederates). He shook my hand and said "Yes sir, I am" and then he was whisked away in the current of the parade.
I am dissapointed that I didn't get to talk to him in more detail, but I am happy that I finally got a decent photograph of him.
Here is Edgerton's web page southernheritage411.com/index.shtml
And here is an artilce on him www.splcenter.org/intel/intelreport/article.jsp?aid=252
[ENG] Santa María de Naranco is one of the most enigmatic and harmonious monuments of Western architecture. It is an old palace that was the Aula Regia of the palace complex that King Ramiro I (842-850) ordered to be built on the outskirts of the capital of the kingdom of Asturias. It was completed in the year 842. Its artistic style is the so-called Asturian or "ramirense" art, within the pre-Romanesque period. It functioned as a temple from the collapse of the chevet and part of the naves of San Miguel de Lillo (12th century) until its restoration in the years 1929-1934. It is located on the southern slope of Mount Naranco, about 4 km from Oviedo (Asturias, Spain). It was declared a World Heritage Site by UNESCO in 1985. More photos in the album Santa María de Naranco (9th century)
[ESP] Santa María de Naranco es uno de los monumentos más enigmáticos y armoniosos de la arquitectura occidental. Es un antiguo palacio que fue el Aula Regia del conjunto palacial que el rey Ramiro I (842-850) mandó construir en las afueras de la capital del reino de Asturias. Se terminó en el año 842. Su estilo artístico es el denominado arte asturiano o "ramirense", dentro del prerrománico. Funcionó como templo desde el derrumbamiento de la cabecera y de parte de las naves de San Miguel de Lillo (siglo XII) hasta su restauración en los años 1929-1934. Se ubica en la ladera meridional del Monte Naranco, a unos 4 km de Oviedo (Asturias, España). Fue declarado Patrimonio Mundial de la Humanidad por la Unesco en 1985. Más fotografías en el álbum Santa María de Naranco (siglo IX)
23P1460
Hereâs a photo I took in Central Park in New York City To capture this image I used my Canon 5DMKII with a FE 24-105mm F4 lens. Settings: 1/13 sec, f/11, ISO 100. To process this digital image I used the Film Emulation Collection Lightroom presets and profiles. I absolutely love the colour and grit of this Lightroom collection, itâs perfect for todayâs digital photographer that wants a beautiful film look! If you want to see this image in high resolution click here VIEW 4K PHOTO. Copyright: Tim Martin and Presetpro.com. Lightroom Presets: Complete Lightroom Collection
maps.app.goo.gl/BwBmEjiZVdG1xneX9
20100327 S 1294 RotNoDo3 7934 PhotosIVenezia_036
maps.app.goo.gl/BwBmEjiZVdG1xneX9
ENGLISH
Venice, 27 March 2010
The Tetrarchs of Constantinople – origin, journey to Venice, and archaeological facts
Origin and iconography
The sculpture of the four Roman emperors was carved around the year 300, during the Tetrarchy, from an exceptionally valuable material – Egyptian red porphyry, reserved for imperial representations.
It depicts two pairs of rulers in a symbolic, ceremonial embrace, emphasizing the idea of unity and harmonious rule rather than individual portraiture.
Original location in Constantinople
The monument was originally installed at the Philadelphion, a central and highly symbolic square of Constantinople.
It formed part of the representative imperial urban landscape celebrating the continuity and stability of the Roman Empire.
The looting of 1204 and arrival in Venice
During the Fourth Crusade (1204), the Venetians took numerous works of art from the sacked Constantinople, among them the Tetrarchs.
Today the sculpture is embedded in the southeastern exterior corner of St Mark’s Basilica – recognizable by the contrast between the dark porphyry and the light Venetian marble.
Damage and archaeological discoveries
The figure on the far right was missing its left foot and ankle. During a medieval restoration the missing part was replaced with pink porphyry, which clearly differs from the original.
In 1965, during German-Turkish excavations at the Philadelphion in Istanbul, the lost original foot fragment was discovered.
It is now kept in the Archaeological Museum in Istanbul.
This confirmed the sculpture’s provenance and its relocation after 1204.
The head of Justinian I and Venetian legends
A porphyry head of Emperor Justinian I once stood on the upper balcony of the basilica – also brought from Constantinople after the Fourth Crusade.
It is now preserved in the Procuratie of St Mark’s.
In Venetian popular tradition this head was often mistakenly identified with that of Francesco Bussone da Carmagnola (executed in 1432 on St Mark’s Square), and later with the legendary Fornaretto, a young man who, according to legend, was unjustly executed.
The “Stone of Proclamation” (Pietra del Bando)
At the very corner of the basilica is the so-called Stone of Proclamation, on which – according to 15th-century records – the severed heads of traitors of the Republic were displayed for three days and three nights as a warning to passers-by.
This tradition likely contributed to later confusion regarding the identity of the porphyry head.
________________________________________
ITALIANO
Venezia, 27 marzo 2010
I Tetrarchi di Costantinopoli – origine, arrivo a Venezia e fatti archeologici
Origine e iconografia
La scultura dei quattro imperatori romani fu scolpita intorno all’anno 300, durante la tetrarchia, in un materiale estremamente prezioso – il porfido rosso egiziano, riservato alle rappresentazioni imperiali.
Raffigura due coppie di sovrani in un abbraccio simbolico e cerimoniale, sottolineando l’idea di unità e di governo concorde, piuttosto che un ritratto individuale.
Collocazione originaria a Costantinopoli
Il monumento era originariamente collocato presso il Philadelphion, una piazza centrale e altamente simbolica di Costantinopoli.
Faceva parte dell’urbanistica imperiale celebrativa della continuità e stabilità dell’Impero romano.
Il saccheggio del 1204 e l’arrivo a Venezia
Durante la Quarta Crociata (1204) i veneziani portarono via numerose opere d’arte dalla Costantinopoli saccheggiata, tra cui i Tetrarchi.
Oggi la scultura è inserita nell’angolo sud-orientale esterno della Basilica di San Marco – riconoscibile dal contrasto tra il porfido scuro e il chiaro marmo veneziano.
Danni e scoperte archeologiche
Alla figura all’estrema destra mancavano il piede sinistro e la caviglia. Durante un restauro medievale la parte mancante fu integrata con porfido rosato, chiaramente diverso dall’originale.
Nel 1965, durante gli scavi tedesco-turchi presso il Philadelphion di Istanbul, fu ritrovato il frammento originale del piede perduto.
Oggi è conservato nel Museo Archeologico di Istanbul.
Ciò ha confermato la provenienza della scultura e il suo trasferimento dopo il 1204.
La testa di Giustiniano I e le leggende veneziane
Sul balcone superiore della basilica si trovava un tempo una testa in porfido dell’imperatore Giustiniano I – anch’essa portata da Costantinopoli dopo la Quarta Crociata.
Oggi è conservata nelle Procuratie di San Marco.
Nella tradizione popolare veneziana questa testa veniva spesso identificata erroneamente con quella di Francesco Bussone da Carmagnola (giustiziato nel 1432 in Piazza San Marco) e più tardi con quella del leggendario Fornaretto, giovane che secondo la leggenda fu ingiustamente condannato a morte.
La “Pietra del Bando”
Proprio all’angolo della basilica si trova la cosiddetta Pietra del Bando, sulla quale – secondo registri del XV secolo – venivano esposte per tre giorni e tre notti le teste mozzate dei traditori della Repubblica, come monito ai passanti.
Questa tradizione ha probabilmente alimentato la successiva confusione riguardo all’identità della testa in porfido.
________________________________________
FRANÇAIS
Venise, 27 mars 2010
Les Tétrarques de Constantinople – origine, arrivée à Venise et faits archéologiques
Origine et iconographie
La sculpture des quatre empereurs romains a été réalisée vers l’an 300, à l’époque de la tétrarchie, dans un matériau extrêmement précieux – le porphyre rouge d’Égypte, réservé aux représentations impériales.
Elle montre deux paires de souverains dans une étreinte symbolique et cérémonielle, soulignant l’idée d’unité et de gouvernement harmonieux plutôt qu’un portrait individuel.
Emplacement originel à Constantinople
Le monument se trouvait à l’origine au Philadelphion, une place centrale et hautement symbolique de Constantinople.
Il faisait partie de l’urbanisme impérial visant à célébrer la continuité et la stabilité de l’Empire romain.
Le pillage de 1204 et l’arrivée à Venise
Lors de la Quatrième Croisade (1204), les Vénitiens emportèrent de nombreuses œuvres d’art de Constantinople mise à sac, dont les Tétrarques.
Aujourd’hui, la sculpture est intégrée dans l’angle sud-est extérieur de la basilique Saint-Marc, reconnaissable par le contraste entre le porphyre sombre et le marbre vénitien clair.
Dommages et découvertes archéologiques
La figure la plus à droite avait perdu son pied gauche et sa cheville. Lors d’une restauration médiévale, la partie manquante fut remplacée par du porphyre rose, nettement différent de l’original.
En 1965, lors de fouilles germano-turques au Philadelphion à Istanbul, le fragment original du pied perdu fut retrouvé.
Il est aujourd’hui conservé au Musée archéologique d’Istanbul.
Cette découverte a confirmé l’origine de la sculpture et son déplacement après 1204.
