View allAll Photos Tagged harmonious
The Dom Tower (Cathedral Tower, Dutch: Domtoren) of Utrecht is the tallest church tower in the Netherlands,[1] at 112.5 metres (368 feet) in height,[2] and the Gothic-style tower is the symbol of the city.[1] The tower was part of the Cathedral of Saint Martin, Utrecht, also known as Dom Church, and was built between 1321 and 1382,[1] to a design by John of Hainaut.[3] The cathedral was never fully completed due to lack of money. Since the unfinished nave collapsed in 1674 the Dom tower became a free standing tower.
The tower stands at the spot where the city of Utrecht originated almost 2,000 years ago.[1]
Design and construction
The Dom Tower was one of the largest towers constructed in Europe during the fourteenth century, and it was planned to show the power of the church of Utrecht.
The tower consists of two square blocks, topped by a much lighter lantern. One of the most striking features is the absence of visible buttresses. Upon completion in 1382 the tower stood 109 metres tall.[5] However this height was increased during the restorations in 1910, to its present height of 112.5 metres.[6]
The Dom tower was a multifunctional building. In addition to being a belfry, it contained a private chapel of the bishop of Utrecht on the first floor. It also served as the watchtower; the tower guard was housed on the second floor of the lower square block.[7]
Bells
The Dom Tower has an exceptional peal of fourteen ringing bells, weighing 32,000 kg. In 1505 Geert van Wou, in his time the most famous bell-founder of the Netherlands, made a harmonious peal of thirteen bells.[8] The seven smallest bells, sold in 1664 to finance the new carillon, were recast in 1982 by Eijsbouts. The largest bell, the Salvator, has a weight of 8,200 kg and a diameter of 227 cm.[8] Together with the fourteenth bell, they form the largest existing homogeneous group of medieval bells.[citation needed] Today the bells are set in motion by the members of the Utrecht Klokkenluiders Gilde.[9]
In 1625, Jacob van Eyck became carillon player of the Dom Tower. In 1664, a new carillon was installed by Juriaan Sprakel of Zutphen,[10] with a mechanism consisting of 35 chimes,[11] made by the brothers Pieter and François Hemony.[10] In 1972 the carillon was restored and extended to 50 bells.
Storm damage
The cathedral's nave was never completely finished,[12] and in 1674 a tornado destroyed this part of the cathedral, but the tower was undamaged.[13]
The remaining section of the church and the tower were never reconnected, and a street and Domplein square now separate the two structures.
In 1836 the top floor of the tower was heavily damaged in a storm and demolition of the tower was seriously considered. However, it was subsequently restored, a process which took five years.[11]
Tourism and weddings
The tower has its own visitor centre, and includes regular guided tours which allow people to climb the 465 steps to the top of the Dom Tower.[1][11] On a clear day it is possible to see both Amsterdam and Rotterdam. The booking office for guided tours is located in the square at the foot of the tower.
Mt Rainier and farmland in Washington State... with field from Oregon... removed some clutter such as power lines and poles and a few other changes.
Bronze sculpture (1946) by Swedish artist Bror Hjorth (1894-1968).
Bror Hjorth is one of the premier representatives of a movement that went under many names; naivism, primitiveism, or vitality. He himself preferred to call himself a primitivist. He is perhaps best known for his painted wood sculptures and reliefs, but painted and drew to the same extent. Throughout his life, the artist was dedicated to the earthly and life-giving folk art and folk music that he appreciated for its honesty. However, this style should not be confused with artistic naivety. Bror Hjorth, on the other hand, was an intellectual artist whose private library testifies to an in-depth interest in art theory and philosophy. Bror Hjorth lived and studied in Paris 1921-1930. During the 30's Hjorth moved home to Sweden. The Swedish critique, which initially considered Bror Hjorth's art to be too ugly and clumsy, swung over time, instead praising these features for their originality and unmatched joy of life. During the 40's, Bror Hjorth underwent a temporary artistic reorientation that meant a departure from the popular towards a realistic and harmonious style. It was also when he got a wide breakthrough in Sweden. The inspiration for this new orientation seems to have been his work with the young model Margit between 1941-45.
Margit (bronze 1946, purchased 1948), quietly and comfortably laid back looking out over the Marabou Park, is from the artist's naturalistic period. However, in the sculpture, some of the primitiveist Hjorth remain in the roughly sculpted hair of the model.
Source: marabouparken.se/portfolio-item/bror-hjort/, translation by Google and me
___________________________________________________
Bror Hjorth (svensk, 1894–1968) är en av de främsta företrädarna av en strömning som gick under många namn; naivism, primitivism, eller vitalism. Själv föredrog Hjorth att kalla sig primitivist. Han är kanske mest känd för sina bemålade träskulpturer och reliefer men målade och tecknade i lika hög grad. Konstnären var under hela sitt liv hängiven den jordnära och livsbejakande folkkonsten och folkmusiken som han uppskattade för dess ärlighet. Denna stil skall dock inte förväxlas med konstnärlig naivitet. Bror Hjorth var tvärtom en intellektuell konstnär vars privata bibliotek vittnar om ett djupgående intresse för konstteori och filosofi. Bror Hjorth levde och studerade i Paris 1921–1930. Under 30-talet flyttade Hjorth hem till Sverige. Den svenska kritiken, som i början ansåg Bror Hjorths konst vara alltför ful och klumpig, svängde med tiden och kom istället att prisa just dessa drag för deras ursprunglighet och ohämmade livsglädje. Under 40-talet genomgick Bror Hjorth en tillfällig konstnärlig omorientering som innebar ett avsteg från det folkliga mot en realistisk och harmonisk stil. Det var också då han fick sitt breda genombrott i Sverige. Den tändande gnistan för denna nyorientering tycks ha varit arbetet med den unga modellen Margit mellan 1941-45.
Margit (brons 1946, inköpt 1948) som lugnt och bekvämt tillbakalutad blickar ut över Marabouparken är från konstnärens naturalistiska period. I skulpturen finns dock något av primitivisten Hjorth kvar i modellens grovt framhuggna hår.
Källa: marabouparken.se/portfolio-item/bror-hjort/
Marabouparken, Sundbyberg (Stockholm)
The Glyptoteket (Gr. glyptos , carving or sculpture and theke , a place where something is assembled/arranged) is a museum.
The founder of New Carlsberg Glyptotek, brewer Carl Jacobsen ( 1842 - 1914 ), was a passionate art collector who collected antique and modern art from all over the world. At first, his large and magnificent art collection was intended for himself and the home in Valby. However, it quickly became clear that the home in Valby could not accommodate Jacobsen's entire collection, since he continued to collect art objects with the same fervor as when he started. He therefore moved the collection in 1882 to the old Glyptothek in Carlsberg, right next to his brewery, where it was opened to the public on 5 November 1882 . Brewer Carl Jacobsen donated his collection to the Danish people in 1888 with the intention that the Danish state should set up the collection in a building in Copenhagen. The new location required a new name, and thus the collection came to be called "New Carlsberg Glyptotek". New Carlsberg Glyptotek's first building on Dantes Plads , the Dahlerup building, was inaugurated in 1897 . After this, the Ny Carlsberg Glyptotek was expanded in 1906 , 1996 and 2006 .
The building
It was very important to brewer Carl Jacobsen that the New Carlsberg Glyptotek was not only experienced as an elevated and magnificent temple of art, but that the building itself took the visitors' breath away and that it had a breathtaking atmosphere. This meant that Carl Jacobsen wanted the building to radiate a consistent aesthetic feeling that visitors could feel. This feeling has been maintained throughout the Ny Carlsberg Glyptotek's building, despite several extensions over time.
The building consists of a three-winged horseshoe-shaped complex. Its roof covering consists of glass and copper, and the building itself is made of red brick. The facade facing Dante's Square has clear references to the Venetian palace architecture from the Renaissance ; a harmonious sequence of large, column-supported niches flanks the entrance area in three logwork, behind which rises the dome of the Winter Garden.
The vestibule is lavishly decorated with a coffered ceiling, marble columns and is clearly influenced by Renaissance art . The vestibule gives access to two side light rooms, where you can see French and Danish sculpture. The foyer's staircase encircles the Winter Garden and leads to the Golden Age Collection. These stairwells are lined with marble slabs and the ceiling is decorated with stained glass with flower vines and butterflies, allowing natural daylight to seep in.
The winter garden
From the front hall, the daylight leads most people on towards the central courtyard, Vinterhaven. The winter garden, like the surrounding building facing Dantes Plads, was designed by the architect Vilhelm Dahlerup (1836-1907). While Dahlerup's building was inaugurated in 1897, the covered conservatory was only added in 1906. The dome was already included in the original plans – then as a stone dome. But the construction of the dome was postponed, and this came to mean that the dome, instead of stone, was made of iron and glass in the style of the greenhouses and exhibition pavilions that became popular in the late 1800s and were made possible by the iron foundry of industrialism .
At the inauguration on 27 June 1906, Glyptotek's founder, Carl Jacobsen, in his opening speech himself described the idea of the Winter Garden as a pleasurable and sensual entrance to art: "I imagine that the green in winter can draw people in here, and when they looking at the palm trees, perhaps a thought also falls on the statues.”
Kampmann's Building
When Carl and his wife, Ottilia Jacobsen, donated their antique collection to the Danish people in 1888, the collection had become so large that a whole new building was needed to house the collection. For this purpose, an architectural competition was announced, which was won by Hack Kampmann ( 1856 - 1920 ).
The Kampmann building has its own facade to the southwest, which must reflect the antique content. Tranquility, monumentality and ancient architectural forms therefore characterize the exterior of the building. On top of the building's facade is a step pyramid, on which stands a gilded bronze copy of a classical Athena statue.
Kampmann's building is four-winged and on two floors, which faces the older Dahlerup building. The four wings lie symmetrically around an extension of the central axis in Dahlerup's building. As required by brewer Jacobsen, Kampmann's building is lit only through skylights or large side windows.
The winter garden was originally designed by Dahlerup, but was first built with Kampmann's building. Carl Jacobsen's idea behind the Winter Garden was to give visitors a place to rest during their visit. At the same time that the art could be experienced in more unconventional surroundings.
The transition from the Winter Garden to the Festival Hall and the sculpture halls on the first floor is via a stairwell that opens into the Løvehallen, the vestibule of the Antiksamlingen. From here you can access both the Egyptian and antique collections, whose rooms have vaulted ceilings, red terrazzo floors and supporting granite pillars.
Strict axiality and symmetry are pervasive in all the halls, all of which have mosaic-ornamented terrazzo floors and ceilings with stucco decoration. However, each floor has its own character, which is expressed through changing room sizes, colors and decorative motifs.
One of the antiquities collection's most spectacular rooms is the Festhalle, the model of which is a late-classical Greek temple complex. The facility consists of a large rectangular square with colonnades on three sides. The temple's facade forms the fourth and last side, on which is written "Carl and Otilla Jacobsen". Between the Ionic marble columns stand Roman sculptures. The floors are covered with tiles of colored/variegated marble, and inside the temple's vestibule are pillars of polished granite.
In 1992 , the Danish architect Henning Larsen won the competition for an extension to the Ny Carlsberg Glyptotek. The new building was necessary to give the French Painting Collection and parts of the Egyptian Collection a climatically adjustable area, and to ensure the preservation of the artefacts. Furthermore, it was important to ensure that the Ny Carlsberg Glyptotek could have an exhibition building that meets the high standards that art institutions worldwide demand in connection with lending works.
You can access Larsen's building from Vinterhaven via a glass corridor that runs up Kampmann's antique rooms. The three-storey high building is surrounded by a wide, open and gently rising staircase. This staircase gives access to all the halls, and ends in a roof terrace. All exhibition halls are only lit artificially to protect the works as much as possible. The floors in the French Painting Rooms are made of white Italian marble.
On the ground floor and first floor, but separate from the French painting collection, are the new Egyptian rooms, which can be accessed via the Kampmann building. One of the rooms replicates the descent of the pyramids into the dark and mysterious burial chambers, and is built with black granite floors.
Project 2006
The Carlsberg Foundation and the New Carlsberg Foundation generously donated DKK 100 million to the museum New Carlsberg Glyptotek. in 2004 to rebuild the museum. This happened on the occasion of the Kampmann building's 100th anniversary in 2006, when the extension to the museum was inaugurated.
They wanted to improve the access conditions with Dissing+Weitling as architects, who designed a large foyer under Dahlerup's building with ticketing, cloakroom, toilets etc., which is accessed via four new granite stairs from the Forehall. In Kampmann's building, the former Etruscan collection has been completely renovated and is now called the "Mediterranean Horizon". The other assembly rooms in Dahlerup's and Kampmann's buildings have also been renovated, and the majority painted in colors inspired from 1897/1906.
