harmonious photos on Flickr

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.

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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.

South Korea - Seoul - Calligraphy - 1bb by Manfred Sommer

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Calligraphy is a visual art related to writing. It is the design and execution of lettering with a broad tip instrument, brush, among other writing instruments. A contemporary calligraphic practice can be defined as, "the art of giving form to signs in an expressive, harmonious, and skillful manner".

Modern calligraphy ranges from functional inscriptions and designs to fine-art pieces where the letters may or may not be readable.[1][page needed] Classical calligraphy differs from typography and non-classical hand-lettering, though a calligrapher may practice both.

Calligraphy continues to flourish in the forms of wedding and event invitations, font design and typography, original hand-lettered logo design, religious art, announcements, graphic design and commissioned calligraphic art, cut stone inscriptions, and memorial documents. It is also used for props and moving images for film and television, testimonials, birth and death certificates, maps, and other written works.

TOOLS

The principal tools for a calligrapher are the pen and the brush. Calligraphy pens write with nibs that may be flat, round, or pointed. For some decorative purposes, multi-nibbed pens - steel brushes - can be used. However, works have also been created with felt-tip and ballpoint pens, although these works do not employ angled lines. There are some styles of calligraphy, like Gothic script, which require a stub nib pen.

Writing ink is usually water-based and is much less viscous than the oil-based inks used in printing. High quality paper, which has good consistency of absorption, enables cleaner lines, although parchment or vellum is often used, as a knife can be used to erase imperfections and a light-box is not needed to allow lines to pass through it. Normally, light boxes and templates are used to achieve straight lines without pencil markings detracting from the work. Ruled paper, either for a light box or direct use, is most often ruled every quarter or half inch, although inch spaces are occasionally used. This is the case with litterea unciales (hence the name), and college-ruled paper often acts as a guideline well.

Common calligraphy pens and brushes are:

Quill

Dip pen

Ink brush

Qalam

Fountain pen

WORLD TRADITIONS

EUROPE

HISTORY

Western calligraphy is recognizable by the use of the Latin script. The Latin alphabet appeared about 600 BC, in Rome, and by the first century[clarification needed] developed into Roman imperial capitals carved on stones, Rustic capitals painted on walls, and Roman cursive for daily use. In the second and third centuries the uncial lettering style developed. As writing withdrew to monasteries, uncial script was found more suitable for copying the Bible and other religious texts. It was the monasteries which preserved calligraphic traditions during the fourth and fifth centuries, when the Roman Empire fell and Europe entered the Dark Ages.

At the height of the Empire, its power reached as far as Great Britain; when the empire fell, its literary influence remained. The Semi-uncial generated the Irish Semi-uncial, the small Anglo-Saxon. Each region developed its own standards following the main monastery of the region (i.e. Merovingian script, Laon script, Luxeuil script, Visigothic script, Beneventan script), which are mostly cursive and hardly readable.

Christian churches promoted the development of writing through the prolific copying of the Bible, particularly the New Testament and other sacred texts. Two distinct styles of writing known as uncial and half-uncial (from the Latin "uncia," or "inch") developed from a variety of Roman bookhands. The 7th-9th centuries in northern Europe were the heyday of Celtic illuminated manuscripts, such as the Book of Durrow, Lindisfarne Gospels and the Book of Kells.

Charlemagne's devotion to improved scholarship resulted in the recruiting of "a crowd of scribes", according to Alcuin, the Abbot of York. Alcuin developed the style known as the Caroline or Carolingian minuscule. The first manuscript in this hand was the Godescalc Evangelistary (finished 783) — a Gospel book written by the scribe Godescalc. Carolingian remains the one progenitor hand from which modern booktype descends.

In the eleventh century, the Caroline evolved into the Gothic script, which was more compact and made it possible to fit more text on a page. The Gothic calligraphy styles became dominant throughout Europe; and in 1454, when Johannes Gutenberg developed the first printing press in Mainz, Germany, he adopted the Gothic style, making it the first typeface.

In the 15th century, the rediscovery of old Carolingian texts encouraged the creation of the humanist minuscule or littera antiqua. The 17th century saw the Batarde script from France, and the 18th century saw the English script spread across Europe and world through their books.

In the mid-1600s French officials, flooded with documents written in various hands and varied levels of skill, complained that many such documents were beyond their ability to decipher. The Office of the Financier thereupon restricted all legal documents to three hands, namely the Coulee, the Rhonde, (known as Round hand in English) and a Speed Hand sometimes simply called the Bastarda.

While there were many great French masters at the time, the most influential in proposing these hands was Louis Barbedor, who published Les Ecritures Financière Et Italienne Bastarde Dans Leur Naturel circa 1650.

With the destruction of the Camera Apostolica during the sack of Rome (1527), the capitol for writing masters moved to Southern France. By 1600, the Italic Cursiva began to be replaced by a technological refinement, the Italic Chancery Circumflessa, which in turn fathered the Rhonde and later English Roundhand.