La tête de Justinien Ier et les légendes vénitiennes
Une tête en porphyre de l’empereur Justinien Ier se trouvait autrefois sur le balcon supérieur de la basilique – elle aussi apportée de Constantinople après la Quatrième Croisade.
Elle se trouve aujourd’hui dans les Procuraties de Saint-Marc.
Dans la tradition populaire vénitienne, cette tête fut souvent confondue avec celle de Francesco Bussone da Carmagnola (exécuté en 1432 sur la place Saint-Marc), puis avec celle du légendaire Fornaretto, un jeune homme qui, selon la légende, fut injustement condamné.
La “Pierre du Ban” (Pietra del Bando)
À l’angle même de la basilique se trouve la soi-disant Pierre du Ban, sur laquelle – selon des documents du XVe siècle – les têtes coupées des traîtres de la République étaient exposées pendant trois jours et trois nuits, en guise d’avertissement aux passants.
Cette tradition a probablement contribué à la confusion ultérieure concernant l’identité de la tête en porphyre.
------------------------------
Venecija. 27.III.2010. Carigradski tetrarsi – podrijetlo, put u Veneciju i arheološke činjenice Podrijetlo i ikonografija Skulptura četiri rimska cara isklesana je oko 300. godine u vrijeme tetrarhije, izuzetno vrijednim materijalom – egipatskim crvenim porfirom, rezerviranim za carske prikaze. Prikazuje dva para vladara u simboličnom, ceremonijalnom zagrljaju, naglašavajući ideju zajedništva i složne vladavine, a ne individualni portret. Izvorna lokacija u Konstantinopolisu Spomenik je izvorno bio postavljen kod Philadelphiona, središnjeg i vrlo simboličnog trga Konstantinopolisa. Bio je dio reprezentativnog carskog urbanizma kojim su se slavili kontinuitet i stabilnost Rimskog Carstva. Pljačka 1204. i dolazak u Veneciju Tijekom Četvrtog križarskog pohoda (1204.) Venecijanci su odnijeli brojne umjetnine iz opljačkanog Konstantinopolisa, među njima i Tetrarse. Danas se skulptura nalazi ugrađena u vanjski jugoistočni kut Bazilike sv. Marka – karakteristična po kontrastu tamnog porfira i svijetlog venecijanskog mramora. Oštećenja i arheološka otkrića Na figuri sasvim desno nedostajalo je lijevo stopalo i gležanj. Tijekom srednjovjekovne restauracije nedostatak je nadomješten ružičastim porfirom, koji jasno odudara od originala. 1965. godine, tijekom njemačko-turskih iskapanja kod Philadelphiona u Istanbulu, pronađen je izgubljeni originalni komad stopala. Danas se čuva u Arheološkom muzeju u Istanbulu. Time je potvrđeno izvorište skulpture i njezino premještanje nakon 1204. Glava Justinijana I. i venecijanske legende Na gornjem balkonu bazilike nekad se nalazila porfirna glava cara Justinijana I. – također donijeta iz Konstantinopola nakon Četvrtog križarskog pohoda. Danas se čuva u Prokurativama sv. Marka. U venecijanskoj pučkoj tradiciji ova se glava često pogrešno poistovjećivala s glavom Francesca Bussonea da Carmagnole (pogubljen 1432. na Trgu sv. Marka), kasnije i s legendarnim Fornarettom, mladićem koji je, prema legendi, nepravedno pogubljen. „Kamen ugovora“ (Pietra del Bando) Na samom kutu bazilike nalazi se i tzv. kamen ugovora, na koji su – prema zapisima iz 15. stoljeća – na tri dana i tri noći bile izlagane odrubljene glave izdajnika Republike kao opomena prolaznicima. Ova tradicija je vjerojatno potaknula kasniju zbrku oko identiteta porfirne glave.
Harmonious Glade is a forest village where every breeze, every rustle of leaves, and every chirp of birds weaves together into an eternal melody.
The air hums with the whispers of the departed, their voices carried on the wind, blending seamlessly with the natural sounds of the forest. This is not a place of mourning but of peaceful remembrance.
Every path through the forest leads to sacred sites where the echoes of elven songs reverberate, paying tribute to those who have passed beyond. It is a place where time flows gently, where grief transforms into harmony, and where the memories of those who have transitioned beyond are carried forever.
A Shopping Region -
Sponsored by Harshlands & Belle Epoque
Region by Kadaj Yoshikawa & Janire Coba
Located in Tokyo, Rikugien Garden is a masterpiece of traditional Japanese landscape design, reflecting the Edo period's aesthetic principles. This serene image captures the garden's enchanting beauty, showcasing its meticulously pruned trees and serene pond. The pine trees, their trunks wrapped in traditional straw mats known as "komomaki," stand proudly, demonstrating the garden's dedication to preserving historical horticultural practices. The lush greenery surrounding the pond mirrors the tranquil waters, creating a picturesque scene that invites visitors to pause and appreciate nature's artistry. The garden's winding paths, stone bridges, and charming teahouse offer a journey through time, where each step reveals a new perspective on the harmonious blend of natural and man-made elements. Rikugien, meaning "Six Poems Garden," was created in the early 18th century by Yanagisawa Yoshiyasu under the orders of the fifth shogun, Tokugawa Tsunayoshi. It is renowned for its scenic beauty, featuring landscapes inspired by waka poems. Each area of the garden represents a stanza, creating a poetic and immersive experience. The garden is particularly stunning in autumn when the foliage transforms into a vibrant tapestry of red, orange, and yellow, attracting photographers and nature lovers alike. The seasonal changes add a dynamic aspect to the garden, making each visit unique. Rikugien Garden is not just a historical treasure but also a cultural haven where visitors can enjoy a cup of matcha in the teahouse while soaking in the serene surroundings. The garden's meticulous design and maintenance reflect the Japanese cultural emphasis on balance, tranquility, and respect for nature.
[ENG] Santa María de Naranco is one of the most enigmatic and harmonious monuments of Western architecture. It is an old palace that was the Aula Regia of the palace complex that King Ramiro I (842-850) ordered to be built on the outskirts of the capital of the kingdom of Asturias. It was completed in the year 842. Its artistic style is the so-called Asturian or "ramirense" art, within the pre-Romanesque period. It functioned as a temple from the collapse of the chevet and part of the naves of San Miguel de Lillo (12th century) until its restoration in the years 1929-1934. It is located on the southern slope of Mount Naranco, about 4 km from Oviedo (Asturias, Spain). It was declared a World Heritage Site by UNESCO in 1985. More photos in the album Santa María de Naranco (9th century)
[ESP] Santa María de Naranco es uno de los monumentos más enigmáticos y armoniosos de la arquitectura occidental. Es un antiguo palacio que fue el Aula Regia del conjunto palacial que el rey Ramiro I (842-850) mandó construir en las afueras de la capital del reino de Asturias. Se terminó en el año 842. Su estilo artístico es el denominado arte asturiano o "ramirense", dentro del prerrománico. Funcionó como templo desde el derrumbamiento de la cabecera y de parte de las naves de San Miguel de Lillo (siglo XII) hasta su restauración en los años 1929-1934. Se ubica en la ladera meridional del Monte Naranco, a unos 4 km de Oviedo (Asturias, España). Fue declarado Patrimonio Mundial de la Humanidad por la Unesco en 1985. Más fotografías en el álbum Santa María de Naranco (siglo IX)
23P1493
The harmonious colours of the boats ( kayaks / canoes ? ) in the foreground of this photo of Lake Bohinj caught my attention, I've used a Topaz Adjust filter to add a bit of contrast and saturation.
The Sanctuary of Truth - An intricate sculpture features numerous detailed figures, including deities and mythical creatures intertwined with clouds. The craftsmanship highlights rich cultural and spiritual themes, showcasing a harmonious blend of art and storytelling.
Cades Cove Methodist Church--
This Cades Cove congregation began modestly meeting in a log structure with a fire pit and dirt floor. As change came rather slowly in the Smokies, it took sixty two years to get a newer more modern building. In 1902 carpenter/pastor, John D. McCampbell built the pretty white frame structure which became the Cades Cove Methodist church. The buildings two front door design was common in the 1800's in the Smokies and elsewhere. Generally a two front door design allowed men to enter and sit on one side of the chapel and women and children on the other. Some churches even had a divider in the middle of the chapel. However, the Cades Cove's Methodist congregation was more relaxed and sat where they pleased. Records show the builder was simply copying the design of another church building which happened to have the two door design. What a lovely result. The balanced design of the little Methodist Church tends to a feeling of peace and harmony in its Smoky Mountain setting.
Yet the peaceful setting and harmonious design of the church building did not shield this Smokies congregation from controversy. The Cades Cove Methodist was troubled by division during the Civil War and Reconstruction. Dissidents split off and formed the Hopewell Methodist church. The Hopewell building no longer stands.
Death in Bamileke country is an important social event that helps to mark social and family positions. The object of sumptuous celebrations, it reveals above all the state of the very close relations that the living maintain with the subtle worlds of the deceased. A well celebrated death testifies to harmonious and peaceful relations with the world of the ancestors; but a death can also be a sign of dysfunction, of a tension in the relations between the living and the disappeared, or between the living who would have scores to settle. When an individual's disappearance is announced, questions such as the causes and conditions of death tend to determine whether it is a "good death" or a "bad death"; its meaning must be immediately decoded, and it is seers or elders who have reached high levels of knowledge of tradition who are consulted by the family of the deceased to question the guardian spirits.Death that occurs suddenly, "following a short illness", is suspicious. Quickly, she gave neither the deceased nor the family time to fight. Feelings of helplessness and anger then felt naturally tend to find meaning in this tragic event or to look for a culprit, and first of all in the close relational circle (family or friends). Its motivations may be a rivalry about a status, a property, or jealousy. Disease can only be a vector here for a "mystical" death, that is, the work of a wizard.