The collection
Ny Carlsberg Glyptotek's collection contains more than 10,000 objects with the main emphasis on ancient cultures around the Mediterranean as well as Danish and French art from the 19th and 20th centuries .
The Ancient Collection
New Carlsberg Glyptotek has the largest antiquities collection in the Nordics. This collection is arranged in two parallel courses. In rooms 19-25 in Larsen's building, the "Mediterranean horizon" shows the history from the beginning in the Middle East around 6,000 years BC, through Greece, Etruria and the Roman Empire to the 5th century AD . Halls 1-18 exhibit sculptures from ancient Egypt, Palmyra, Greece and the Roman Empire.
The Egyptian Collection
The Egyptian people mastered producing beautiful, durable and useful art which has since then become a recognized style. They became the teachers of the Greeks and Romans, who both took cues from the art of the Egyptians and incorporated them into their own artistic corpus. From here the legacy passed on to later Europe, where the features can still be identified to this day. The New Carlsberg Glyptotek's Egyptian Collection gives the viewer a unique opportunity to visit the source of art and thereby see the beginnings of European art.
In halls 1-4 you can experience the magnificent Pharaonic Egypt with the main emphasis on large sculptures. These halls hold more than 300 exhibits from all over Egypt from 3,000 BC. to 75 AD New Carlsberg Glyptotek has many large objects from Ancient Egypt, and has, among other things, the double statue of King Ramses II and the god Ptah. Furthermore, you can also experience smaller statues, such as a statue of "A man in prayer", a double statue of "A mother and her son", as well as statues of gods and goddesses.
The exhibition also gives the viewer the opportunity to experience statues and objects from ancient Nubia, which for some periods was under Egyptian rule. Nubia was heavily influenced by Egyptian religion and art throughout the country's lifetime, which has resulted in many stone statues as well as bronze statuettes with Egyptian characteristics.
On floor 2, the exhibition is structured like an Egyptian tomb. New Carlsberg Glyptotek has copied a descent into an Egyptian burial chamber, and the museum's mummies and mummy coffins are thus exhibited in a tomb-like atmosphere.
In the other halls you can also see stelae, complete burial sets, burial models, jewellery, statues of gods and kings as well as objects from the Amarna period. The museum also exhibits objects and statuettes of gods made of clay, faience and bronze.
One of the most unique objects in the exhibition is a bronze statue of Seth , which is otherwise rarely seen depicted in statue form.
The Roman and Greek Collection
Ny Carlsberg Glyptotek's large collection of marble sculptures is of international format. The creation of the collection is due to brewer Carl Jacobsen's great interest in the production of the human body, which came to its finest expression in the ancient world through ancient sculpture. The development and history of the sculpture can be experienced in all its stages in the Ny Carlsberg Glyptotek's Roman and Greek Collection, where the development and image of the human figure are at the center.
In halls 6-18, you can experience more than 800 Roman and Greek objects on display, which date to the time period approx. 600 BC – 500 AD Here you can experience beautiful sculptures of gods, goddesses and heroes, emperor portraits, tomb reliefs, vases and votive offerings.
New Carlsberg Glyptotek is currently working on a project which examines the color of the ancient sculptures . The museum offers its visitors a unique opportunity to experience what the sculptures of antiquity really looked like when the original, white sculptures stand side by side with their painted copy.
The most magnificent room in this collection is the Festsalen, which is based on a late classical Greek temple complex. The visitors are thereby given the opportunity to step several thousand years back in time and experience the art in its natural surroundings. The large, open rectangular square faces the front of the temple, on which the name of the museum's founders "Carl & Ottilia Jacobsen" is written. On the other three sides of the square, there is a covered colonnade with ancient Roman art between the columns. This space surrounds the visitor in an antique and breathtaking sphere that can only be experienced in very few places.
New Carlsberg Glyptotek has the largest Palmyrene collection outside the Middle East with its 100 busts, of which approx. 20 are exhibited. The exhibition covers the period 113 - 250 AD . Palmyra eventually became a Roman province and the city was destroyed when it rebelled against the Roman Empire . One of the main works of the collection is "Beauty from Palmyra", on which you can still see paint and which was once decorated with inlaid colored glass and semi-precious stones. One of the collection's many busts is a tomb bust of an unknown man, who has been depicted with a camel in the background. This suggests that he may have been the owner of a camel caravan or he may have been one of the few merchants who traveled around with the caravans himself.
Mediterranean horizon
In a world with permeable borders, trade and migration became a central part of the social order. Raw materials, faith in the divine and trade goods were transported over great distances – from Afghanistan to Spain. The "Mediterranean Horizon" exhibition area in rooms 19-23a illuminates how Egyptians and Babylonians , Phoenicians and Greeks , Etruscans and Romans related to everyday life, gods, life and not least death.
The "Mediterranean horizon" has more than 1,400 objects on display. The exhibition reviews history in the years 6,000 BC. - 400 AD , and gives a broad overview of the various cultures around the Mediterranean , i.a. the Greeks, Romans, Assyrians & Etruscans.
The exhibition starts in Mesopotamia with the Assyrians and Babylonians, where you get an insight into their magnificent culture. You can see everything from everyday objects and sculptures to large reliefs of kings and gods as well as reliefs from the Ishtar gate and the processional road in Babylon . Ny Carlsberg Glyptotek is one of the only museums that has a specimen of all three types of animal reliefs; a bull and a dragon from the Ishtar gate and a lion from the processional road.
The exhibition then leads the viewer to ancient Egyptian culture, where e.g. various statuettes and reliefs are on display. Then you come to the Etruscan collection, where you can experience sarcophagi, vases, urns, portraits, a copy of an Etruscan temple, a reconstruction of a princely tomb from Colle del Forno dated to the 6th century BC. , and copies of tomb paintings. The main work of the Etruscan collection is without a doubt the great chariot, as it is very well preserved. Plates for a chariot, harness for the horses, pieces of the wheels and their mounting parts, as well as shields and spears, all made of beautiful metalwork, have been found.
After this, you are led through the Roman and Greek culture, where, among other things, jewelery, tombstones , glass vases, statues of gods, portraits, coins and sarcophagi are on display. The exhibition ends in room 25 with a summary of the cultures around the Mediterranean via various objects, as well as a few objects from Palmyra (modern Syria ).
The Modern Collection
The Modern Collection consists of two collections, both of which contain painting and sculpture; the Danish and the French Collection.
Rooms 28-32, 41-44 & 48-55 are dedicated to Danish painting and sculpture. The special focus of the collection is the many works from the Danish Golden Age, approx. 1800-1850, by i.a. CW Eckersberg , Christen Købke , Johan Thomas Lundbye and Vilhelm Hammershøi .
French sculpture can be experienced in rooms 33-37 & 46 with the main emphasis on works by Auguste Rodin, while French painting with a focus on impressionism in particular is shown in rooms 56-66. Here the over 40 works by Paul Gauguin are exhibited, as well as works by Claude Monet , Edgar Degas , Vincent van Gogh & Paul Cézanne .
The Danish Painting and Sculpture Collection
New Carlsberg Glyptotek's Danish Sculpture Collection dates from the years after 1850 , and can be seen in rooms 31-32 and 41-44.
Founder of Ny Carlsberg Glyptotek, brewer Jacobsen (1842-1914) was interested in contemporary sculpture and therefore wanted his Glyptotek to exhibit sculptures from the best sculptors of the time. This meant that Jacobsen began to collect works created by Thorvaldsen's pupils Freund, Bissen and Jerichau.
The collection reflects the sculptors' search for new ideals and standards for both motif and form treatment in the sculpture.
The Nordic mythology and biblical morals are retold by human bodies made of clay, plaster, wood and metal, which, among other things, can be seen in HE Freund's "Loke" or "Odin". This is in stark contrast to the portrayals of social realism.
The form and content of the sculptures approach each other in symbolism with depictions of human destinies shaped in the poses of the sculpture. Modern sculpture in Denmark heralds its beginnings with angry bodies, expressive faces and sensual nudity.
In rooms 28-30 and 48-55, visitors can experience the Danish Painting Collection with a focus on the works from the Danish Golden Age , approx. 1800 - 1860 . The period is called the "Golden Age", as it portrays a brilliant period in the history of Danish art.
Ny Carlsberg Glyptotek's collection is of high quality with works such as Constantin Hansen's "Resting model", CW Eckersberg's "Portræt af Thorvaldsen", Wilhelm Bendz's "Tobaksselskab", PC Skovgaard's "Bøgeskov i May", J. Th. Lundbye "Sjællandsk landscape" and Christen Købke's "Party outside the Northern castle gate". "Study of a nude woman" are 4 portraits by W. Marstrand, C. Hansen, C. Købke and CW Eckersberg, respectively, who all paint the same motif. This study gives the viewer a unique insight into the artists' various techniques, and at the same time makes it possible to compare the artists' differences and similarities.
The exhibition sheds light on a unique era in Danish painting, which was initially based on an interest in ancient art and culture. This interest was common to all of Europe at this time. Inspiration came first from trips to Italy and later to Greece. From approx. 1840 Danish art changed its role and character, and now reproduces the national romantic ideas via landscape painting, in which particular focus is placed on the Danish country, people and history.
The French Painting and Sculpture Collection
Carl Jacobsen had a weakness for French painting and sculpture, and his magnificent collection can be experienced in rooms 33-37, 46 & 56-66.
Ny Carlsberg Glyptotek's French Sculpture Collection covers the period 1820 - 1900 , which is exhibited in rooms 33-37. The exhibition focuses on the period around the " Modern Breakthrough ", approx. 1870 - 1890 . In this period, many different artistic ideals influence each other in the sculpture. In the past, the sculptures depicted biblical and mythical subjects, but in this period the sculpture depicts the present and its people. The inspiration is still drawn from ancient Greek and Roman sculpture, but is now crossed with new possibilities.
New Carlsberg Glyptotek's collection ranges from light salon sculptures to Meunier's worker realism, and also includes works by Carpeaux and Degas.
The collection contains many works by the artist Auguste Rodin , who was a friend of Ny Carlsberg Glyptotek's founder Carl Jacobsen. One of the collection's main works is Rodin's "Citizens from Calais" from 1884 - 1885 . This sculpture is a copy of the original statue which stands in the square in the city of Calais . Jacobsen wanted to include this sculpture in his collection, but when it was not for sale, he had Rodin make a copy of the sculpture for his collection at the Ny Carlsberg Glyptotek. Another major work in the collection is Edgar Degas' bronze statue of "Dancer with ballet skirt - fourteen years". You can also experience the artist's 73 other bronze statues in this one at the Glyptoteket.
The sculptors combined the traditional motifs with the poetic thoughts of the period. Sculptures of human bodies weighed down by grief, slavery and fear of God reflect the hard existence of ordinary people in the 1800s , while sculptures of closely intertwined couples show the time's penchant for tales of eroticism and distant, mysterious worlds.
Ny Carlsberg Glyptotek's French Painting Collection contains over 200 exhibited works, and dates from 1820 - 1875 .
Delacroix , David and Manet played decisive roles in the development of French painting in the first half of the 19th century. New Carlsberg Glyptotek owns several major works from the period, and can thereby help shed light on the great development in French art during this period.
Painting in the first half of the 19th century can be divided into two major directions: a neoclassical tradition with tight lines and careful drawing ( J.-L. David ) – and an expressive, 'romantic' use of color ( E. Delacroix ).
Several art movements arose in parallel in the search for a new way of seeing the world also in painting: naturalism , the Barbizon school and realism . During the 1860s, these trends helped shape the development of Impressionism .
New Carlsberg Glyptotek's French Painting Collection contains works by many different artists. The visitor can, among other things, experience Edgar Degas's "Toilet after the bath", Édouard Monet's "The Absinthe Drinker", Paul Gauguin's "Tahiti Woman with a Flower in Her Hair", Claude Monet's "Shadows on the Sea" and Vincent van Gogh's "Landscape from Saint Rémy" are also part of New Carlsberg Glyptotek's collection, all of which can be experienced in rooms 56-66 in the beautiful, white Larsen building.
Red Hmong village (Ban Van Hoa).
The Hmong (Mong) are concentrated in Ha Giang, Tuyen Quang, Lao Cai, Yen Bai, Lai Chau, Son La, Cao Bang and Nghe An provinces.
Each lineage lives within a group setting. The head of the village assumes the common affairs for the lineage. Young Hmong men and women are free to choose their partners. Marriages are absolutely forbidden between men and women of the same lineage. Matrimonial life of the Hmong is very harmonious and divorce is very rare.
Hmong language belongs to the Hmong-Dao Group.
The Traditional Tet (New Year's Day) of the Hmong is organized every December or January. They refrain from eating green vegetables during the three days of the Tet Holiday. The musical instruments of the Hmong include various kinds of "khen" (pan-pipes) and lip organs. After a hard working day and to celebrate spring, the young men and women often play "khen" and lip organs to express their feelings for their partners.
The Hmong make their clothes from linen. Women's attire consists of a skirt, a blouse that opens at the front and has embroidery on the back, an apron to cover the skirt at the front, and leggings.
The Hmong live mainly on slash-and-burn cultivation. They also grow rice and corn on terraced
fields. Their principal food plants are corn, rice, and rye. Apart from these crops, they also grow medicinal plants and linen plants to supply the fibers for cloth weaving.
Since a young age, Cheng Jianguang's parents and teachers taught him that rules such as "Harmoniousness is a treasure, forbearance is a virtue," "Keeping silent on the faults of good friends makes for a long and good friendship," "Though you see wrong, it's best to say little" were the touchstones for maintaining good relationships with other people. He took these lessons to heart, and learned to never offend others in his actions and speech, and to always take care of his relationships with others, earning him the reputation of a "good man" with those around him. After he accepts the work of Almighty God in the last days, Cheng Jianguang learns from God's word that only by pursuing the truth and being an honest man can he gain God's approval and be granted salvation by God, so he swears an oath to become an honest person. But, in his duties, he is constrained by his corrupt disposition, and he is unable to stop himself from acting according to satanic philosophies of life: When he discovers a church leader not acting according to the truth in his duties, which influences the church's work, Cheng Jianguang decides to protect his relationship with that leader, and fails to promptly raise the issue; when a sister comes to him seeking an answer that will require him to stand up and protect the interests of the church, Cheng Jianguang instead chooses to lie, deceive, and abscond from his responsibilities because he fears offending others, resulting in his sisters being arrested by the Chinese Communist government…. As he is exposed time and again by the facts and judged and revealed in God's word, Cheng Jianguang comes to understand that the logic and rules by which he acts are satanic toxins and that what he lives out is a satanic disposition. He also comes to see that the essence of being a yes-man is that of a deceitful person, someone that God loathes and despises, and that if a yes-man doesn't repent and change, he will inevitably be rejected and eliminated by God. He also comes to understand that only by being an honest person can he ever be a good person. So, he strives to pursue the truth and be an honest person, and under the guidance of God's word, he finally succeeds in living out some likeness of an honest person and walks the path of salvation by God.
What once had a beautiful yellow flower head has now a beautiful seedhead .... just a little harmony in nature!
Our Daily Challenge ~ Harmonious ...
Stay Safe and Healthy Everyone!
Thanks to everyone who views this photo, adds a note, leaves a comment and of course BIG thanks to anyone who chooses to favourite my photo .... Thanks to you all!
A mural is any piece of artwork painted or applied directly on a wall, ceiling or other large permanent surface. A distinguishing characteristic of mural painting is that the architectural elements of the given space are harmoniously incorporated into the picture.
Some wall paintings are painted on large canvases, which are then attached to the wall (e.g., with marouflage). Whether these works can be accurately called "murals" is a subject of some controversy in the art world, but the technique has been in common use since the late 19th century.
HISTORY
Murals of sorts date to Upper Paleolithic times such as the paintings in the Chauvet Cave in Ardèche department of southern France (around 30,000 BC). Many ancient murals have survived in Egyptian tombs (around 3150 BC), the Minoan palaces (Middle period III of the Neopalatial period, 1700-1600 BC) and in Pompeii (around 100 BC - AD 79).
During the Middle Ages murals were usually executed on dry plaster (secco). In Italy, circa 1300, the technique of painting of frescos on wet plaster was reintroduced and led to a significant increase in the quality of mural painting.
In modern times, the term became more well-known with the Mexican "muralista" art movement (Diego Rivera, David Siqueiros, or José Orozco). There are many different styles and techniques. The best-known is probably fresco, which uses water-soluble paints with a damp lime wash, a rapid use of the resulting mixture over a large surface, and often in parts (but with a sense of the whole). The colors lighten as they dry. The marouflage method has also been used for millennia.
Murals today are painted in a variety of ways, using oil or water-based media. The styles can vary from abstract to trompe-l'œil (a French term for "fool" or "trick the eye"). Initiated by the works of mural artists like Graham Rust or Rainer Maria Latzke in the 1980s, trompe-l'oeil painting has experienced a renaissance in private and public buildings in Europe. Today, the beauty of a wall mural has become much more widely available with a technique whereby a painting or photographic image is transferred to poster paper or canvas which is then pasted to a wall surface (see wallpaper, Frescography) to give the effect of either a hand-painted mural or realistic scene.
TECHNIQUE
In the history of mural several methods have been used:
A fresco painting, from the Italian word affresco which derives from the adjective fresco ("fresh"), describes a method in which the paint is applied on plaster on walls or ceilings. The buon fresco technique consists of painting in pigment mixed with water on a thin layer of wet, fresh, lime mortar or plaster. The pigment is then absorbed by the wet plaster; after a number of hours, the plaster dries and reacts with the air: it is this chemical reaction which fixes the pigment particles in the plaster. After this the painting stays for a long time up to centuries in fresh and brilliant colors.
Fresco-secco painting is done on dry plaster (secco is "dry" in Italian). The pigments thus require a binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall.
Mezzo-fresco is painted on nearly-dry plaster, and was defined by the sixteenth-century author Ignazio Pozzo as "firm enough not to take a thumb-print" so that the pigment only penetrates slightly into the plaster. By the end of the sixteenth century this had largely displaced the buon fresco method, and was used by painters such as Gianbattista Tiepolo or Michelangelo. This technique had, in reduced form, the advantages of a secco work.
MATERIAL
In Greco-Roman times, mostly encaustic colors applied in a cold state were used.
Tempera painting is one of the oldest known methods in mural painting. In tempera, the pigments are bound in an albuminous medium such as egg yolk or egg white diluted in water.
In 16th-century Europe, oil painting on canvas arose as an easier method for mural painting. The advantage was that the artwork could be completed in the artist’s studio and later transported to its destination and there attached to the wall or ceiling. Oil paint can be said to be the least satisfactory medium for murals because of its lack of brilliance in colour. Also the pigments are yellowed by the binder or are more easily affected by atmospheric conditions. The canvas itself is more subject to rapid deterioration than a plaster ground. Different muralists tend to become experts in their preferred medium and application, whether that be oil paints, emulsion or acrylic paints applied by brush, roller or airbrush/aerosols. Clients will often ask for a particular style and the artist may adjust to the appropriate technique.
A consultation usually leads to a detailed design and layout of the proposed mural with a price quote that the client approves before the muralist starts on the work. The area to be painted can be gridded to match the design allowing the image to be scaled accurately step by step. In some cases the design is projected straight onto the wall and traced with pencil before painting begins. Some muralists will paint directly without any prior sketching, preferring the spontaneous technique.
Once completed the mural can be given coats of varnish or protective acrylic glaze to protect the work from UV rays and surface damage.
As an alternative to a hand-painted or airbrushed mural, digitally printed murals can also be applied to surfaces. Already existing murals can be photographed and then be reproduced in near-to-original quality.
The disadvantages of pre-fabricated murals and decals are that they are often mass-produced and lack the allure and exclusivity of an original artwork. They are often not fitted to the individual wall sizes of the client and their personal ideas or wishes can not be added to the mural as it progresses. The Frescography technique, a digital manufacturing method (CAM) invented by Rainer Maria Latzke addresses some of the personalisation and size restrictions.
Digital techniques are commonly used in advertisements. A "wallscape" is a large advertisement on or attached to the outside wall of a building. Wallscapes can be painted directly on the wall as a mural, or printed on vinyl and securely attached to the wall in the manner of a billboard. Although not strictly classed as murals, large scale printed media are often referred to as such. Advertising murals were traditionally painted onto buildings and shops by sign-writers, later as large scale poster billboards.
SIGNIFICANCE OF MURALS
Murals are important in that they bring art into the public sphere. Due to the size, cost, and work involved in creating a mural, muralists must often be commissioned by a sponsor. Often it is the local government or a business, but many murals have been paid for with grants of patronage. For artists, their work gets a wide audience who otherwise might not set foot in an art gallery. A city benefits by the beauty of a work of art.
Murals can be a relatively effective tool of social emancipation or achieving a political goal. Murals have sometimes been created against the law, or have been commissioned by local bars and coffeeshops. Often, the visual effects are an enticement to attract public attention to social issues. State-sponsored public art expressions, particularly murals, are often used by totalitarian regimes as a tool of mass-control and propaganda. However, despite the propagandist character of that works, some of them still have an artistic value.
Murals can have a dramatic impact whether consciously or subconsciously on the attitudes of passers by, when they are added to areas where people live and work. It can also be argued that the presence of large, public murals can add aesthetic improvement to the daily lives of residents or that of employees at a corporate venue.
Other world-famous murals can be found in Mexico, New York, Philadelphia, Belfast, Derry, Los Angeles, Nicaragua, Cuba and in India. They have functioned as an important means of communication for members of socially, ethnically and racially divided communities in times of conflict. They also proved to be an effective tool in establishing a dialogue and hence solving the cleavage in the long run. The Indian state Kerala has exclusive murals. These Kerala mural painting are on walls of Hindu temples. They can be dated from 9th century AD.
The San Bartolo murals of the Maya civilization in Guatemala, are the oldest example of this art in Mesoamerica and are dated at 300 BC.
Many rural towns have begun using murals to create tourist attractions in order to boost economic income. Colquitt, Georgia is one such town. Colquitt was chosen to host the 2010 Global Mural Conference. The town has more than twelve murals completed, and will host the Conference along with Dothan, Alabama, and Blakely, Georgia. In the summer of 2010, Colquitt will begin work on their Icon Mural.
WIKIPEDIA
A mural is any piece of artwork painted or applied directly on a wall, ceiling or other large permanent surface. A distinguishing characteristic of mural painting is that the architectural elements of the given space are harmoniously incorporated into the picture.
Some wall paintings are painted on large canvases, which are then attached to the wall (e.g., with marouflage). Whether these works can be accurately called "murals" is a subject of some controversy in the art world, but the technique has been in common use since the late 19th century.
HISTORY
Murals of sorts date to Upper Paleolithic times such as the paintings in the Chauvet Cave in Ardèche department of southern France (around 30,000 BC). Many ancient murals have survived in Egyptian tombs (around 3150 BC), the Minoan palaces (Middle period III of the Neopalatial period, 1700-1600 BC) and in Pompeii (around 100 BC - AD 79).
During the Middle Ages murals were usually executed on dry plaster (secco). In Italy, circa 1300, the technique of painting of frescos on wet plaster was reintroduced and led to a significant increase in the quality of mural painting.
In modern times, the term became more well-known with the Mexican "muralista" art movement (Diego Rivera, David Siqueiros, or José Orozco). There are many different styles and techniques. The best-known is probably fresco, which uses water-soluble paints with a damp lime wash, a rapid use of the resulting mixture over a large surface, and often in parts (but with a sense of the whole). The colors lighten as they dry. The marouflage method has also been used for millennia.
Murals today are painted in a variety of ways, using oil or water-based media. The styles can vary from abstract to trompe-l'œil (a French term for "fool" or "trick the eye"). Initiated by the works of mural artists like Graham Rust or Rainer Maria Latzke in the 1980s, trompe-l'oeil painting has experienced a renaissance in private and public buildings in Europe. Today, the beauty of a wall mural has become much more widely available with a technique whereby a painting or photographic image is transferred to poster paper or canvas which is then pasted to a wall surface (see wallpaper, Frescography) to give the effect of either a hand-painted mural or realistic scene.
TECHNIQUE
In the history of mural several methods have been used:
A fresco painting, from the Italian word affresco which derives from the adjective fresco ("fresh"), describes a method in which the paint is applied on plaster on walls or ceilings. The buon fresco technique consists of painting in pigment mixed with water on a thin layer of wet, fresh, lime mortar or plaster. The pigment is then absorbed by the wet plaster; after a number of hours, the plaster dries and reacts with the air: it is this chemical reaction which fixes the pigment particles in the plaster. After this the painting stays for a long time up to centuries in fresh and brilliant colors.
Fresco-secco painting is done on dry plaster (secco is "dry" in Italian). The pigments thus require a binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall.
Mezzo-fresco is painted on nearly-dry plaster, and was defined by the sixteenth-century author Ignazio Pozzo as "firm enough not to take a thumb-print" so that the pigment only penetrates slightly into the plaster. By the end of the sixteenth century this had largely displaced the buon fresco method, and was used by painters such as Gianbattista Tiepolo or Michelangelo. This technique had, in reduced form, the advantages of a secco work.
MATERIAL
In Greco-Roman times, mostly encaustic colors applied in a cold state were used.
Tempera painting is one of the oldest known methods in mural painting. In tempera, the pigments are bound in an albuminous medium such as egg yolk or egg white diluted in water.