Similarly, in the Bamiléké imagination, a traffic accident is a weapon and another form of bad death that occurs quickly and unexpectedly. Long-term illnesses, too, when they strike people in their prime. They exhaust the family psychologically, and often financially, before taking the patient away. Here again, since the use of medicine has been in vain, the causes of death will be sought in the universe of witchcraft. Finally, infamous physical and psychological diseases also fall into the category of bad death, the one that hinders or prohibits the process of ancestralization.
Baham's sacred cave, West Cameroon, is a field of granitic rocks under which dark spaces are used for rituals. The Fovu cave refers to a set of natural cavities and a sacred site of purification, washing and mystical practices in Baham, in the Bamiléké country, in Cameroon in the Western region. It is the place where the royal lineage communicates with the spirits. A vast domain of rocks, wooded vegetation and underground watercourses, the populations also perform rituals and sacrifices. The imposing greyish granite masses, in the shape of potatoes, reach up to 15 metres high. Sprinkled with vegetation, the vast field of granitic rocks extends over approximately 15 hectares and offers natural shelters suitable for different ritual practices. The cathedral, the largest rock, seems to be set in a void, without suspension pillars. It is 40 m long, 20 m wide, 15 m high and covers an area of 100-150 m2 that can accommodate dozens of people. Balance seems impossible under this stone deposited by the gods.
Megalithism, which appeared in prehistoric times and has been extinct for years in various regions, is still practised in Cameroon. All over the world and in many domains, it presents on the one hand disturbing similarities, and on the other differences according to cultures. It still contains many mysteries, raising outstanding scientific debates and questions. This paper emerges from this context, and presents the first research result and perspectives of work carried out in the Grassland (Cameroon) as part of the research project in partnership between IRD and the University of Yaounde I concerning megalithism. The work analyses, interprets, and leads one to discover new megaliths (fundamentally standing stones) of Grassland in a multidisciplinary and interdisciplinary approach. It shows that megaliths of vast Grassland areas and those of Cameroon in general are not well known though still in practice; and that standing stones have been part of an intense social, spiritual and political life in the kingdoms for centuries. It explains the context in which megaliths are realized and used and also the building techniques, the history, forms, significances and functions of monuments, boosting documentary and field research relating to megalithism as significant deficiencies exist.Every year Fovu attracts thousands of pilgrims, who sometimes come from abroad to make offerings, libations, ceremonies, in order to obtain the favors of the divinity. This place is occupied daily by the Kemsi (seers) of Baham, as well as by charlatans, numerous sects and other evangelical churches. The Royal Palace of Baham is not far away and most pilgrims make a stop there before or after making their offerings to the Gods.
This church is quite different from the other churches of the Byzantine world of the 10th and 11th century Cappadocia, with its harmoniously contrasted colors of red, green and yellow, the subjects of its paintings and its decoration of flowers, rosettes and checkerboard patterns, all betraying strong eastern influence. The Church, also known as the Church of Daniel or the Church of Pantassa, has a free cross architectural plan.
On the wall opposite the entrance there is a fresco of Daniel in the Lion's Den. The left cross-arm contains the Annuciation, the Visitation, the Nativity and the Magi. The right cross-arm contains the Flight into Egypt, the Baptism and the Dormition. The Dormition of the Virgin (Koimesis) is unique as far as Cappadocia is concerned. It is composed of two scenes. In the first scene, Mary is lying on a bed, with Christ accompanied by St. John sitting on one side of the bed to recover her soul. In the upper scene Christ is shown holding his Mother's soul, with an Angel behind him
[ENG] Santa María de Naranco is one of the most enigmatic and harmonious monuments of Western architecture. It is an old palace that was the Aula Regia of the palace complex that King Ramiro I (842-850) ordered to be built on the outskirts of the capital of the kingdom of Asturias. It was completed in the year 842. Its artistic style is the so-called Asturian or "ramirense" art, within the pre-Romanesque period. It functioned as a temple from the collapse of the chevet and part of the naves of San Miguel de Lillo (12th century) until its restoration in the years 1929-1934. It is located on the southern slope of Mount Naranco, about 4 km from Oviedo (Asturias, Spain). It was declared a World Heritage Site by UNESCO in 1985. More photos in the album Santa María de Naranco (9th century)
[ESP] Santa María de Naranco es uno de los monumentos más enigmáticos y armoniosos de la arquitectura occidental. Es un antiguo palacio que fue el Aula Regia del conjunto palacial que el rey Ramiro I (842-850) mandó construir en las afueras de la capital del reino de Asturias. Se terminó en el año 842. Su estilo artístico es el denominado arte asturiano o "ramirense", dentro del prerrománico. Funcionó como templo desde el derrumbamiento de la cabecera y de parte de las naves de San Miguel de Lillo (siglo XII) hasta su restauración en los años 1929-1934. Se ubica en la ladera meridional del Monte Naranco, a unos 4 km de Oviedo (Asturias, España). Fue declarado Patrimonio Mundial de la Humanidad por la Unesco en 1985. Más fotografías en el álbum Santa María de Naranco (siglo IX)
23P1494
[ENG] Santa María de Naranco is one of the most enigmatic and harmonious monuments of Western architecture. It is an old palace that was the Aula Regia of the palace complex that King Ramiro I (842-850) ordered to be built on the outskirts of the capital of the kingdom of Asturias. It was completed in the year 842. Its artistic style is the so-called Asturian or "ramirense" art, within the pre-Romanesque period. It functioned as a temple from the collapse of the chevet and part of the naves of San Miguel de Lillo (12th century) until its restoration in the years 1929-1934. It is located on the southern slope of Mount Naranco, about 4 km from Oviedo (Asturias, Spain). It was declared a World Heritage Site by UNESCO in 1985. More photos in the album Santa María de Naranco (9th century)
[ESP] Santa María de Naranco es uno de los monumentos más enigmáticos y armoniosos de la arquitectura occidental. Es un antiguo palacio que fue el Aula Regia del conjunto palacial que el rey Ramiro I (842-850) mandó construir en las afueras de la capital del reino de Asturias. Se terminó en el año 842. Su estilo artístico es el denominado arte asturiano o "ramirense", dentro del prerrománico. Funcionó como templo desde el derrumbamiento de la cabecera y de parte de las naves de San Miguel de Lillo (siglo XII) hasta su restauración en los años 1929-1934. Se ubica en la ladera meridional del Monte Naranco, a unos 4 km de Oviedo (Asturias, España). Fue declarado Patrimonio Mundial de la Humanidad por la Unesco en 1985. Más fotografías en el álbum Santa María de Naranco (siglo IX)
23P1467
Viseu Cathedral is the Catholic bishopric seat of the city of Viseu, in Portugal. The church started being built in the 12th century and is the most important historical monument of the town. It is currently a mix of architectural styles, specially from the Manueline, Renaissance and Mannerist periods.
The cathedral is located on a large and harmonious square, beside the old Bishop's Palace (now the Grão Vasco Museum) and in front of the Misericórdia Church of Viseu.
Viseu Cathedral is a Latin cross church with a three-aisled nave, transept and three Eastern chapels. The main façade is flanked by two towers. The outer, lateral walls of the church have a heavy, menacing appearance, typical of Portuguese mediaeval cathedrals, being partially decorated with merlons.
The South (clock) tower is still of mediaeval origin, while the North tower had to be rebuilt in the 17th century after a storm. The storm also destroyed the Manueline façade, which was rebuilt around 1635. The three-storey façade resembles a Mannerist altarpiece and is decorated with niches harbouring statues of the Four Evangelists, as well as the Holy Maryand Saint Theotonius.
In the interior, all aisles are of approximately equal height, resembling a hall church. The stone rib vaulting is supported by massive pillars and was built between 1505 and 1513, being an outstanding example of Manueline architecture. Some ribs of the roof (liernes) are shaped like twisted ropes and knots, typical Manueline decorative motifs.
The main chapel was rebuilt in Mannerist style and features a gilt-woodwork Baroque-Rococo altarpiece designed by famed sculptor Santos Pacheco, who was also responsible for the main altarpiece of Porto Cathedral. The altarpiece incorporates a Holy Mary statue from the 14th century and was carved between 1729 and 1733 by Francisco Machado. The choir stalls were built by Gaspar Ferreira after 1733.
To the South side of the cathedral there is a two-storey cloister originally built in the Middle Ages but greatly modified in the 16th-17th centuries. The ground floor is a typical Italian Renaissance work, built around 1539 by Francisco Cremona. The upper storey is a Mannerist gallery of the 17th century. The cloisters incorporate some Gothic chapels.
Shinjuku, a bustling district in Tokyo, Japan, epitomizes the perfect blend of historical charm and modern-day sophistication. This vibrant urban scene showcases a multitude of buildings adorned with colorful advertisements and signage, characteristic of the district's lively commercial atmosphere. Key landmarks in the image include the prominently featured "Promise" and "Lake" buildings, each representing the diverse array of services and retail opportunities available in Shinjuku. The "Ichigo" building, with its sleek, modern design, further emphasizes the dynamic nature of this area, where old meets new in a harmonious architectural symphony.