In 16th-century Europe, oil painting on canvas arose as an easier method for mural painting. The advantage was that the artwork could be completed in the artist’s studio and later transported to its destination and there attached to the wall or ceiling. Oil paint can be said to be the least satisfactory medium for murals because of its lack of brilliance in colour. Also the pigments are yellowed by the binder or are more easily affected by atmospheric conditions. The canvas itself is more subject to rapid deterioration than a plaster ground. Different muralists tend to become experts in their preferred medium and application, whether that be oil paints, emulsion or acrylic paints applied by brush, roller or airbrush/aerosols. Clients will often ask for a particular style and the artist may adjust to the appropriate technique.
A consultation usually leads to a detailed design and layout of the proposed mural with a price quote that the client approves before the muralist starts on the work. The area to be painted can be gridded to match the design allowing the image to be scaled accurately step by step. In some cases the design is projected straight onto the wall and traced with pencil before painting begins. Some muralists will paint directly without any prior sketching, preferring the spontaneous technique.
Once completed the mural can be given coats of varnish or protective acrylic glaze to protect the work from UV rays and surface damage.
As an alternative to a hand-painted or airbrushed mural, digitally printed murals can also be applied to surfaces. Already existing murals can be photographed and then be reproduced in near-to-original quality.
The disadvantages of pre-fabricated murals and decals are that they are often mass-produced and lack the allure and exclusivity of an original artwork. They are often not fitted to the individual wall sizes of the client and their personal ideas or wishes can not be added to the mural as it progresses. The Frescography technique, a digital manufacturing method (CAM) invented by Rainer Maria Latzke addresses some of the personalisation and size restrictions.
Digital techniques are commonly used in advertisements. A "wallscape" is a large advertisement on or attached to the outside wall of a building. Wallscapes can be painted directly on the wall as a mural, or printed on vinyl and securely attached to the wall in the manner of a billboard. Although not strictly classed as murals, large scale printed media are often referred to as such. Advertising murals were traditionally painted onto buildings and shops by sign-writers, later as large scale poster billboards.
SIGNIFICANCE OF MURALS
Murals are important in that they bring art into the public sphere. Due to the size, cost, and work involved in creating a mural, muralists must often be commissioned by a sponsor. Often it is the local government or a business, but many murals have been paid for with grants of patronage. For artists, their work gets a wide audience who otherwise might not set foot in an art gallery. A city benefits by the beauty of a work of art.
Murals can be a relatively effective tool of social emancipation or achieving a political goal. Murals have sometimes been created against the law, or have been commissioned by local bars and coffeeshops. Often, the visual effects are an enticement to attract public attention to social issues. State-sponsored public art expressions, particularly murals, are often used by totalitarian regimes as a tool of mass-control and propaganda. However, despite the propagandist character of that works, some of them still have an artistic value.
Murals can have a dramatic impact whether consciously or subconsciously on the attitudes of passers by, when they are added to areas where people live and work. It can also be argued that the presence of large, public murals can add aesthetic improvement to the daily lives of residents or that of employees at a corporate venue.
Other world-famous murals can be found in Mexico, New York, Philadelphia, Belfast, Derry, Los Angeles, Nicaragua, Cuba and in India. They have functioned as an important means of communication for members of socially, ethnically and racially divided communities in times of conflict. They also proved to be an effective tool in establishing a dialogue and hence solving the cleavage in the long run. The Indian state Kerala has exclusive murals. These Kerala mural painting are on walls of Hindu temples. They can be dated from 9th century AD.
The San Bartolo murals of the Maya civilization in Guatemala, are the oldest example of this art in Mesoamerica and are dated at 300 BC.
Many rural towns have begun using murals to create tourist attractions in order to boost economic income. Colquitt, Georgia is one such town. Colquitt was chosen to host the 2010 Global Mural Conference. The town has more than twelve murals completed, and will host the Conference along with Dothan, Alabama, and Blakely, Georgia. In the summer of 2010, Colquitt will begin work on their Icon Mural.
WIKIPEDIA
Seen whilst aboard a boat on Kunming Lake. Scanned from a negative.
The Summer Palace or Yiheyuan, literally Garden of Nurtured Harmony, is a palace in Beijing, China. It is mainly dominated by Longevity Hill (60m high) and the Kunming Lake in the foreground. It covers an expanse of 2.9 km², 75% of which is water. In the 70,000m² of building space, there are a variety of palaces, gardens, and other classical-style architectural structures.
The Summer Palace started out life as the Garden of Clear Ripples in 1750. Artisans reproduced the garden architecture styles of various palaces in China. Kunming Lake was created by extending an existing body of water to imitate the West Lake in Hangzhou. The palace complex suffered two major attacks - during the Anglo-French allied invasion of 1860 (with the Old Summer Palace also ransacked at the same time), and during the Boxer Rebellion, in an attack by the eight Allied powers in 1900. The garden survived and was rebuilt in 1886 and 1902.
In 1888, it was given the current name, Yihe Yuan. It served as a summer resort for Empress Dowager Cixi, who diverted 30 million taels of silver, said to be originally designated for the Chinese navy (Beiyang Fleet), into the reconstruction and enlargement of the Summer Palace.
The Summer Palace was added to UNESCO's World Heritage List in 1998, being declared "a masterpiece of Chinese landscape garden design. The natural landscape of hills and open water is combined with artificial features such as pavilions, halls, palaces, temples and bridges to form a harmonious ensemble of outstanding aesthetic value".
A mural is any piece of artwork painted or applied directly on a wall, ceiling or other large permanent surface. A distinguishing characteristic of mural painting is that the architectural elements of the given space are harmoniously incorporated into the picture.
Some wall paintings are painted on large canvases, which are then attached to the wall (e.g., with marouflage). Whether these works can be accurately called "murals" is a subject of some controversy in the art world, but the technique has been in common use since the late 19th century.
HISTORY
Murals of sorts date to Upper Paleolithic times such as the paintings in the Chauvet Cave in Ardèche department of southern France (around 30,000 BC). Many ancient murals have survived in Egyptian tombs (around 3150 BC), the Minoan palaces (Middle period III of the Neopalatial period, 1700-1600 BC) and in Pompeii (around 100 BC - AD 79).
During the Middle Ages murals were usually executed on dry plaster (secco). In Italy, circa 1300, the technique of painting of frescos on wet plaster was reintroduced and led to a significant increase in the quality of mural painting.
In modern times, the term became more well-known with the Mexican "muralista" art movement (Diego Rivera, David Siqueiros, or José Orozco). There are many different styles and techniques. The best-known is probably fresco, which uses water-soluble paints with a damp lime wash, a rapid use of the resulting mixture over a large surface, and often in parts (but with a sense of the whole). The colors lighten as they dry. The marouflage method has also been used for millennia.
Murals today are painted in a variety of ways, using oil or water-based media. The styles can vary from abstract to trompe-l'œil (a French term for "fool" or "trick the eye"). Initiated by the works of mural artists like Graham Rust or Rainer Maria Latzke in the 1980s, trompe-l'oeil painting has experienced a renaissance in private and public buildings in Europe. Today, the beauty of a wall mural has become much more widely available with a technique whereby a painting or photographic image is transferred to poster paper or canvas which is then pasted to a wall surface (see wallpaper, Frescography) to give the effect of either a hand-painted mural or realistic scene.
TECHNIQUE
In the history of mural several methods have been used:
A fresco painting, from the Italian word affresco which derives from the adjective fresco ("fresh"), describes a method in which the paint is applied on plaster on walls or ceilings. The buon fresco technique consists of painting in pigment mixed with water on a thin layer of wet, fresh, lime mortar or plaster. The pigment is then absorbed by the wet plaster; after a number of hours, the plaster dries and reacts with the air: it is this chemical reaction which fixes the pigment particles in the plaster. After this the painting stays for a long time up to centuries in fresh and brilliant colors.
Fresco-secco painting is done on dry plaster (secco is "dry" in Italian). The pigments thus require a binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall.
Mezzo-fresco is painted on nearly-dry plaster, and was defined by the sixteenth-century author Ignazio Pozzo as "firm enough not to take a thumb-print" so that the pigment only penetrates slightly into the plaster. By the end of the sixteenth century this had largely displaced the buon fresco method, and was used by painters such as Gianbattista Tiepolo or Michelangelo. This technique had, in reduced form, the advantages of a secco work.
MATERIAL
In Greco-Roman times, mostly encaustic colors applied in a cold state were used.
Tempera painting is one of the oldest known methods in mural painting. In tempera, the pigments are bound in an albuminous medium such as egg yolk or egg white diluted in water.
In 16th-century Europe, oil painting on canvas arose as an easier method for mural painting. The advantage was that the artwork could be completed in the artist’s studio and later transported to its destination and there attached to the wall or ceiling. Oil paint can be said to be the least satisfactory medium for murals because of its lack of brilliance in colour. Also the pigments are yellowed by the binder or are more easily affected by atmospheric conditions. The canvas itself is more subject to rapid deterioration than a plaster ground. Different muralists tend to become experts in their preferred medium and application, whether that be oil paints, emulsion or acrylic paints applied by brush, roller or airbrush/aerosols. Clients will often ask for a particular style and the artist may adjust to the appropriate technique.
A consultation usually leads to a detailed design and layout of the proposed mural with a price quote that the client approves before the muralist starts on the work. The area to be painted can be gridded to match the design allowing the image to be scaled accurately step by step. In some cases the design is projected straight onto the wall and traced with pencil before painting begins. Some muralists will paint directly without any prior sketching, preferring the spontaneous technique.
Once completed the mural can be given coats of varnish or protective acrylic glaze to protect the work from UV rays and surface damage.
As an alternative to a hand-painted or airbrushed mural, digitally printed murals can also be applied to surfaces. Already existing murals can be photographed and then be reproduced in near-to-original quality.
The disadvantages of pre-fabricated murals and decals are that they are often mass-produced and lack the allure and exclusivity of an original artwork. They are often not fitted to the individual wall sizes of the client and their personal ideas or wishes can not be added to the mural as it progresses. The Frescography technique, a digital manufacturing method (CAM) invented by Rainer Maria Latzke addresses some of the personalisation and size restrictions.
Digital techniques are commonly used in advertisements. A "wallscape" is a large advertisement on or attached to the outside wall of a building. Wallscapes can be painted directly on the wall as a mural, or printed on vinyl and securely attached to the wall in the manner of a billboard. Although not strictly classed as murals, large scale printed media are often referred to as such. Advertising murals were traditionally painted onto buildings and shops by sign-writers, later as large scale poster billboards.
SIGNIFICANCE OF MURALS
Murals are important in that they bring art into the public sphere. Due to the size, cost, and work involved in creating a mural, muralists must often be commissioned by a sponsor. Often it is the local government or a business, but many murals have been paid for with grants of patronage. For artists, their work gets a wide audience who otherwise might not set foot in an art gallery. A city benefits by the beauty of a work of art.
Murals can be a relatively effective tool of social emancipation or achieving a political goal. Murals have sometimes been created against the law, or have been commissioned by local bars and coffeeshops. Often, the visual effects are an enticement to attract public attention to social issues. State-sponsored public art expressions, particularly murals, are often used by totalitarian regimes as a tool of mass-control and propaganda. However, despite the propagandist character of that works, some of them still have an artistic value.
Murals can have a dramatic impact whether consciously or subconsciously on the attitudes of passers by, when they are added to areas where people live and work. It can also be argued that the presence of large, public murals can add aesthetic improvement to the daily lives of residents or that of employees at a corporate venue.
Other world-famous murals can be found in Mexico, New York, Philadelphia, Belfast, Derry, Los Angeles, Nicaragua, Cuba and in India. They have functioned as an important means of communication for members of socially, ethnically and racially divided communities in times of conflict. They also proved to be an effective tool in establishing a dialogue and hence solving the cleavage in the long run. The Indian state Kerala has exclusive murals. These Kerala mural painting are on walls of Hindu temples. They can be dated from 9th century AD.
The San Bartolo murals of the Maya civilization in Guatemala, are the oldest example of this art in Mesoamerica and are dated at 300 BC.
Many rural towns have begun using murals to create tourist attractions in order to boost economic income. Colquitt, Georgia is one such town. Colquitt was chosen to host the 2010 Global Mural Conference. The town has more than twelve murals completed, and will host the Conference along with Dothan, Alabama, and Blakely, Georgia. In the summer of 2010, Colquitt will begin work on their Icon Mural.
WIKIPEDIA
The Summer Palace (Chinese: 頤和園), is a vast ensemble of lakes, gardens and palaces in Beijing, China. It serves as a popular tourist destination and recreational park. Mainly dominated by Longevity Hill (万寿山) and Kunming Lake (昆明湖), it covers an expanse of 2.9 square kilometers (1.1 sq mi), three-quarters of which is water.