The diverse architectural styles of Shinjuku's buildings tell a story of the district's evolution. From modern glass facades reflecting Tokyo's ever-changing skyline to traditional structures that nod to the city's rich history, the buildings in Shinjuku create a unique and eclectic urban tapestry. The colorful advertisements and signage add to the vibrancy of the scene, illustrating the energetic pulse of the district, known for its entertainment, shopping, and dining options. The clear sky and scattered clouds enhance the atmosphere, inviting visitors to explore and immerse themselves in the multifaceted experiences Shinjuku offers.
Historically, Shinjuku has been a focal point of Tokyo's urban development. It has grown from a post station during the Edo period into a major commercial and administrative center. The district is home to the Tokyo Metropolitan Government Building, luxury hotels, department stores, and countless eateries, making it a hub of activity day and night. The area's commitment to preserving its heritage while embracing modernity is evident in its architecture and urban planning.
Whether you are a history buff, architecture enthusiast, or just looking to dive into the vibrant culture of Tokyo, Shinjuku promises an unforgettable experience. The district's blend of past and present, traditional and contemporary, creates an engaging and dynamic environment that captures the essence of Tokyo.
The answer to the question “Should I do it?” is simple: No one has an obligation to another person, no matter what level of commitment in a relationship, to participate in any sexual activity that causes pain, discomfort or distress.
People can discuss desires honestly and be open to sexual exploration, yet be clear about what crosses the line and is not acceptable.
.
.......***** All images are copyrighted by their respective authors ......
.
.............................................................................................................................................................................................
.
.....item 1).... Ms. Magazine blog ... msmagazine.com/blog ...
You are here: Home / Life / “Should I Do It?” To Women Who Struggle with Porn-Driven Sex
.
..............................................
img code photo ... Etching by Daniel Hopfer (c. 1470-1536) of “The Lovers,” from Wikimedia Commons
msmagazine.com/blog/files/2011/07/500px-The_Lovers-202x30...
...............................................
.
“Should I Do It?” To Women Who Struggle with Porn-Driven Sex
July 2, 2011 by Robert Jensen
msmagazine.com/blog/blog/2011/07/02/%E2%80%9Cshould-i-do-...
Usually I address my writing about pornography to men, who are the majority of the consumers of sexually explicit material. But after a recent conversation with a woman friend, I was reminded of how often women who raise concerns about the sexism of pornography are discounted as being overly sensitive, prudish or unable to see things objectively. Since I’m a man, you can be assured–of course!–that I am not overly sensitive or prudish, and that I’m completely objective. So, if you are a woman who is struggling to get your partner to understand your concerns about pornography, I suggest you send this essay to him with a note at the top that says, “It’s not just women who think pornography is sexist.” Then add a note at the bottom that says, “You shouldn’t have had to hear it from a man to take me seriously.”
First, to give credit where credit is due: Everything I know about pornography I learned from women or discovered because of the feminism I learned from women. From the feminist anti-pornography movement that emerged in the 1970s and ‘80s, I learned to critique the system of male dominance and my own place in it. So, there is little that is original in this essay, but much that is important to keep saying.
When I present the radical feminist critique of pornography in public, I am often approached afterward by women with some version of this question:
....My husband/boyfriend/partner wants me to do [fill in the blank with a sex practice that causes pain, discomfort or distress for the woman]. I love him, and I want to be a good partner. Should I do it?
The “it” can be anything, but common requests include ejaculating on her face, anal sex, a threesome with another man or woman, rough sex or role-playing that feels inauthentic to her. Again, not all women reject those practices, but for many they are unwanted.
The answer to the question “Should I do it?” is simple: No one has an obligation to another person, no matter what level of commitment in a relationship, to participate in any sexual activity that causes pain, discomfort or distress. People can discuss desires honestly and be open to sexual exploration, yet be clear about what crosses the line and is not acceptable.
Because I’m a man, women sometimes assume I can also provide a simple answer to their next question, “Why does he want to do that to me?” There is a simple, though not pleasant, answer rooted in feminism: In patriarchy, men are socialized to understand sex in the context of men’s domination and women’s submission. The majority of the pornography that saturates our hyper-mediated lives presents not images of “just sex,” but sex in the context of male dominance. And over the past two decades, as pornography has become more easily accessible online and the sexual acts in pornography have become more extreme, women increasingly report that men ask them to participate in sex acts that come directly from the conventional male-supremacist pornographic script, with little recognition by men of the potential for pain, discomfort or distress in their women partners.
The third, and most challenging, question is: “Why can’t he understand why I don’t want that?” The strength of sexual desire plays a role, but here the answer is really about the absence of empathy, the lack of an ability to imagine what another human being might be feeling. Pornography has always presented women as objectified bodies for male sexual pleasure, but each year pornography does that with more overt cruelty toward women. The “gonzo” genre of pornography, where the industry pushes the culture’s limits with the most intense sexual degradation, encourages men to see women as vehicles for their sexual pleasure, even depicting women as eager to participate in their own degradation.
After more than two decades of work on this subject, I have no doubt of one truth about contemporary pornography: It is one way that men’s capacity for empathy can be dramatically diminished.
To make this point in talks to college and community audiences, I often suggest that “pornography is what the end of the world looks like.” By that I don’t mean that pornography is going to bring about the end of the world, nor do I mean that of all the social problems we face, pornography is the most threatening.
Instead, I mean that pornography encourages men to abandon empathy, and a world without empathy is a world without hope.
This is why pornography matters beyond its effects in our private lives. Empathy is not itself a strategy for progressive social change, but it is difficult to imagine people being motivated to work for progressive social change if they have no capacity for empathy. Politics is more than empathy, but empathy matters. Empathy is a necessary but not sufficient condition to do work that challenges the domination/subordination dynamic of existing hierarchies–work that is crucial to a just and sustainable future.
For women who want to communicate their need for sexual integrity to partners, and for men who want to transcend the pornographic imagination and empathize with their partners, the feminist critique offers a critique of male dominance and a vision of equality that can help. Instead of turning away from the unpleasant realities about how pornography is made, rather than ignoring the inhumanity of the images, rather than minimizing the effects of men’s use of pornography–we should face ourselves and face the culture we are creating.
As long as we turn away from that task, the pornographers will continue to profit. We need ask what their profits cost us all.
Etching by Daniel Hopfer (c. 1470-1536) of “The Lovers,” from Wikimedia Commons
.
.
............................................................................................................................................................................................
.
.....item 2).... Ms. Magazine blog ... msmagazine.com/blog ...
You are here: Home / Health / The I-Don’t-Wanna-Use-Lube Blues
.
...............................................
img code photo ... Liquid Personal Lubricant
msmagazine.com/blog/files/2011/10/lube.jpg
...............................................
.
The I-Don’t-Wanna-Use-Lube Blues
October 3, 2011 by Heather Corinna
msmagazine.com/blog/blog/2011/10/03/the-i-dont-wanna-use-...
Q: Why don’t I produce enough natural lubricant during sex? There is nothing wrong with me physically. I’m 34 now, but I’ve always been like this! I’m envious of women that talk about how wet they get. Men always ask me why I don’t get that wet. I feel like something is wrong with me. I don’t want to depend on KY for the rest of my sex life. There has to be a solution other than use lubes!!!! From my understanding there are glands near the entrance of the vagina that are supposed to produce lube to help the penis enter the vagina. I don’t think mine work!!! Doctors just say use lube. Help!!!
Every now and then, when I find this concern in my inbox–essentially, this notion that wanting or needing an additional lubricant is some kind of personal failure, or that going without one has some sort of elevated status–I just sit here and scratch my head. Because I see people getting really upset over something they don’t have to.
I certainly get women having issues about vaginal dryness: that’s common, particularly when we’re talking about vaginal sex and heterosexual women. (And I’d put little stock in what a guy tells you about it per his previous female partner; let’s listen to what women have to say for themselves.) But the idea that people are constantly flooding the bedroom with vaginal lubrication every time they have sex just isn’t based in reality.
I also get why people have the idea sex should somehow be movie-screen seamless all the time, at any time, without making any adaptations–there are a lot of sources that enable those unrealistic ideas. But in fact, women’s pleasure during partnered sex, particularly as something separate from men’s pleasure, is something that has really only started to be widely addressed in the last 100 years. Historically and even now, a whole host of sexual norms based primarily on cultural ideas of men’s ideas and wants have meant that a lot of women have had a lot of not-at-all pleasurable sex.
Sexual lubricants are nothing even remotely new. They couldn’t always be purchased in stores, but for as long as people have been having genital sex, people have used all manner of things as a sexual lubricant: butter, oils, honey, saliva, animal fats and guts–you name it, if it’s slippery, it’s probably been used as a lube.
Here’s the part I don’t get: If a lubricant makes sex feel better, why not use it?
There are likely any number of things you do in your life that aren’t “natural” or organic. It’s likely that not all of your clothes are homemade ones created with organic fibers, for instance, and that you eat foods with preservatives or flavor enhancers. I might better understand this attitude about lube coming from die-hard naturists, but more often than not, I’d say that the women who send me lube worries are fine with every other aspect of their lives being less-than-100-percent-organic.
Let’s take this idea about “natural” sex to its logical conclusion. That would also mean going without most methods of birth control, protection from sexually transmitted infections or reproductive health care. Heck, it would mean not using the Internet to ask me this question in the first place. I think it’s reasonable to presume, then, that if and when a vagina is not lubricated enough, or at all, then one could conclude that the “natural” thing is for vaginal entry to just be uncomfortable or painful. And that maybe then, it’s “natural” for some kinds of sex you want to engage in for the sake of pleasure not to be pleasurable at all.
And I just don’t buy that way of thinking.
It is normal for women to sometimes not be wet enough for comfort and pleasure throughout all of a sexual endeavor; and for some women, it’s normal all or most of the time. We do have glands which produce vaginal lubrication when we are aroused, but how much we produce tends to depend on a lot of different factors: Not only does lubrication vary from woman to woman, but we won’t always produce the same amount every day, every year, every decade, in every relationship or in every sexual situation. How lubricated we are also is related to our fertility cycle and the chemical changes in our bodies: When we’re most fertile, our cervical mucus is very thin, fluid and slippery. During pregnancy, women often have increased amounts of vaginal discharge.
Vaginal dryness can also occur for other common reasons, including: medications (such as contraceptives, antidepressants or allergy medicine); smoking; health issues (like diabetes, hysterectomy, pregnancy, yeast or bacterial infections, sexually transmitted infections or allergies); dehydration; cancer treatments; low or decreased libido; not having sex as often as you’re used to; menopause or perimenopause; stress, fatigue, depression or anxiety; and chemical sensitivities to things like detergents.
But for people your age, the most common reason for vaginal dryness is a plain old lack of high sexual arousal or desire: not being as turned on as you could be. Sometimes, we’re just not feeling it with a partner. It’s also possible what you think is a lot of sexual arousal may not be so much after all–it may just be the most you’ve experienced so far, and as your life goes on and you have new attitudes and experiences, you may well discover you can be a lot more aroused.
So, what would I suggest as a plan of action for persistent vaginal dryness that’s got you so upset and doesn’t seem to be about a health issue?
...1)..See if using lube helps, and if so, use it when you need to. Not using lube, or feeling frustrated and disgruntled about using lube, are only going to be more ways to keep yourself from self-lubricating (stress inhibits arousal, after all). Alternately, take a break from the kinds of sex where you don’t feel lubricated enough.
...2)..See a health care provider who is a full-time sexual healthcare provider, not a general family doctor.
...3)..Do the best you can to be honest with that provider and fill them in on your health history–as well as the current status of your relationship and how you feel about your sexuality and sex life–in as much depth as possible.
...4)..Try what they suggest, be that a switch in a medication, a visit to a nutritionist, more masturbation, talk therapy, drinking more water, really only having sex when you are VERY aroused and that’s what you want, taking some time away from intercourse or, most likely, using lubricant as needed. Your doctor may even suggest using a vaginal lubricant daily, even if you aren’t having sex that day.
...5)..In the midst of all of this, whatever the result, take a look at your own body image, sexuality and gender issues. If you have ideas like that being dry sometimes isn’t feminine or womanly, like you’re “less of a woman” because you’re not dripping wet 24/7, or that something is wrong with your body for most likely functioning normally, see if you can’t work on ditching those ideas. It might help to remember that not all women have vaginas in the first place: Being a woman or feminine isn’t only about body parts.
Of course, if you just do NOT want to use lubricants, you don’t have to. That is likely to make some kinds of sex, or sex sometimes, less pleasurable or more uncomfortable. It also can mean things like winding up with UTIs or other infections more frequently. But if you feel better with those risks, you get to make that choice. Again, at times when you’re not lubricating, you also have the option of simply not having the kinds of sex where you need lube added, such as oral sex.
But it shouldn’t crush your ego to need or want lube, any more than it should crush your ego to need or want a haircut, salt on your food or to live in a decent neighborhood. Adding something to increase our enjoyment has nothing to do with our self-worth or with “succeeding” at sex. And using lubricant–whether it’s a need or a want–or being dry sometimes does not make a woman any less of a woman, does not make anyone less sexy, does not mean something is wrong with your body or your sexuality. Is a man not a man because he isn’t erect on demand or all the time? No? (Hint: Your answer should be no.) Well alrighty, then.
Speaking of men, I get letters from men saying they don’t like wetness. I get the same letters when it comes to dryness. However, I can’t recall a single time when I have ever gotten a letter from a man who has a problem with using lube himself or with a partner (perhaps in part because plenty of men use it for their own masturbation). So, when I hear someone tell me what “men” love, it’s always filtered by the knowledge that there are no absolutes with anything to do with sex. People of all genders like and dislike many different things.
Lube feels good. I don’t know about you, but one big reason I engage in sex is to feel good. That strikes me as perfectly harmonious. I don’t feel like I’m failing in any way when my partners and myself are feeling really good and sex rocks.
Obviously, you get to make up your own mind here and make your own choices. But I’d suggest that no matter what choice you make, an attitude adjustment on this stuff–not just on lubricant, but on not comparing oneself to other women and on realistic ideas about sexuality and the way your body functions–is going to benefit you. Most of what I hear in letters like this is that the attitudes expressed and the stress they create are getting you down far more than the issue of lubrication. And I’d say it’s certainly natural to change our attitudes or ideas for the sake of a healthier sexuality and self-esteem and a sex life we enjoy more.
Adapted from a post originally published at Scarleteen.com.
Have a sex, sexual-health or relationships question you want answered? Email it to Heather at sexandrelationships@msmagazine.com. By sending a question to that address, you acknowledge you give permission for your question to be published. Your email address and any other personally identifying information will remain private. Not all questions will receive answers.
Photo from Fickr user Lil’ Latvian under Creative Commons 2.o.
.
.
..............................................................................................................................................................................................
.
.
La plaza de San Esteban (en alemán: Stephansplatz) es la plaza situada en el centro geográfico de la ciudad de Viena, la capital estatal de Austria.
Fue nombrada así por su más prominente edificio: la catedral de San Esteban (Stephansdom).
Anteriormente al siglo XX, una fila de edificios separaba esta plaza de la plaza "Stock-im-Eisen", pero después de su destrucción el nombre de plaza de San Esteban es usado de manera indiferente en las dos áreas colindanes.
En las calles aledañas, se encuentran los lugares más concurridos para realizar las compras.
es.wikipedia.org/wiki/Stephansplatz
The Stephansplatz is a square at the geographical centre of Vienna. It is named after its most prominent building, the Stephansdom, Vienna's cathedral and one of the tallest churches in the world. Before the 20th century, a row of houses separated Stephansplatz from Stock-im-Eisen-Platz, but since their destruction, the name Stephansplatz started to be used for the wider area covering both. To the west and south, respectively, run the exclusive shopping streets Graben (literally "ditch") and Kärntner Straße ("Kärnten" is the German for Carinthia). Opposite the Stephansdom is the Haas-Haus, a piece of striking modern architecture by Hans Hollein. Although public opinion was originally skeptical about the combination of the mediaeval cathedral and the glass and steel building, it is now considered an example of how old and new architecture can mix harmoniously .
Tian Tan Buddha
From Wikipedia, the free encyclopediaJump to: navigation,
Tian Tan Buddha
Traditional Chinese 天壇大佛
Mandarin - Hanyu Pinyin Tiāntán Dàfó
Tian Tan Buddha from afar Buddhistic statues praising and making offerings to the Tian Tan Buddha
The statue is located near Po Lin Monastery and symbolises the harmonious relationship between man and nature, people and religion. It is a major centre of Buddhism in Hong Kong, and is also a popular tourist attraction.
The statue is named Tian Tan Buddha because its base is a model of the Altar of Heaven or Earthly Mount of Tian Tan, the Temple of Heaven in Beijing. It is one of the five large Buddha statues in China. The Buddha statue sits on a lotus[disambiguation needed] throne on top of a three-platform altar. It is surrounded by six smaller bronze statues known as "The Offering of the Six Devas" and are posed offering flowers, incense, lamp, ointment, fruit, and music to the Buddha. These offerings symbolize charity, morality, patience, zeal, meditation, and wisdom, all of which are necessary to enter into nirvana.[2]
The Buddha is 34 metres (112 ft) tall, weighs 250 metric tons (280 short tons), and was the world's tallest outdoor bronze seated Buddha prior to 2007.[3] It reputedly can even be seen from as far away as Macau on a clear day. Visitors have to climb 240 steps in order to reach the Buddha, though the site also features a small winding road to the Buddha for vehicles to accommodate the handicapped.
The Tian Tan Buddha appears serene and dignified. His right hand is raised, representing the removal of affliction.The Buddha's left hand rests on his lap in a gesture of giving dhana. The Buddha faces north, which is unique among the great Buddha statues, as all others face south.
In addition, there are 3 floors beneath the Buddha statue: The Hall of Universe, The Hall of Benevolent Merit, and The Hall of Remembrance. One of the most renowned features inside is a relic of Gautama Buddha, consisting of some of his alleged cremated remains. Only visitors who purchase an offering for the Buddha are allowed to see the relic, in order to leave the offering there. There is a huge carved bell inscribed with images of Buddhas in the show room. It was designed to ring every seven minutes, 108 times a day, symbolising the release of 108 kinds of human vexations.