Longevity Hill is about 60 meters (200 feet) high and has many buildings positioned in sequence. The front hill is rich with splendid halls and pavilions, while the back hill, in sharp contrast, is quiet with natural beauty. The central Kunming Lake, covering 2.2 square kilometers (540 acres), was entirely man-made and the excavated soil was used to build Longevity Hill.
In December 1998, UNESCO included the Summer Palace on its World Heritage List. It declared the Summer Palace "a masterpiece of Chinese landscape garden design. The natural landscape of hills and open water is combined with artificial features such as pavilions, halls, palaces, temples and bridges to form a harmonious ensemble of outstanding aesthetic value".
The origins of the Summer Palace date back to the Jurchen-led Jin dynasty in 1153, when the fourth ruler, Wanyan Liang (r. 1150–1161), moved the Jin capital from Huining Prefecture (in present-day Acheng District, Harbin, Heilongjiang) to Yanjing (present-day Beijing). He ordered the construction of a palace in the Fragrant Hills and Jade Spring Hill in the northwest of Beijing.
Around 1271, after the Yuan dynasty established its capital in Khanbaliq (present-day Beijing), the engineer Guo Shoujing initiated a waterworks project to direct the water from Shenshan Spring (神山泉) in Baifu Village (白浮村), Changping into the Western Lake (西湖), which would later become Kunming Lake. Guo's aim was to create a water reservoir that would ensure a stable water supply for the palace.
In 1494, the Hongzhi Emperor (r. 1487–1505) of the Ming dynasty had a Yuanjing Temple (圓靜寺) built for his wet nurse, Lady Luo, in front of Jar Hill (瓮山), which was later renamed Longevity Hill. The temple fell into disrepair over the years and was abandoned, and the area around the hill became lush with vegetation. The Zhengde Emperor (r. 1505–21), who succeeded the Hongzhi Emperor, built a palace on the banks of the Western Lake and turned the area into an imperial garden. He renamed Jar Hill, "Golden Hill" (金山) and named the lake "Golden Sea" (金海). Both the Zhengde Emperor and the Wanli Emperor (r. 1572–1620) enjoyed taking boat rides on the lake. During the reign of the Tianqi Emperor (r. 1620–27), the court eunuch Wei Zhongxian took the imperial garden as his personal property.
Qing dynasty
In the early Qing dynasty, Jar Hill served as the site for horse stables in the imperial palace. Eunuchs who committed offences were sent there to weed and cut grass.
In the beginning of the reign of the Qianlong Emperor (r. 1735-1796), many imperial gardens were built in the area around present-day Beijing's Haidian District and accordingly, water consumption increased tremendously. At the time, much of the water stored in the Western Lake came from the freshwater spring on Jade Spring Hill, while a fraction came from the Wanquan River (萬泉河). Any disruption of the water flow from Jade Spring Hill would affect the capital's water transport and water supply systems.
Around 1749, the Qianlong Emperor decided to build a palace in the vicinity of Jar Hill and the Western Lake to celebrate the 60th birthday of his mother, Empress Dowager Chongqing. In the name of improving the capital's waterworks system, he ordered the Western Lake to be expanded further west to create two more lakes, Gaoshui Lake (高水湖) and Yangshui Lake (養水湖). The three lakes served not only as a reservoir for the imperial gardens, but also a source of water for the surrounding agricultural areas. The Qianlong Emperor collectively named the three lakes "Kunming Lake" after the Kunming Pool (昆明池) constructed by Emperor Wu (r. 141–187 BCE) in the Han dynasty for the training of his navy. The earth excavated from the expansion of Kunming Lake was used to enlarge Jar Hill, which was renamed "Longevity Hill". The Summer Palace, whose construction was completed in 1764 at a cost of over 4.8 million silver taels, was first named "Qingyiyuan" (清漪園; "Gardens of Clear Ripples"").
The design of the Summer Palace was based on a legend in Chinese mythology about three divine mountains in the East Sea, namely Penglai, Fangzhang (方丈) and Yingzhou (瀛洲). The three islands in Kunming Lake – Nanhu Island (南湖島), Tuancheng Island (團城島) and Zaojiantang Island (藻鑒堂島) – were built to represent the three mountains, while the lake itself was based on a blueprint of the West Lake in Hangzhou. Besides, many architectural features in the palace were also built to resemble or imitate various attractions around China. For example: the Phoenix Pier (鳳凰墩) represented Lake Tai; the Jingming Tower (景明樓) resembled Yueyang Tower, Hunan; the Wangchan Pavilion (望蟾閣) resembled Yellow Crane Tower; the shopping streets were designed to imitate those in Suzhou and Yangzhou. The centrepiece of the Summer Palace was the "Great Temple of Gratitude and Longevity" (大報恩延壽寺). There was also a Long Corridor more than 700 metres long which was furnished with artistic decorations. As the palace was not equipped with facilities for long-term staying and daily administration of state affairs, the Qianlong Emperor hardly lived there and only remained there for the day whenever he visited it.
As the Qing Empire started declining after the reign of the Daoguang Emperor (r. 1820–1850), the Summer Palace gradually became more neglected and the architectural features on the three islands were ordered to be dismantled because the costs of maintenance were too high.
In 1860, the French and British looted the Summer Palace at the end of the Second Opium War and on October 18, 1860 the British burned down the nearby Old Summer Palace (Yuanmingyuan). The destruction of the palace was ordered by Lord Elgin, the British High Commissioner to China, and was undertaken in response to the torture and killing of two British envoys, a journalist for The Times, and their escorts. The destruction of large parts of the Summer Palace still evokes strong emotions among some people in China.
Between 1884–95, during the reign of the Guangxu Emperor (r. 1875–1908), Empress Dowager Cixi ordered 22 million silver taels, originally designated for upgrading the Qing navy (the Beiyang Fleet), to be used for reconstructing and enlarging the Summer Palace to celebrate her 60th birthday. As the funds were limited, the construction works were concentrated on the buildings in front of Longevity Hill and the dams around Kunming Lake. The Summer Palace was also given its present-day Chinese name, "Yiheyuan" (頤和園), in 1888.
In 1900, towards the end of the Boxer Rebellion, the Summer Palace suffered damaged again when the forces of the Eight-Nation Alliance destroyed the imperial gardens and seized many artifacts stored in the palace. The palace was restored two years later.
Post-Qing dynasty
In 1912, following the abdication of Puyi, the Last Emperor, the Summer Palace became the private property of the former imperial family of the Qing Empire. Two years later, the Summer Palace was opened to the public and entry tickets were sold. In 1924, after Puyi was expelled from the Forbidden City by the warlord Feng Yuxiang, the Beijing municipal government took charge of administrating the Summer Palace and turned it into a public park.
After 1949, the Summer Palace briefly housed the Central Party School of the Communist Party of China. Many of Mao Zedong's friends and key figures in the Communist Party, such as Liu Yazi and Jiang Qing, also lived there. Since 1953, many major restoration and renovation works have been done on the Summer Palace, which is now open to the public as a tourist attraction and park.
In November 1998, the Summer Palace was designated a World Heritage Site by UNESCO. Towards the end of 2006, the Chinese government also started distributing commemorative coins to celebrate the Summer Palace as a cultural relic of the world.
The entire Summer Palace is centred around Longevity Hill and Kunming Lake, with the latter covering about three quarters of the area. Most of the important buildings were built along the north–south axis of Longevity Hill, which is divided into the front hill and the back hill. There are three small islands within Kunming Lake: Nanhu Island, Zaojiantang Island and Zhijingge Island. The West Dam of Kunming Lake divides the lake into two. The East Dam was constructed during the reign of the Guangxu Emperor. The attractions in the Summer Palace may be divided into six different sections or scenic areas: the Halls, Longevity Hill, Kunming Lake, the Farming and Weaving Picture Scenic Area, the Long Corridor, and the Central Axis area.
Dragon boats at Summer Palace.jpg
Front Hill
Eastern Palace Gate (东宫门): The main entrance to the Summer Palace. The two bronze lions on either side of the gate are preserved from the Qianlong Emperor's time while the Cloud Dragon Steps in front of the gate are relics from the Old Summer Palace. The three Chinese characters "Yiheyuan" on the sign above the gate were written by the Guangxu Emperor.
Hall of Benevolence and Longevity (仁寿殿): The hall where court sessions were held. It was called "Hall of Good Governance" (勤政殿) in the Qianlong Emperor's time but was given its present-day name by the Guangxu Emperor. The well north of the hall is called "Year-Prolonging Well" (延年井) while the rockery behind the hall was designed to imitate the Lion Grove Garden in Suzhou. The stalactites are relics from the Old Summer Palace.
Hall of Jade Billows (玉澜堂): Located west of the Hall of Benevolence and Longevity. It was the living quarters of the Qing emperors. The Guangxu Emperor was once confined here by Empress Dowager Cixi.
Yiyun Hall (宜芸馆): Located north of the Hall of Jade Billows. It was originally a library in the Qianlong Emperor's time, but became the living quarters of Empress Longyu in the Guangxu Emperor's time. It housed a collection of stone carvings of calligraphy written by the Qianlong Emperor.
Dehe Garden (德和园): Houses the three-storey Great Opera Hall (大戲樓), where opera performances were staged.
Hall of Joy and Longevity (乐寿堂): The living quarters of Empress Dowager Cixi.
Long Corridor (长廊): Stretches from the Hall of Joy and Longevity in the east to Shizhang Pavilion in the west. The entire corridor is 728 metres long and contains artistic decorations, including paintings of famous places in China, and scenes from Chinese mythology and folktales, The Twenty-four Filial Exemplars and the Four Great Classical Novels.
Hall of Dispelling Clouds (排云殿): Situated on the centre of the central axis of Longevity Hill. Originally the Great Temple of Gratitude and Longevity (大報恩延壽寺), it was renovated in 1892 and became a place for Empress Dowager Cixi to receive guests, host grand ceremonies, and celebrate her birthday.
Buddhist Temple at Summer Palace.jpg
Tower of Buddhist Incense (佛香阁): Located right in the centre of the front hill of Longevity Mountain. The tower was originally meant to be a nine-storey Buddhist pagoda built to resemble the Yellow Crane Tower. The Qianlong Emperor ordered the construction to be stopped just after the eighth storey was built. The tower was built on a 20-metre-tall stone base, measures three stories and 41 metres in height, and is supported by eight ironwood pillars. Empress Dowager Cixi visited the tower to offer incense and pray.
Sea of Wisdom (智慧海): Located on the peak of Longevity Hill. It was built from coloured glass and houses over 1,000 statues of Buddhist figures. It was partially damaged during the Cultural Revolution.
Stele of Longevity Hill and Kunming Lake (万寿山昆明湖碑; Wànshòushān Kūnmínghú Bēi): Located east of the Hall of Dispelling Clouds. The stele bears six Chinese characters written by the Qianlong Emperor.
Pavilion of Precious Clouds (宝云阁): Located west of the Tower of Buddhist Incense. It was originally called "Bronze Pavilion" (銅亭) and was built in 1755. The doors and windows were stolen by soldiers from the Eight-Nation Alliance in 1900. In the 1980s, they were purchased by overseas Chinese and donated back to the Summer Palace.
Stone Boat (石舫): The Stone Boat is 96 metres long. The original wooden boat was burnt in 1860 and has been replaced with a marble copy with western style paddle wheels.
Oriole-Listening Hall (听鹂馆): Located west of Longevity Hill. It used to be where Empress Dowager Cixi watched opera performancees. The hall is now converted into a restaurant specialising in Qing imperial cuisine.
Huazhongyou (画中游): Located west of Longevity Hill.
East of the Front Hill (前山东部; 前山東部): Has many pavilions and halls.
West of the Front Hill (前山西部): Has many pavilions and halls.
West of the Long Corridor (长廊西端; Chángláng Xīduān): There is a "West Four Hall" (西四廳) located north of Shizhang Pavilion. The Guangxu Emperor's Consort Zhen was confined in the hall by Empress Dowager Cixi. It used to be the west entrance into the Summer Palace during the Qianlong Emperor's time.
Back Hill
Suzhou Street (苏州街): In 1762, after returning from touring the Jiangnan region, the Qianlong Emperor ordered the construction of a shopping street resembling Shantang Street in Suzhou. The street was destroyed by the British and French in 1860 and was only restored in 1988.
Garden of Harmonious Pleasures (谐趣园): Located in the northeast corner of the Summer Palace. In 1751, when the Qianlong Emperor toured the Jiangnan region, he was so impressed with Jichang Garden in Wuxi that he ordered a Huishan Garden (惠山園) to be built in the Summer Palace and modelled after Jichang Garden. Huishan Garden was renamed "Xiequ Garden" in 1811.
Four Great Regions (四大部洲): Located on the centre of the central axis of the back hill. It was designed to resemble the Samye Monastery in Tibet, and houses statues of Bhaisajyaguru, the Buddha and Amitābha. It was destroyed by the British and French in 1860 but was restored later.