HistoryThe Tian Tan Buddha was constructed beginning in 1990, and was finished on December 29, 1993, the day of the enlightenment of Gautama Buddha, the founder of the Buddhist religion. The statue was formed out of 202 separate pieces of bronze. In addition to the exterior components, there is a strong steel framework inside the statue to support the heavy load. When the statue was completed, monks from around the world were invited to the opening ceremony. Distinguished visitors from mainland China, Hong Kong, Taiwan, India, Japan, Korea, Thailand, Malaysia, Singapore, Sri Lanka, and the United States all took part in the proceedings.
On October 18, 1999, the Hong Kong Post Office issued a stamp depicting the Tian Tan Buddha. The MTR corporation has also issued a souvenir ticket featuring a photograph of the statue.
Visiting and accessPo Lin Monastery and the Buddha are open to the public between 10:00 and 17:45. Access to the outside of the Buddha is free of charge, but there is an admission fee to go inside the Buddha.
Visitors may also see the nearby monastery, known as the "Buddhist Kingdom in the South," which serves as an international Buddhist retreat, and is one of the largest and most well known in Hong Kong. The monastery was built by three Zen masters in 1920. The main temples have painted vermilion interiors with dragons and many other different Chinese mythical figures on the walls and ceilings. Visitors often spend time in the attached tea garden, the only tea garden in the territory. A five minute walk past the tea garden leads to the "Wisdom Path" - a very large wooden inscription of the Heart Sutra set within a figure 8 to symbolise infinity.
One of the main attractions of this Buddha statue is climbing 268 steps and circling the platform (the lotus) where the Buddha sits.
Also nearby is Lantau Peak, the second highest mountain in Hong Kong
Saheli, Manikganj, Bangladesh 2011
With smile and illumination morning sun is playing the orchestra of warm music.
Yes, its the song of a harmonious morning.
while waiting my friends take some rest, spontaneously I take some picture of other group that just hang out...
"Harmonious Cascades (Vertical):" Twin waterfalls unite amongst fall's tapestry and red rocks in north-central Arizona.
Beauty is a harmonious relation between something in our nature and the quality of the object which delights us. Everything has beauty, but not everyone sees it.
Life is full of beauty. Notice the bumble bee, cascading waters, the small child and the smiling faces. Smell the rain, and feel the wind. Live your life to the fullest potential, and fight for your dreams. Anyone who keeps the ability to see beauty never grows old.
Have a great weekend everybody !
7342-470
This gentleman gave us the permission to publish that photo.
From the plaque:
AUGMENTED GROUNDS 2020
Soomeen Hahm, Jaeheon Jung, Yumi Lee
Seoul, South Korea
Soomeen Hahn obtained her Bachelor of Architecture degree at the Beijing Tsinghua University and her Master of Architecture degree from the Architecture Association where she studied in the Design Research Lab (DRL). Jaeheon Jung was educated at the Southern California Institute of Architecture and obtained an MS in Urban Design and Planning program from the University of Seoul (South Korea). Yumi Lee received a Master degree in Landscape Architecture from the University of Pennsylvania.
The team consists of architects and landscape architects, expert in design research and practice interested in exploring harmonious ecology of human computer and machine. They are currently focusing on ways of constructing complex forms by augmented human builders to develop unique construction processes that cannot be done entirely by automation nor by human labour. Pursuing various expertise in both academia and practice the team collaborates on various projects such as design workshops, research papers and competitions to pursue their research agenda.
The proposed design will be floated virtually over a real site using Microsoft Hololens and the leader of the team will utilize the holographic model as an augmented instruction for the on-site construction. The Augmented Group garden takes visitors through a playful and colourful rope display of topography that reflects the pride of Métis culture and identity. In the garden, visitors can walk along the colorful contours of ropes, sit and lie down on the coiled seating or run up and down on the mounds and pools.
LES JARDINS DE MÉTIS | REFORD GARDENS
Visit : www.refordgardens.com/
From Wikipedia:
Elsie Stephen Meighen - born January 22, 1872, Perth, Ontario - and Robert Wilson Reford - born in 1867, Montreal - got married on June 12, 1894.
Elsie Reford was a pioneer of Canadian horticulture, creating one of the largest private gardens in Canada on her estate, Estevan Lodge in eastern Québec. Located in Grand-Métis on the south shore of the St. Lawrence River, her gardens have been open to the public since 1962 and operate under the name Les Jardins de Métis and Reford Gardens.
Born January 22, 1872 at Perth, Ontario, Elsie Reford was the eldest of three children born to Robert Meighen and Elsie Stephen. Coming from modest backgrounds themselves, Elsie’s parents ensured that their children received a good education. After being educated in Montreal, she was sent to finishing school in Dresden and Paris, returning to Montreal fluent in both German and French, and ready to take her place in society.
She married Robert Wilson Reford on June 12, 1894. She gave birth to two sons, Bruce in 1895 and Eric in 1900. Robert and Elsie Reford were, by many accounts, an ideal couple. In 1902, they built a house on Drummond Street in Montreal. They both loved the outdoors and they spend several weeks a year in a log cabin they built at Lac Caribou, south of Rimouski. In the autumn they hunted for caribou, deer, and ducks. They returned in winter to ski and snowshoe. Elsie Reford also liked to ride. She had learned as a girl and spent many hours riding on the slopes of Mount Royal. And of course, there was salmon-fishing – a sport at which she excelled.
In her day, she was known for her civic, social, and political activism. She was engaged in philanthropic activities, particularly for the Montreal Maternity Hospital and she was also the moving force behind the creation of the Women’s Canadian Club of Montreal, the first women club in Canada. She believed it important that the women become involved in debates over the great issues of the day, « something beyond the local gossip of the hour ». Her acquaintance with Lord Grey, the Governor-General of Canada from 1904 to 1911, led to her involvement in organizing, in 1908, Québec City’s tercentennial celebrations. The event was one of many to which she devoted herself in building bridges with French-Canadian community.
During the First World War, she joined her two sons in England and did volunteer work at the War Office, translating documents from German into English. After the war, she was active in the Victorian Order of Nurses, the Montreal Council of Social Agencies, and the National Association of Conservative Women.
In 1925 at the age of 53 years, Elsie Reford was operated for appendicitis and during her convalescence, her doctor counselled against fishing, fearing that she did not have the strength to return to the river.”Why not take up gardening?” he said, thinking this a more suitable pastime for a convalescent woman of a certain age. That is why she began laying out the gardens and supervising their construction. The gardens would take ten years to build, and would extend over more than twenty acres.
Elsie Reford had to overcome many difficulties in bringing her garden to life. First among them were the allergies that sometimes left her bedridden for days on end. The second obstacle was the property itself. Estevan was first and foremost a fishing lodge. The site was chosen because of its proximity to a salmon river and its dramatic views – not for the quality of the soil.
To counter-act nature’s deficiencies, she created soil for each of the plants she had selected, bringing peat and sand from nearby farms. This exchange was fortuitous to the local farmers, suffering through the Great Depression. Then, as now, the gardens provided much-needed work to an area with high unemployment. Elsie Reford’s genius as a gardener was born of the knowledge she developed of the needs of plants. Over the course of her long life, she became an expert plantsman. By the end of her life, Elsie Reford was able to counsel other gardeners, writing in the journals of the Royal Horticultural Society and the North American Lily Society. Elsie Reford was not a landscape architect and had no training of any kind as a garden designer. While she collected and appreciated art, she claimed no talents as an artist.
Elsie Stephen Reford died at her Drummond Street home on November 8, 1967 in her ninety-sixth year.
In 1995, the Reford Gardens ("Jardins de Métis") in Grand-Métis were designated a National Historic Site of Canada, as being an excellent Canadian example of the English-inspired garden.(Wikipedia)
Visit : en.wikipedia.org/wiki/Elsie_Reford
---------------------------------------------------------------------------------------
Visit : www.refordgardens.com/
--------------------------------------------------------------------------------------
LES JARDINS DE MÉTIS
Créés par Elsie Reford de 1926 à 1958, ces jardins témoignent de façon remarquable de l’art paysager à l’anglaise. Disposés dans un cadre naturel, un ensemble de jardins exhibent fleurs vivaces, arbres et arbustes. Le jardin des pommetiers, les rocailles et l’Allée royale évoquent l’œuvre de cette dame passionnée d’horticulture. Agrémenté d’un ruisseau et de sentiers sinueux, ce site jouit d’un microclimat favorable à la croissance d’espèces uniques au Canada. Les pavots bleus et les lis, privilégiés par Mme Reford, y fleurissent toujours et contribuent , avec d’autres plantes exotiques et indigènes, à l’harmonie de ces lieux.
Created by Elsie Reford between 1926 and 1958, these gardens are an inspired example of the English art of the garden. Woven into a natural setting, a series of gardens display perennials, trees and shrubs. A crab-apple orchard, a rock garden, and the Long Walk are also the legacy of this dedicated horticulturist. A microclimate favours the growth of species found nowhere else in Canada, while the stream and winding paths add to the charm. Elsie Reford’s beloved blue poppies and lilies still bloom and contribute, with other exotic and indigenous plants, to the harmony of the site.
Commission des lieux et monuments historiques du Canada
Historic Sites and Monuments Board of Canada.