Flower Pavilion and Glass Tower (花承阁琉璃塔): Located east of the back hill. It was destroyed by the British and French in 1860; only the Glass Tower remains. During the Cultural Revolution, the Buddhist statue at the bottom of the tower was disfigured by the Red Guards.
Former Location of Gaichunyuan (赅春园遗址): Located west of the back hill. A small garden was built there during the Qianlong Emperor's time and the emperor also had his personal study room there. Gaichunyuan was mostly destroyed by the British and French in 1860.
Former Location of Qiwang Pavilion (绮望轩遗址): Located west of the back hill beside the lake. A small garden was built there during the Qianlong Emperor's time.
Eastern Dam
Zhichun Pavilion (知春亭): Located on the east bank of Kunming Lake at the south of the Hall of Jade Billows.
Wenchang Tower (文昌阁): Built to resemble a city gate. It served as an important entry point into the Summer Palace from the east and south during the Qianlong Emperor's time. The Wenchang Hall (文昌院) beside Wenchang Tower displays cultural artefacts from the Summer Palace.
Kuoru Pavilion (廓如亭): Situated in the middle of the eastern dam, east of the 17 Openings Bridge. It covered an area of 130 square metres.
Bronze Ox (铜牛): A bronze statue of an ox built in 1755.
Yelü Chucai Shrine (耶律楚材词): A shrine built by the Qianlong Emperor to commemorate Yelü Chucai, an influential statesman in the Mongol Empire. It was closed down after 2003 and its front section was converted into a souvenir shop.
Nanhu Island
17-Arch Bridge (十七孔桥): Has 17 different types of arches on it. It incorporates features of the Precious Belt Bridge in Suzhou and the Lugou Bridge in Beijing. The entire bridge is 150 metres long and eight metres wide.
Dragon King Temple (龙王庙; 龍王廟o): A temple built to worship the Dragon King.
Hanxu Hall (涵虚堂; 涵虛堂): Located at the north of Nanhu Island, directly facing the Tower of Buddhist Incense on the north bank.
Western Dam
Lake Dividing Bridge (界湖桥; 界湖橋): The bridge that separates Kunming Lake from the northern lake.
Jade Belt Bridge (玉带桥; 玉帶橋)
Binfeng Bridge (豳风桥; 豳風橋)
Jingming Tower (景明楼; 景明樓): It was destroyed by the British and French in 1860 and was restored only in 1992. It was designed to imitate Yueyang Tower.
Mirror Bridge (镜桥; 鏡橋)
White Silk Bridge (练桥; 練橋)
Willow Bridge (柳桥; 柳橋): Located most south of the western dam.
Farming and Weaving Picture Scenic Area (耕织图景区; 耕織圖景區): Built during the Qianlong Emperor's time, it was designed to bring to life a scene from the daily lives of peasants. This area was excluded from the Summer Palace after it was renovated by Empress Dowager Cixi. In 1949, the area was occupied by the People's Liberation Army and a paper-making factory was built there. In 2003, the area was incorporated back into the Summer Palace and some old buildings were restored.
from Wikipedia
For centuries, Japanese Zen masters have cultivated gardens of harmoniously arranged rocks and white raked gravel - creating silent havens for peaceful contemplation. By cultivating a miniature Zen garden - reducing for a moment the day’s problems to a few waves of sand against the rocks - one may come away feeling as if the rest of life has become simpler.
I started a small Zen Garden on our deck a few weeks ago. It is very peaceful drawing patterns and arranging rocks in the small box full of sand. The only problem I've had is keeping the cat out of the sand.
Macro Monday Minimalism
Nestled in the heart of Kyoto, this picturesque street scene captures the essence of Japan's timeless beauty. The focal point of the image is a meticulously preserved traditional wooden building with a gracefully sloping tiled roof, a quintessential element of classic Japanese architecture. The intricate wooden latticework and earthy tones of the structure evoke a sense of nostalgia and reverence for the past. This building, likely a historic teahouse or a traditional inn, stands as a proud reminder of Kyoto’s rich cultural heritage.
Adjacent to this historical gem are contemporary buildings, including a recognizable international coffee shop chain. This juxtaposition of old and new highlights Kyoto’s seamless blend of tradition and modernity, where centuries-old structures coexist harmoniously with modern conveniences. The clean, well-maintained street, lined with stylish lampposts, adds to the aesthetic appeal and invites visitors to explore further.
Walking through this street, you can feel the soul of Kyoto, a city that honors its history while embracing the future. The traditional wooden building stands as a testament to the architectural ingenuity of the past, showcasing elements such as shoji screens, tatami mat flooring, and intricate wooden carvings. These features not only add to the visual appeal but also tell a story of craftsmanship and cultural significance.
Kyoto, once the imperial capital of Japan, is a treasure trove of historical sites and architectural marvels. The harmonious coexistence of traditional and contemporary elements in this street scene is a microcosm of the city’s broader landscape. Whether you’re a history buff, an architecture enthusiast, or simply a traveler looking to immerse yourself in the culture, this street in Kyoto offers a glimpse into the delicate balance of the past and present.
The transient beauty of the coast is intricately intertwined with the captivating patterns that emerge in the sand, crafted by the relentless forces of wind and wave. These natural sculptors shape the shoreline, leaving behind ephemeral masterpieces.
As the tides ebb and flow, they orchestrate a delicate dance with the sand. With each advancing wave, the water gently caresses the shore, carrying particles of sand along its journey. As the wave recedes, it relinquishes its cargo, depositing the grains in a meticulous arrangement. This cyclical process, repeated countless times, creates intricate patterns that stretch along the coastline.
The patterns left behind by the retreating tide mimic the ebb and flow of life itself. Swirling ripples, reminiscent of a miniature desert landscape, emerge as the water recedes, their graceful curves and undulating lines transforming the beach into a living work of art. The patterns are at once orderly and chaotic, with intricate geometrical formations intermingling with whimsical curves and asymmetrical shapes.
The wind, a silent artist in its own right, adds its touch to the sculpting process. As it sweeps across the coast, it whispers secrets to the sand, coaxing it to dance in its invisible embrace. The wind's gentle touch lifts fine particles from the beach, carrying them aloft in an intricate ballet. It sculpts the sand into delicate ripples, resembling the soft undulations of fabric.
The interplay between the wind and the tide results in an ever-changing landscape. The patterns shift and evolve, shaped by the combined forces of these elemental sculptors. Ripples become miniature mountains, rising and falling in a transient topography that mirrors the larger contours of the surrounding coast. Each gust of wind and every advancing or receding wave leaves its mark, etching new patterns and erasing old ones, in an eternal cycle of creation and destruction.
These ephemeral patterns serve as a reminder of the impermanence of existence and the transient nature of beauty, as each passing moment alters the landscape, erasing what once was and creating something new. The sands become a canvas for the symphony of time, a tangible reflection of the ever-changing nature of our lives.
The beauty of these fleeting patterns lies not only in their visual allure but also in the emotions they evoke. They inspire a sense of wonder and awe, inviting us to pause and appreciate the intricate designs that nature creates with such effortless grace. The patterns speak of the interconnectedness of all things, the harmonious interplay between the elements, and the constant flux that defines our existence.
In these patterns of nature, we find a profound lesson: that life, like the shifting sands, is ever-changing, and that true beauty lies not in permanence but in the appreciation of the fleeting moments that grace our journey.
Step into the serene ambiance of a traditional Japanese Shinto shrine. This image captures the essence of spiritual Japan with a stone torii gate standing proudly at the entrance. The gate, a common symbol in Shintoism, marks the transition from the mundane world to a sacred space. Its weathered stone texture and robust structure evoke a sense of timeless reverence.
Just beyond the torii gate lies a small shrine building with a gracefully curved tiled roof. The roof's design isn't just beautiful; it efficiently channels rainwater, highlighting the practical wisdom embedded in traditional Japanese architecture. The entrance to the shrine is adorned with lanterns and shimenawa (sacred ropes), which signify purity and protection.
Surrounding the shrine, lush greenery and pine trees enhance the peaceful atmosphere. The natural setting frames the shrine beautifully, adding to its serene and spiritual ambiance. The nearby building hints that this sacred space is embedded in a residential area, illustrating the harmonious blend of everyday life and spiritual sanctuaries in Japan.
This shrine scene isn't just picturesque; it offers a glimpse into the spiritual heart of Japanese culture. The details, from the stone torii gate to the shimenawa and lanterns, embody the deep-rooted traditions and reverence that characterize Shinto practices. This space serves as a tranquil retreat for reflection, spiritual practice, and a moment of calm amidst the hustle and bustle of daily life.
The modern house that the young couple built in the village is very beautiful. Its modern architecture contrasts with the traditional houses of the village, but in a harmonious way. The orange color of the walls adds a touch of joy and vivacity to the house. The tiled roof is a traditional element that integrates into the village landscape.
It is important that young couples like this decide to settle in towns in the interior of Portugal. Their presence helps to counteract the aging of the population and to keep local traditions and customs alive.
The modern house they built is a symbol of hope and a future for the village. It is a sign that there are still people who believe in the potential of inland towns and are willing to invest in them.
This young couple's initiative is an example to follow. It is important that all of us Portuguese do our part to avoid "forgetting" the interior towns. We can do it in several ways:
Visiting these towns and consuming their local products;
Supporting local development initiatives;
Encouraging young people to settle in these regions.
Only in this way can we guarantee that the towns in the interior of Portugal continue to be vibrant and lively places.
Some of the advantages of living in towns in the interior of Portugal:
Lower cost of living: The cost of living in towns in the interior of Portugal is generally lower than in large cities.
A quieter and safer environment: Villages in the interior of Portugal are generally quieter and safer than large cities.
A closer contact with nature: In towns in the interior of Portugal, it is possible to have closer contact with nature and the environment.
A calmer pace of life: In towns in the interior of Portugal, the pace of life is generally calmer than in large cities.
It is important that all of us Portuguese do our part to avoid "forgetting" the interior towns. We can do this in several ways: visiting these towns and consuming their local products, supporting local development initiatives and encouraging young people to settle in these regions.
.
Text & Photography: ©MárioSilva
.
Gilded in the oak savanna.
In the leaning hills, where the summer sun turns the grassland to tinder, the savanna is a wind chime, rustling a harmonious lullaby like a new deck of cards in nimble fingers. Grasshoppers and mayflies and the chaff of newly dried seed catch in the sun. A dry, hot blizzard in an amber streetlamp.
The Arastradero Open Space Preserve is home to rattlesnakes, coyotes, and mountain lions and innumerable flavors of insects and birds, yet it is the trees that bring me here time and again. Before the axe and the wheel came to this land, enormous oak savannas like this one stretched across the midwest, the southwest and here along the west coast.
But the axe and the wheel did come and the savannas left. I like to think of the craggy and twisted forms that remain as wounded but unbent descendants of the stalwart soldiers who resisted the blade and the advance of civilization to hold the dusty California soil to the ground and to provide shade for the coyotes and mountain lions and rattlesnakes that weave through the tall grass of the American Veldt. As these sentinels slowly march from mother to child up and down the wind-tousled steppe, we flit about the outskirts of this preserve as insects, building and gnawing and living and dying. I hope that’s all we’ll ever do.
I came to the Arastradero preserve to connect with a particularly beautiful oak I’d passed (and photographed) on hikes before. I found her on the hillside as ever, arms outstretched, singing in the late evening breeze, fluttering fingers of bright green.
As I stood for a while here on the hillside, gilded in the afternoon, alone with my thoughts but for the oak and the whisper of the breeze and the hum-drum clicks and tweets of grassland animals, I thought, “I’ve been away too long,” and was reminded of Shel Silverstein’s The Giving Tree, and I’ve been thinking about it since.
I came back to the preserve to reconnect with a spot where I’d taken an old photo. Only now do I realize that same photograph was made nearly a year ago to the date. Oliver (who now runs and speaks and laughs) was with us then, asleep as an absolutely tiny three-month-old infant.
The change over the last year in Oliver provided, for me, a stark contrast with the constancy of the natural world, of these stalwart trees. How little they’ve changed. How little indeed will they change over the next century. Long may they roam on these hills and long may they feed my heart.
------------
In the leaning hills.
I’ve cared a great deal about taking photographs for a long time. When people ask me how long I’ve been “into” photography, I often don’t have an answer. I can vividly remember becoming interested in my father’s camera when I was a kid. No idea how old.
In point of fact, my mother was cleaning house recently and asked that I sort through some old papers of mine. Tucked in a bunch of junk were loads of old prints made with a Vivitar point and shoot given me by my parents sometime while I was in fifth grade. The landscape/candid ideas are all there, but the execution was a long way from developed (and often still is)!
I found a renewed passion for image making when I was in college and then again in graduate school, although if truth be told, it’s been relatively steady for most of my life and those moments of renewed energy are likely just an interpretation of mine in hindsight.
I often return to the question of “Why?” Why should photography feel a bit like breathing and why should I derive so much satisfaction from it? I have loads of standard answers that you see on photoblogs and photo news sites ad naseum, revolving around physical/emotional enjoyment and the risk/reward of creativity and sharing, but these are pretty unsatisfactory.
I’ll tell you that the social networking and community aspects of photography are not what drives me to carry a camera to beautiful places. Neither is building a portfolio of images what puts my feet out the door. Although I run this blog and make every effort to post frequently, I often find myself going to great lengths to make images I find interesting and then leaving them on the hard disk at home for months or years at a time.
This isn’t to say that I don’t enjoy every part of the process, from shooting to publishing; it’s just that, if those weren’t a feature of the photography/photoblog world, I would still shoot.
There is something about images and cameras that has always spoken to me, something in the process of making an extraordinary image that drives me across states and out of bed at strange hours. Images lie at the boundary between real and surreal, between ordinary and fantastic. They can tell the truth, they can lie, but good ones never let you know which. I find it thrilling to compare the different truths of the reality and the image made after. I like to imagine for a moment that the world is as strange as photographs make it seem, then I realize it’s far stranger.
I photograph because that’s who I am, it’s an authentic expression of myself. I mean authentic in the existential sense—that I am doing what comes naturally and being true to who I am. Sometimes explanations and reasons are trite and you just have to accept that you are what you are. Simply put, photography is.
Of course, existentialism takes for granted that, to the mind, the material world presents itself as incongruous and absurd. And maybe that’s what I find so damned rewarding about photography; the world is messy and strange and absurd, but there is a great harmony and undeniable humanity in standing amongst the nodding, tawny, and wind-threshed grain, catching on a wafer of silicon a few trillion photons that have spent eons bouncing around the interior of our sun, all the while inundated with the smells of flowering plants and buzzing insects, luring one another to sex and death in the burning heart of the afternoon, in the leaning hills.
Like to see the pictures as LARGE as your screen? Just click on this Slideshow : www.flickr.com/photos/reurinkjan/sets/72157624932250006/s...
Woodcarved in a tree pillar of almost one meter across in the Nyingmapa Yazer Gonpa monastery.
This is a popular Tibetan scene which is often found as wall painting in Tibetan religious buildings and represents an elephant standing under a fruit tree carrying a monkey, a hare and a bird on top of each other. The scene refers to a Buddhist legend which tells that four animals were trying to find out who could be considered as being the oldest. The elephant said that the tree was already fully grown when he was young, the monkey that the tree was small when he was young, the hare that he saw the tree as a sapling when he was young and the bird claimed that he had carried the seed from which the tree grew. So the bird was recognized by the other animals as the oldest, and the four animals lived together in harmony, helping each other to enjoy the fruits of the tree.
A mural is any piece of artwork painted or applied directly on a wall, ceiling or other large permanent surface. A distinguishing characteristic of mural painting is that the architectural elements of the given space are harmoniously incorporated into the picture.
Some wall paintings are painted on large canvases, which are then attached to the wall (e.g., with marouflage). Whether these works can be accurately called "murals" is a subject of some controversy in the art world, but the technique has been in common use since the late 19th century.
HISTORY
Murals of sorts date to Upper Paleolithic times such as the paintings in the Chauvet Cave in Ardèche department of southern France (around 30,000 BC). Many ancient murals have survived in Egyptian tombs (around 3150 BC), the Minoan palaces (Middle period III of the Neopalatial period, 1700-1600 BC) and in Pompeii (around 100 BC - AD 79).
During the Middle Ages murals were usually executed on dry plaster (secco). In Italy, circa 1300, the technique of painting of frescos on wet plaster was reintroduced and led to a significant increase in the quality of mural painting.
In modern times, the term became more well-known with the Mexican "muralista" art movement (Diego Rivera, David Siqueiros, or José Orozco). There are many different styles and techniques. The best-known is probably fresco, which uses water-soluble paints with a damp lime wash, a rapid use of the resulting mixture over a large surface, and often in parts (but with a sense of the whole). The colors lighten as they dry. The marouflage method has also been used for millennia.
Murals today are painted in a variety of ways, using oil or water-based media. The styles can vary from abstract to trompe-l'œil (a French term for "fool" or "trick the eye"). Initiated by the works of mural artists like Graham Rust or Rainer Maria Latzke in the 1980s, trompe-l'oeil painting has experienced a renaissance in private and public buildings in Europe. Today, the beauty of a wall mural has become much more widely available with a technique whereby a painting or photographic image is transferred to poster paper or canvas which is then pasted to a wall surface (see wallpaper, Frescography) to give the effect of either a hand-painted mural or realistic scene.
TECHNIQUE
In the history of mural several methods have been used:
A fresco painting, from the Italian word affresco which derives from the adjective fresco ("fresh"), describes a method in which the paint is applied on plaster on walls or ceilings. The buon fresco technique consists of painting in pigment mixed with water on a thin layer of wet, fresh, lime mortar or plaster. The pigment is then absorbed by the wet plaster; after a number of hours, the plaster dries and reacts with the air: it is this chemical reaction which fixes the pigment particles in the plaster. After this the painting stays for a long time up to centuries in fresh and brilliant colors.
Fresco-secco painting is done on dry plaster (secco is "dry" in Italian). The pigments thus require a binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall.
Mezzo-fresco is painted on nearly-dry plaster, and was defined by the sixteenth-century author Ignazio Pozzo as "firm enough not to take a thumb-print" so that the pigment only penetrates slightly into the plaster. By the end of the sixteenth century this had largely displaced the buon fresco method, and was used by painters such as Gianbattista Tiepolo or Michelangelo. This technique had, in reduced form, the advantages of a secco work.
MATERIAL
In Greco-Roman times, mostly encaustic colors applied in a cold state were used.
Tempera painting is one of the oldest known methods in mural painting. In tempera, the pigments are bound in an albuminous medium such as egg yolk or egg white diluted in water.
In 16th-century Europe, oil painting on canvas arose as an easier method for mural painting. The advantage was that the artwork could be completed in the artist’s studio and later transported to its destination and there attached to the wall or ceiling. Oil paint can be said to be the least satisfactory medium for murals because of its lack of brilliance in colour. Also the pigments are yellowed by the binder or are more easily affected by atmospheric conditions. The canvas itself is more subject to rapid deterioration than a plaster ground. Different muralists tend to become experts in their preferred medium and application, whether that be oil paints, emulsion or acrylic paints applied by brush, roller or airbrush/aerosols. Clients will often ask for a particular style and the artist may adjust to the appropriate technique.
A consultation usually leads to a detailed design and layout of the proposed mural with a price quote that the client approves before the muralist starts on the work. The area to be painted can be gridded to match the design allowing the image to be scaled accurately step by step. In some cases the design is projected straight onto the wall and traced with pencil before painting begins. Some muralists will paint directly without any prior sketching, preferring the spontaneous technique.
Once completed the mural can be given coats of varnish or protective acrylic glaze to protect the work from UV rays and surface damage.
As an alternative to a hand-painted or airbrushed mural, digitally printed murals can also be applied to surfaces. Already existing murals can be photographed and then be reproduced in near-to-original quality.
The disadvantages of pre-fabricated murals and decals are that they are often mass-produced and lack the allure and exclusivity of an original artwork. They are often not fitted to the individual wall sizes of the client and their personal ideas or wishes can not be added to the mural as it progresses. The Frescography technique, a digital manufacturing method (CAM) invented by Rainer Maria Latzke addresses some of the personalisation and size restrictions.
Digital techniques are commonly used in advertisements. A "wallscape" is a large advertisement on or attached to the outside wall of a building. Wallscapes can be painted directly on the wall as a mural, or printed on vinyl and securely attached to the wall in the manner of a billboard. Although not strictly classed as murals, large scale printed media are often referred to as such. Advertising murals were traditionally painted onto buildings and shops by sign-writers, later as large scale poster billboards.
SIGNIFICANCE OF MURALS
Murals are important in that they bring art into the public sphere. Due to the size, cost, and work involved in creating a mural, muralists must often be commissioned by a sponsor. Often it is the local government or a business, but many murals have been paid for with grants of patronage. For artists, their work gets a wide audience who otherwise might not set foot in an art gallery. A city benefits by the beauty of a work of art.
Murals can be a relatively effective tool of social emancipation or achieving a political goal. Murals have sometimes been created against the law, or have been commissioned by local bars and coffeeshops. Often, the visual effects are an enticement to attract public attention to social issues. State-sponsored public art expressions, particularly murals, are often used by totalitarian regimes as a tool of mass-control and propaganda. However, despite the propagandist character of that works, some of them still have an artistic value.
Murals can have a dramatic impact whether consciously or subconsciously on the attitudes of passers by, when they are added to areas where people live and work. It can also be argued that the presence of large, public murals can add aesthetic improvement to the daily lives of residents or that of employees at a corporate venue.
Other world-famous murals can be found in Mexico, New York, Philadelphia, Belfast, Derry, Los Angeles, Nicaragua, Cuba and in India. They have functioned as an important means of communication for members of socially, ethnically and racially divided communities in times of conflict. They also proved to be an effective tool in establishing a dialogue and hence solving the cleavage in the long run. The Indian state Kerala has exclusive murals. These Kerala mural painting are on walls of Hindu temples. They can be dated from 9th century AD.
The San Bartolo murals of the Maya civilization in Guatemala, are the oldest example of this art in Mesoamerica and are dated at 300 BC.
Many rural towns have begun using murals to create tourist attractions in order to boost economic income. Colquitt, Georgia is one such town. Colquitt was chosen to host the 2010 Global Mural Conference. The town has more than twelve murals completed, and will host the Conference along with Dothan, Alabama, and Blakely, Georgia. In the summer of 2010, Colquitt will begin work on their Icon Mural.
WIKIPEDIA
The Metropolitan Cathedral of Saints Vitus, Wenceslaus and Adalbert (Czech: metropolitní katedrála svatého Víta, Václava a Vojtěcha) is a Roman Catholic metropolitan cathedral in Prague, the seat of the Archbishop of Prague. Until 1997, the cathedral was dedicated only to Saint Vitus, and is still commonly named only as St. Vitus Cathedral. This cathedral is a prominent example of Gothic architecture and is the largest and most important church in the country. Located within Prague Castle and containing the tombs of many Bohemian kings and Holy Roman Emperors, the cathedral is under the ownership of the Czech government as part of the Prague Castle complex.
The current cathedral is the third of a series of religious buildings at the site, all dedicated to St. Vitus. The first church was an early Romanesque rotunda founded by Wenceslaus I, Duke of Bohemia in 930. This patron saint was chosen because Wenceslaus had acquired a holy relic – the arm of St. Vitus – from Emperor Henry I. It is also possible that Wenceslaus, wanting to convert his subjects to Christianity more easily, chose a saint whose name (Svatý Vít in Czech) sounds very much like the name of Slavic solar deity Svantevit. Two religious populations, the increasing Christian and decreasing pagan community, lived simultaneously in Prague castle at least until the 11th century. In the year 1060, as the bishopric of Prague was founded, prince Spytihněv II embarked on building a more spacious church, as it became clear the existing rotunda was too small to accommodate the faithful. A much larger and more representative Romanesque basilica was built in its spot. Though still not completely reconstructed, most experts agree it was a triple-aisled basilica with two choirs and a pair of towers connected to the western transept. The design of the cathedral nods to Romanesque architecture of the Holy Roman Empire, most notably to the abbey church in Hildesheim and the Speyer Cathedral. The southern apse of the rotunda was incorporated into the eastern transept of the new church because it housed the tomb of St. Wenceslaus, who had by now become the patron saint of the Czech princes. A bishop's mansion was also built south of the new church, and was considerably enlarged and extended in the mid 12th-century. Construction of the present-day Gothic Cathedral began on 21 November 1344, when the see of Prague was elevated to an archbishopric. King John of Bohemia laid the foundation stone for the new building.[ The patrons were the chapter of cathedral (led by a Dean), the Archbishop Arnost of Pardubice, and, above all, Charles IV, King of Bohemia and a soon-to-be Holy Roman Emperor, who intended the new cathedral to be a coronation church, family crypt, treasury for the most precious relics of the kingdom, and the last resting place cum pilgrimage site of patron saint Wenceslaus. The first master builder was a Frenchman Matthias of Arras, summoned from the Papal Palace in Avignon. Matthias designed the overall layout of the building as, basically, an import of French Gothic: a triple-naved basilica with flying buttresses, short transept, five-bayed choir and decagon apse with ambulatory and radiating chapels. However, he lived to build only the easternmost parts of the choir: the arcades and the ambulatory. The slender verticality of Late French Gothic and clear, almost rigid respect of proportions distinguish his work today.