Gouvernement du Canada – Government of Canada
© Copyright
This photo and all those in my Photostream are protected by copyright. No one may reproduce, copy, transmit or manipulate them without my written permission.
REFORD GARDENS | LES JARDINS DE MÉTIS
From Wikipedia:
Elsie Stephen Meighen - born January 22, 1872, Perth, Ontario - and Robert Wilson Reford - born in 1867, Montreal - got married on June 12, 1894.
Elsie Reford was a pioneer of Canadian horticulture, creating one of the largest private gardens in Canada on her estate, Estevan Lodge in eastern Québec. Located in Grand-Métis on the south shore of the St. Lawrence River, her gardens have been open to the public since 1962 and operate under the name Les Jardins de Métis and Reford Gardens.
Born January 22, 1872 at Perth, Ontario, Elsie Reford was the eldest of three children born to Robert Meighen and Elsie Stephen. Coming from modest backgrounds themselves, Elsie’s parents ensured that their children received a good education. After being educated in Montreal, she was sent to finishing school in Dresden and Paris, returning to Montreal fluent in both German and French, and ready to take her place in society.
She married Robert Wilson Reford on June 12, 1894. She gave birth to two sons, Bruce in 1895 and Eric in 1900. Robert and Elsie Reford were, by many accounts, an ideal couple. In 1902, they built a house on Drummond Street in Montreal. They both loved the outdoors and they spend several weeks a year in a log cabin they built at Lac Caribou, south of Rimouski. In the autumn they hunted for caribou, deer, and ducks. They returned in winter to ski and snowshoe. Elsie Reford also liked to ride. She had learned as a girl and spent many hours riding on the slopes of Mount Royal. And of course, there was salmon-fishing – a sport at which she excelled.
In her day, she was known for her civic, social, and political activism. She was engaged in philanthropic activities, particularly for the Montreal Maternity Hospital and she was also the moving force behind the creation of the Women’s Canadian Club of Montreal, the first women club in Canada. She believed it important that the women become involved in debates over the great issues of the day, « something beyond the local gossip of the hour ». Her acquaintance with Lord Grey, the Governor-General of Canada from 1904 to 1911, led to her involvement in organizing, in 1908, Québec City’s tercentennial celebrations. The event was one of many to which she devoted herself in building bridges with French-Canadian community.
During the First World War, she joined her two sons in England and did volunteer work at the War Office, translating documents from German into English. After the war, she was active in the Victorian Order of Nurses, the Montreal Council of Social Agencies, and the National Association of Conservative Women.
In 1925 at the age of 53 years, Elsie Reford was operated for appendicitis and during her convalescence, her doctor counselled against fishing, fearing that she did not have the strength to return to the river.”Why not take up gardening?” he said, thinking this a more suitable pastime for a convalescent woman of a certain age. That is why she began laying out the gardens and supervising their construction. The gardens would take ten years to build, and would extend over more than twenty acres.
Elsie Reford had to overcome many difficulties in bringing her garden to life. First among them were the allergies that sometimes left her bedridden for days on end. The second obstacle was the property itself. Estevan was first and foremost a fishing lodge. The site was chosen because of its proximity to a salmon river and its dramatic views – not for the quality of the soil.
To counter-act nature’s deficiencies, she created soil for each of the plants she had selected, bringing peat and sand from nearby farms. This exchange was fortuitous to the local farmers, suffering through the Great Depression. Then, as now, the gardens provided much-needed work to an area with high unemployment. Elsie Reford’s genius as a gardener was born of the knowledge she developed of the needs of plants. Over the course of her long life, she became an expert plantsman. By the end of her life, Elsie Reford was able to counsel other gardeners, writing in the journals of the Royal Horticultural Society and the North American Lily Society. Elsie Reford was not a landscape architect and had no training of any kind as a garden designer. While she collected and appreciated art, she claimed no talents as an artist.
Elsie Stephen Reford died at her Drummond Street home on November 8, 1967 in her ninety-sixth year.
In 1995, the Reford Gardens ("Jardins de Métis") in Grand-Métis were designated a National Historic Site of Canada, as being an excellent Canadian example of the English-inspired garden.(Wikipedia)
Visit : en.wikipedia.org/wiki/Elsie_Reford
Visit : www.refordgardens.com/
LES JARDINS DE MÉTIS
Créés par Elsie Reford de 1926 à 1958, ces jardins témoignent de façon remarquable de l’art paysager à l’anglaise. Disposés dans un cadre naturel, un ensemble de jardins exhibent fleurs vivaces, arbres et arbustes. Le jardin des pommetiers, les rocailles et l’Allée royale évoquent l’œuvre de cette dame passionnée d’horticulture. Agrémenté d’un ruisseau et de sentiers sinueux, ce site jouit d’un microclimat favorable à la croissance d’espèces uniques au Canada. Les pavots bleus et les lis, privilégiés par Mme Reford, y fleurissent toujours et contribuent , avec d’autres plantes exotiques et indigènes, à l’harmonie de ces lieux.
Created by Elsie Reford between 1926 and 1958, these gardens are an inspired example of the English art of the garden. Woven into a natural setting, a series of gardens display perennials, trees and shrubs. A crab-apple orchard, a rock garden, and the Long Walk are also the legacy of this dedicated horticulturist. A microclimate favours the growth of species found nowhere else in Canada, while the stream and winding paths add to the charm. Elsie Reford’s beloved blue poppies and lilies still bloom and contribute, with other exotic and indigenous plants, to the harmony of the site.
Commission des lieux et monuments historiques du Canada
Historic Sites and Monuments Board of Canada.
Gouvernement du Canada – Government of Canada
© Copyright
This photo and all those in my Photostream are protected by copyright. No one may reproduce, copy, transmit or manipulate them without my written permission.
Pattadakal, in Karnataka, represents the high point of an eclectic art which, in the 7th and 8th centuries under the Chalukya dynasty, achieved a harmonious blend of architectural forms from northern and southern India. An impressive series of nine Hindu temples, as well as a Jain sanctuary, can be seen there. One masterpiece from the group stands out – the Temple of Virupaksha, built c. 740 by Queen Lokamahadevi to commemorate her husband's victory over the kings from the South.
Pattadakal represents the high point of an eclectic art which, in the 7th and 8th centuries under the Chalukya dynasty, achieved a harmonious blend of architectural forms from northern and southern India. An impressive series of nine Hindu temples, as well as a Jain sanctuary, can be seen there.
Three very closely located sites in the State of Karnataka provide a remarkable concentration of religious monuments dating from the great dynasty of the Chalukya (c. 543-757). There are the two successive capital cities - Aihole (ancient Aryapura), Badami, and Pattadakal, the 'City of the Crown Rubies' (Pattada Kisuvolal). The latter was, moreover, for a brief time the third capital city of the Chalukya kingdom; at the time the Pallava occupied Badami (642-55). While Aihole is traditionally considered the 'laboratory' of Chalukya architecture, with such monuments as the Temple of Ladkhan (c. 450) which antedate the dynasty's political successes during the reign of King Pulakeshin I, the city of Pattadakal illustrates the apogee of an eclectic art which, in the 7th and 8th centuries, achieved a harmonious blend of architectural forms from the north and south of India.
Situated between the Malaprabha River to the north, and a minuscule village to the south, Pattadakal possesses a sort of holy city comprised of an impressive series of eight Hindu temples dedicated to Siva. Somewhat off to the side, towards the village, is the ninth Sivaite sanctuary, the Temple of Papanatha, as well as a Jain temple. In the monumental complex of the central zone are structures whose design was strongly influenced by the architecture of northern India: the temples of Galaganatha and of Kashi Vishveshvara, which are noteworthy for their square-shaped shikharas with curved edges. They stand along with other temples of a pure Dravidian style - Sangameshvara, built between 696 and 733, and Mallikarjuna, built consecutively from 733-44. Cornices decorate the walls of these temples and the roofs are the complex, storeyed type found in southern architecture.
The unexpected and yet harmonious mixture of these styles provided the inspiration for the masterpiece of Chalukya art, the temple of Virupaksha. This Sivaite sanctuary was erected around 740 by Queen Lokamahadevi to commemorate the victory in 731 of her husband, King Vikramaditya II, over the Pallava and other sovereigns of southern India. The king's admiration for the art of his conquered enemies is borne out by two inscriptions that offer proof that he brought in from the south an architect and a team of sculptors.
Prominently jutting out from the cruciform temple are three porches, a typical Chalukyan feature. They blend perfectly with the majestic three-storey tower and the walls with their overhanging cornices punctuated by narrow pilasters that separate niches filled with marvellous statuary. An overall concept dictated the choice of statues which illustrate the great themes of Siva theology and mythology.
The evocative ruins of the numerous abandoned sanctuaries within the enclosure may be reached, on the west and east sides, through two monumental gates. In the axis of the courtyard, in front of the temple, is a beautiful pavilion containing a colossal black stone statue of Siva's sacred bull, Nandi. The puja, the ritual washing of the bull, takes place there every morning. Enhanced by its relative isolation south of the principal zone, the temple of Papanatha illustrates once again the aesthetic achievement resulting from the incorporation of two different styles. Papanatha has two rooms where the faithful can worship.