After Matthias' death in 1352, 23-year-old Peter Parler assumed control of the cathedral workshop as master builder. He was son of the architect of the Heilig-Kreuz-Münster in Schwäbisch Gmünd. Initially, Parler only worked on plans left by his predecessor, building the sacristy on the north side of the choir and the chapel on the south. Once he finished all that Matthias left unfinished, he continued according to his own ideas. Parler's bold and innovative design brought in a unique new synthesis of Gothic elements in architecture. This is best exemplified in the vaults he designed for the choir. The so-called Parler's vaults or net-vaults have double (not single, as in classic High Gothic groin vaults) diagonal ribs that span the width of the choir-bay. The crossing pairs of ribs create a net-like construction (hence the name), which considerably strengthens the vault. They also give a lively ornamentation to the ceiling, as the interlocking vaulted bays create a dynamic zigzag pattern the length of the cathedral. While Matthias of Arras was schooled as a geometer, thus putting an emphasis on rigid systems of proportions and clear, mathematical compositions in his design, Parler was trained as a sculptor and woodcarver. He treated architecture as a sculpture, almost as if playing with structural forms in stone. Aside from his bold vaults, the peculiarities of his work can also be seen in the design of pillars (with classic, bell-shaped columns which were almost forgotten by High Gothic), the ingenious dome vault of new St Wenceslaus chapel, the undulating clerestory walls, the original window tracery (no two of his windows are the same, the ornamentation is always different) and the blind tracery panels of the buttresses. Architectural sculpture was given a considerable role while Parler was in charge of construction, as can be seen in the corbels, the passageway lintels, and, particularly, in the busts on the triforium, which depict faces of the royal family, saints, Prague bishops, and the two master builders, including Parler himself.
Work on the cathedral, however, proceeded slowly, because the Emperor commissioned Parler with many other projects, such as the construction of the new Charles Bridge in Prague and many churches throughout the Czech realm. By 1397, when Peter Parler died, only the choir and parts of the transept were finished. After Peter Parler's death in 1399 his sons, Wenzel Parler and particularly Johannes Parler, continued his work; they in turn were succeeded by a certain Master Petrilk, who by all accounts was also a member of Parler's workshop. Under these three masters, the transept and the great tower on its south side were finished. So was the gable which connects the tower with the south transept. Nicknamed 'Golden Gate' (likely because of the golden mosaic of Last Judgment depicted on it), it is through this portal that the kings entered the cathedral for coronation ceremonies.
The entire building process came to a halt with the beginning of Hussite War in the first half of 15th century. The war brought an end to the workshop that operated steadily over for almost a century, and the furnishings of cathedral, dozens of pictures and sculptures, suffered heavily from the ravages of Hussite iconoclasm. As if this was not enough, a great fire in 1541 heavily damaged the cathedral. In 1844, Václav Pešina, an energetic St. Vitus canon, together with Neo-Gothic architect Josef Kranner presented a program for renovation and completion of the great cathedral at the gathering of German architects in Prague. The same year a society under the full name "Union for Completion of the Cathedral of St. Vitus in Prague" was formed, whose aim was to repair, complete and rid the structure of everything mutilated and stylistically inimical. Josef Kranner headed the work from 1861 to 1866 which consisted mostly of repairs, removing Baroque decorations deemed unnecessary and restoring the interior. In 1870 workers finally laid the foundations of the new nave, and in 1873, after Kramer's death, architect Josef Mocker assumed control of the reconstruction. He designed the west façade in a typical classic Gothic manner with two towers, and the same design was adopted, after his death, by the third and final architect of restoration, Kamil Hilbert.
In the 1920s the sculptor Vojtěch Sucharda worked on the façade, and the famous Czech Art Nouveau painter Alfons Mucha decorated the new windows in the north part of nave. Frantisek Kysela designed the Rose Window 1925-7 which depicts scenes from the Biblical story of creation. By the time of St. Wenceslas jubilee in 1929, the St. Vitus cathedral was finally finished, nearly 600 years after it was begun. Despite the fact that entire western half of Cathedral is a Neo-Gothic addition, much of the design and elements developed by Peter Parler were used in the restoration, giving the Cathedral as a whole a harmonious, unified look.
Designer unknown (佚名)
2004/2005
Establish a cultured city, construct a harmonious Dongcheng - Environment, create comfort and charm
Chuangjian wenming chengqu, goujian hexie Dongcheng - Huanjing, suzao shushi meili (创建文明城区， 构建和谐东城 - 环境，塑造舒适魅力)
Call nr.: BG E15/600 (Landsberger collection)
More? See: chineseposters.net
I am happy to show you an image from the Christopher Spiller Pollinator Garden in Clarks Hill, South Carolina. Prepare to be astounded by this extraordinary sanctuary, a genuine marvel of nature that unveils a breathtaking explosion of vibrant colors, stretching as far as the eye can behold. As you meander through this enchanting field, a captivating array of wildflower species will envelop you, ranging from delicate daisies and cheerful sunflowers to majestic lavender blooms and fiery poppies. The air is filled with an intoxicating fragrance, a symphony of floral scents that transports you to a realm of pure bliss.
This haven not only nurtures the wildflowers but also provides a sanctuary for a multitude of butterflies and birds, creating a harmonious ecosystem that feels like stepping into a fairytale. Imagine being captivated by the beauty, tranquility, and sheer awe-inspiring magnificence of this hidden gem in nature's tapestry. It is a place where nature's wonders unfold before your very eyes, leaving you spellbound and in awe.
The Christopher Spiller Pollinator Garden is a testament to the power and resilience of nature, a testament to the intricate dance between flora and fauna. It is a place where the delicate balance of life is celebrated, where every petal and every winged creature has a purpose. This garden is a testament to the importance of preserving and cherishing our natural world, a reminder that we are mere guests in this vast tapestry of life.
So, prepare yourself for an extraordinary journey into a world of vibrant colors, intoxicating scents, and harmonious melodies. Step into the Christopher Spiller Pollinator Garden and let yourself be swept away by its bold and captivating allure. It is a place where dreams come alive, where nature's symphony plays its enchanting tune, and where the wonders of the world are laid bare for all to behold.
Designer unknown (佚名)
2004/2005
Establish a cultured city, construct a harmonious Dongcheng - Humanity, thoroughly enjoy and experience
Chuangjian wenming chengqu, goujian hexie Dongcheng - Renwen, jinxiang huanle ganshou (创建文明城区， 构建和谐东城 - 人文，尽享欢乐感受)
Call nr.: BG E15/599 (Landsberger collection)
More? See: chineseposters.net
"When you look at Japanese traditional architecture, you have to look at Japanese culture and its relationship with nature. You can actually live in a harmonious, close contact with nature - this is very unique to Japan."
Tadao Ando
Have a great day!
Living a natural life can build a world of trust and stability, that will lead everybody to respect each other, that's the key to making the world a better place.
Further more, we need to focus on building relationships that are based on our common humanity. We should strive to understand and respect each other's differences instead of dividing ourselves into groups. We must work together to create a more harmonious society.
Take a look!
niccproject.com/product/live-naturally-the-album-by-phil-...
Echoes of Tomorrow" is a visual ode to a future where artificial intelligence and robotics seamlessly integrate with human aspirations. This series delves into the potentialities of architecture, design, and daily life, transformed by the limitless creativity and precision of AI. It captures a world where physical constraints persist, yet human ingenuity is amplified through the vast possibilities offered by technology. These images offer a glimpse into a plausible future where constructions and landscapes are crafted with a detail and scale currently unimaginable - a tribute to the unforeseen ahead.
Poem:
In the glow of gilded domes agleam,
Where the wheels of time ignite their spark,
She stands, a relic of a bygone dream,
Gazing forth at dawn's impending arc.
She watches robots weave thoughts and steel,
In a choreography of code's own verse,
Where the line betwixt creator and creation
Is blurred in technology's harmonious curse.
We don ourselves in dreams' attire,
Forge bridges from lucid streams of data,
In a world where AI's breath infuses life
Into abodes we cherish, ever fonder.
Haiku:
Golden domes rise high,
Dreams of AI gently bloom,
New dawn, hope descends.
Gilded in the oak savanna.
In the leaning hills, where the summer sun turns the grassland to tinder, the savanna is a wind chime, rustling a harmonious lullaby like a new deck of cards in nimble fingers. Grasshoppers and mayflies and the chaff of newly dried seed catch in the sun. A dry, hot blizzard in an amber streetlamp.
The Arastradero Open Space Preserve is home to rattlesnakes, coyotes, and mountain lions and innumerable flavors of insects and birds, yet it is the trees that bring me here time and again. Before the axe and the wheel came to this land, enormous oak savannas like this one stretched across the midwest, the southwest and here along the west coast.
But the axe and the wheel did come and the savannas left. I like to think of the craggy and twisted forms that remain as wounded but unbent descendants of the stalwart soldiers who resisted the blade and the advance of civilization to hold the dusty California soil to the ground and to provide shade for the coyotes and mountain lions and rattlesnakes that weave through the tall grass of the American Veldt. As these sentinels slowly march from mother to child up and down the wind-tousled steppe, we flit about the outskirts of this preserve as insects, building and gnawing and living and dying. I hope that’s all we’ll ever do.
I came to the Arastradero preserve to connect with a particularly beautiful oak I’d passed (and photographed) on hikes before. I found her on the hillside as ever, arms outstretched, singing in the late evening breeze, fluttering fingers of bright green.
As I stood for a while here on the hillside, gilded in the afternoon, alone with my thoughts but for the oak and the whisper of the breeze and the hum-drum clicks and tweets of grassland animals, I thought, “I’ve been away too long,” and was reminded of Shel Silverstein’s The Giving Tree, and I’ve been thinking about it since.
I came back to the preserve to reconnect with a spot where I’d taken an old photo. Only now do I realize that same photograph was made nearly a year ago to the date. Oliver (who now runs and speaks and laughs) was with us then, asleep as an absolutely tiny three-month-old infant.
The change over the last year in Oliver provided, for me, a stark contrast with the constancy of the natural world, of these stalwart trees. How little they’ve changed. How little indeed will they change over the next century. Long may they roam on these hills and long may they feed my heart.
------------
In the leaning hills.
I’ve cared a great deal about taking photographs for a long time. When people ask me how long I’ve been “into” photography, I often don’t have an answer. I can vividly remember becoming interested in my father’s camera when I was a kid. No idea how old.
In point of fact, my mother was cleaning house recently and asked that I sort through some old papers of mine. Tucked in a bunch of junk were loads of old prints made with a Vivitar point and shoot given me by my parents sometime while I was in fifth grade. The landscape/candid ideas are all there, but the execution was a long way from developed (and often still is)!
I found a renewed passion for image making when I was in college and then again in graduate school, although if truth be told, it’s been relatively steady for most of my life and those moments of renewed energy are likely just an interpretation of mine in hindsight.
I often return to the question of “Why?” Why should photography feel a bit like breathing and why should I derive so much satisfaction from it? I have loads of standard answers that you see on photoblogs and photo news sites ad naseum, revolving around physical/emotional enjoyment and the risk/reward of creativity and sharing, but these are pretty unsatisfactory.
I’ll tell you that the social networking and community aspects of photography are not what drives me to carry a camera to beautiful places. Neither is building a portfolio of images what puts my feet out the door. Although I run this blog and make every effort to post frequently, I often find myself going to great lengths to make images I find interesting and then leaving them on the hard disk at home for months or years at a time.
This isn’t to say that I don’t enjoy every part of the process, from shooting to publishing; it’s just that, if those weren’t a feature of the photography/photoblog world, I would still shoot.
There is something about images and cameras that has always spoken to me, something in the process of making an extraordinary image that drives me across states and out of bed at strange hours. Images lie at the boundary between real and surreal, between ordinary and fantastic. They can tell the truth, they can lie, but good ones never let you know which. I find it thrilling to compare the different truths of the reality and the image made after. I like to imagine for a moment that the world is as strange as photographs make it seem, then I realize it’s far stranger.
I photograph because that’s who I am, it’s an authentic expression of myself. I mean authentic in the existential sense—that I am doing what comes naturally and being true to who I am. Sometimes explanations and reasons are trite and you just have to accept that you are what you are. Simply put, photography is.
Of course, existentialism takes for granted that, to the mind, the material world presents itself as incongruous and absurd. And maybe that’s what I find so damned rewarding about photography; the world is messy and strange and absurd, but there is a great harmony and undeniable humanity in standing amongst the nodding, tawny, and wind-threshed grain, catching on a wafer of silicon a few trillion photons that have spent eons bouncing around the interior of our sun, all the while inundated with the smells of flowering plants and buzzing insects, luring one another to sex and death in the burning heart of the afternoon, in the leaning hills.