On the west is the principal sanctuary, which is covered with a powerful tower in the northern style; to the east is a more modest room, whose roof is crowned with miniature reproductions of buildings in the purest Dravidian style. Experts have found in the detail of the niches, the pediments and the arcature, many contradictory architectural references. The plastic unity of this great monument, however, comes from the remarkable sculptured decoration illustrating the popular epic of the Ramayana, dedicated to Prince Rama, incarnation of Vishnu.
Building designed in 1928 by architect Paul Mandelstam.
The building is a masterpiece of "canonical" functionalism, one of the earliest buildings of Modern movement in Riga, Latvia. Six-floor building placed in a densely built-up corner site, in the very city core. Its artistic composition has been based on the principle of contrast: the horizontal window ribbons are split by two rows of high stairways blocked with small balconies, but the harmonious completeness to the entire building is granted by a larger grouping of balconies wrapping the building's corner. Building's external walls are covered with artificial stone plates, the intermediate floors with concrete plates.
[ENG] Santa María de Naranco is one of the most enigmatic and harmonious monuments of Western architecture. It is an old palace that was the Aula Regia of the palace complex that King Ramiro I (842-850) ordered to be built on the outskirts of the capital of the kingdom of Asturias. It was completed in the year 842. Its artistic style is the so-called Asturian or "ramirense" art, within the pre-Romanesque period. It functioned as a temple from the collapse of the chevet and part of the naves of San Miguel de Lillo (12th century) until its restoration in the years 1929-1934. It is located on the southern slope of Mount Naranco, about 4 km from Oviedo (Asturias, Spain). It was declared a World Heritage Site by UNESCO in 1985. More photos in the album Santa María de Naranco (9th century)
[ESP] Santa María de Naranco es uno de los monumentos más enigmáticos y armoniosos de la arquitectura occidental. Es un antiguo palacio que fue el Aula Regia del conjunto palacial que el rey Ramiro I (842-850) mandó construir en las afueras de la capital del reino de Asturias. Se terminó en el año 842. Su estilo artístico es el denominado arte asturiano o "ramirense", dentro del prerrománico. Funcionó como templo desde el derrumbamiento de la cabecera y de parte de las naves de San Miguel de Lillo (siglo XII) hasta su restauración en los años 1929-1934. Se ubica en la ladera meridional del Monte Naranco, a unos 4 km de Oviedo (Asturias, España). Fue declarado Patrimonio Mundial de la Humanidad por la Unesco en 1985. Más fotografías en el álbum Santa María de Naranco (siglo IX)
23P1456
Budapest, Hungary.
Shot on film on one of the days I didn't get kicked out. Silver gelatin prints available at robkerruish.com
Big Buddha, located at the village of Ngong Ping on Lantau Island, in the Island District, Hong Kong.
Officially known as The Tian Tan Buddha, is a large bronze statue of Buddha Shakyamuni. The statue is sited near Po Lin Monastery and symbolises the harmonious relationship between man and nature, people and faith and is a major centre of Buddhism.
The statue's base is a model of the Altar of Heaven or Earthly Mount of Tian Tan, the Temple of Heaven in Beijing. One of the five large Buddha statues in China, it is enthroned on a lotus on top of a three-platform altar. Surrounding it are six smaller bronze statues known as "The Offering of the Six Devas" that are posed offering flowers, incense, lamp, ointment, fruit, and music to the Buddha. These symbolise the Six Perfections of generosity, morality, patience, zeal, meditation, and wisdom, all of which are necessary for enlightenment.
The statue is 34 metres tall, weighs over 250 metric tons and was constructed from 202 bronze pieces. In addition to the exterior components, there is a strong steel framework inside to support the heavy load.
Visitors must climb 268 steps to reach the Buddha, though the site also features a small winding road for vehicles to accommodate the handicapped. The Buddha's right hand is raised, representing the removal of affliction, while the left rests open on his lap in a gesture of generosity. He faces north, which is unique among the great Buddha statues, as all others face south.
There are also three floors beneath the statue: the halls of the Universe, of Benevolent Merit and of Remembrance. One of the most renowned features inside is a relic of Gautama Buddha, consisting of some of his alleged cremated remains. Only visitors who purchase an offering for the Buddha can see the relic, entering to leave it there. There is a huge carved bell inscribed with images of Buddhas in the show room. It was designed to ring every seven minutes, 108 times a day, symbolising the release of 108 kinds of human vexations.
The Big Buddha was constructed beginning in 1990, and was finished in 1993, which the Chinese recognise as the day of the Buddha's enlightenment. When the statue was completed, monks from around the world were invited to the opening ceremony.
Information Source:
For the first churchly visit of that November 2023 trip to the southern French provinces of Roussillon and Languedoc, I will treat you to a truly unique place, the so-called “priory” of Serrabone, which features an absolute world-class masterpiece of Romanesque sculpture: its tribune.
I said “so-called” above because a priory, in the genuine acception of the word, is a secondary monastery established by an abbey. It is populated by monks sent by that abbey. Those monks are led by a prior, whose superior is the abbot of the founding abbey. In the case of Serrabone, there first was a late Carolingian parochial church established in this mountainous locale and first mentioned in writing in 1069. The walls of the nave are, for some part, still those of that ancient church.
It was then, at a time when local lords used to meddle more and more in the affairs of the Church (which was one of the reasons that prompted the coming of the Gregorian reform), that the viscount of Cerdagne and the local lord of Corsavy installed on the Serrabone mountaintop an unusually mixed group of canons and canonesses to live in accordance with the Augustinian Rule.
A new college church was built (mostly by enlarging the previous one) and consecrated in 1151. Its architecture is harmonious but very simple, as one would expect: in the Middle Ages, those mountains were populated (hence the creation of the parish) and did feed their inhabitants (serra bona in Catalan means “good mountain”), but there was precious little commerce with the outside world and the locals had nothing of real value to export. Therefore, the local economy was pretty much a closed circuit and money was far from flowing in abundantly. The style of the church, even though there were donations from the aforementioned lords, reflects this paucity of financial resources.
It is therefore a total mystery how the magnificent sculpted tribune, which would have cost a veritable fortune, was funded, and by whom. Nothing has ever been demonstrated in that matter, although many have conjectured in various directions. The only certainty we have is that it was built around the time when the church itself was completed, i.e., the mid–1150s.
The culmination of the “priory” did not last very long: canons and canonesses are not monks and nuns, their commitment is found throughout history and places to be much less strong, and by the late 1200s they had already broken communal life and begun to live in their own separate homes. Decadence went to such extremes that the “priory” was secularized by the pope in the 16th century and made a dependency of the chapter of the cathedral of Solsona. The last “prior” died in 1612 and the church returned to its simple parochial status.
The place was progressively abandoned as people left the mountains to go live easier lives in the valleys. It was almost in ruins when it was listed as a Historic Landmark in 1875 and the restoration began. Fortunately, the tribune had been protected and its capitals and columns hidden by the locals.
The lions of Serrabone.
“He who is brave is free.”
Hundreds gathered today, to celebrate the life of a friend, family member, co~worker and neighbor.
Buddy, aka, skipwrope. Much could be, and will be said about the happenings of today, I just wanted to say something personally. My heart, all week, kept saying, over and over, "I just want the world to stop, if even for a moment, just stop...let us remember our dear friend, just life, please stop." But it didn't...as life has it, it still went on.
However, today, between 11am and 5:00pm, life DID in fact stop...and many of us stopped life, gathered together, cried ~ laughed ~ and loved one another ~ together, in harmonious ~ unity, celebrated a life, well-lived, as we remembered and honored a dear life that was short~lived on this planet.
Finally, this afternoon, a sense of freedom came to me...my dear friend, as best we can, we have released you to the God of your Faith and finally ~ freedom.
God~Speed!
So iconic, of course, of many American villages and towns. So pristine and pretty and peaceful and harmonious. Any foreign visitor will be amazed at the profusion of ecclesiastical buildings and the variety of religious (Christian) groups in the USA. Walking the sidewalks of Pittsford, NY, for example, on any given Sunday morning one meets with much piety of a great many varietal tastes and inclinations.
American history of religion is fascinating, and public expressions of Christianity are far stronger than one might be led to suspect from the ideas of the Founding Fathers. They were Deists. George Washington and John Adams, for example, were quite clear: "... the government of the United States of America is not in any sense founded on the Christian religion..." (1796). Of course, they were religious, but in a kind of universalist sense.
The church in this photo is the United Church of Pittsford on South Main. Historically it's a unity - in 1949 - of the First Baptist Church founded here in 1809 and the Methodist Episcopal Church incorporated in 1830. The doctrine of both groups to a large degree goes back on the theology of the first Baptist Universalist pastor in Boyle (as Pittsford was then called). He was Thomas Billinghurst (1759-1845).
Billingurst hailed from Ditchling in Sussex, England. A mere 17 years old when he became a preacher, the year 1800 found him in Pittsford just after his 'epiphany' of the truth of universalism, the idea that everyone in the long run will be 'saved' and go to heaven: "so overjoyed was my heart at the discovery of this glorious truth ... that I immediately began to publish the grand tidings to the world." Or at least to Pittsford, that is, for this is where he stayed until his death in 1845. A later visitor writes that in what is still then "almost a wilderness", "Mr Billinghurst possessed a well-chosen library, which like his house and his heart, was open to every friend of truth and righteousness."
A wonderful sentiment especially in the pretty well-to-do streets of Pittsford on a Sun-Splashed American Day.