In England, Ayres and Banson popularized the Round Hand while Snell is noted for his reaction to them, and warnings of restraint and proportionality. Still Edward Crocker began publishing his copybooks 40 years before the aforementioned.

STYLE

Sacred Western calligraphy has some special features, such as the illumination of the first letter of each book or chapter in medieval times. A decorative "carpet page" may precede the literature, filled with ornate, geometrical depictions of bold-hued animals. The Lindisfarne Gospels (715–720 AD) are an early example.

As with Chinese or Islamic calligraphy, Western calligraphic script employed the use of strict rules and shapes. Quality writing had a rhythm and regularity to the letters, with a "geometrical" order of the lines on the page. Each character had, and often still has, a precise stroke order.

Unlike a typeface, irregularity in the characters' size, style, and colors increases aesthetic value, though the content may be illegible. Many of the themes and variations of today's contemporary Western calligraphy are found in the pages of The Saint John's Bible. A particularly modern example is Timothy Botts' illustrated edition of the Bible, with 360 calligraphic images as well as a calligraphy typeface.

INFLUENCES

Several other Western styles use the same tools and practices, but differ by character set and stylistic preferences. For Slavonic lettering, the history of the Slavonic and consequently Russian writing systems differs fundamentally from the one of the Latin language. It evolved from the 10th century to today.

EAST ASIA

The Chinese name for calligraphy is shūfǎ (書法 in Traditional Chinese, literally "the method or law of writing"); the Japanese name shodō (書道, literally "the way or principle of writing"); the Korean is seoye (Korean: 서예/書藝, literally "the art of writing"); and the Vietnamese is Thư pháp (書法, literally "the way of letters or words"). The calligraphy of East Asian characters is an important and appreciated aspect of East Asian culture.

HISTORY

In ancient China, the oldest Chinese characters existing are Jiǎgǔwén(甲骨文) characters carved on ox scapulae and tortoise plastrons, because the dominators in Shang Dynasty carved pits on such animals' bones and then baked them to gain auspice of military affairs, agricultural harvest, or even procreating and weather. During the divination ceremony, after the cracks were made, the characters were written with a brush on the shell or bone to be later carved.(Keightley, 1978). With the development of Jīnwén (Bronzeware script) and Dàzhuàn (Large Seal Script) "cursive" signs continued. Moreover, each archaic kingdom of current China had its own set of characters.

In Imperial China, the graphs on old steles - some dating from 200 BC, and in Xiaozhuan style - are still accessible.

About 220 BC, the emperor Qin Shi Huang, the first to conquer the entire Chinese basin, imposed several reforms, among them Li Si's character unification, which created a set of 3300 standardized Xiǎozhuàn（小篆） characters. Despite the fact that the main writing implement of the time was already the brush, few papers survive from this period, and the main examples of this style are on steles.

The Lìshū（隶书） style (clerical script) which is more regularized, and in some ways similar to modern text, have been also authorised under Qin Shi Huangdi.

Kǎishū style (traditional regular script)—still in use today—and attributed to Wang Xizhi (王羲之, 303–361) and his followers, is even more regularized. Its spread was encouraged by Emperor Mingzong of Later Tang (926–933), who ordered the printing of the classics using new wooden blocks in Kaishu. Printing technologies here allowed a shape stabilization. The Kaishu shape of characters 1000 years ago was mostly similar to that at the end of Imperial China. But small changes have been made, for example in the shape of 广 which is not absolutely the same in the Kangxi Dictionary of 1716 as in modern books. The Kangxi and current shapes have tiny differences, while stroke order is still the same, according to old style.

Styles which did not survive include Bāfēnshū, a mix made of Xiaozhuan style at 80%, and Lishu at 20%. Some variant Chinese characters were unorthodox or locally used for centuries. They were generally understood but always rejected in official texts. Some of these unorthodox variants, in addition to some newly created characters, compose the Simplified Chinese character set.

TECHNIQUE

Traditional East Asian writing uses the Four Treasures of the Study (文房四寶/文房四宝): the ink brushes known as máobǐ (毛笔) to write Chinese characters, Chinese ink, paper, and inkstone, known as the Four Friends of the Study (Korean: 문방사우) in Korea. In addition to these four tools, desk pads and paperweights are also used.

The shape, size, stretch, and hair type of the ink brush, the color, color density and water density of the ink, as well as the paper's water absorption speed and surface texture are the main physical parameters influencing the final result. The calligrapher's technique also influences the result. The calligrapher's work is influenced by the quantity of ink and water he lets the brush take, then by the pressure, inclination, and direction he gives to the brush, producing thinner or bolder strokes, and smooth or toothed borders. Eventually, the speed, accelerations, decelerations of the writer's moves, turns, and crochets, and the stroke order give the "spirit" to the characters, by greatly influencing their final shapes.

STYLES

Cursive styles such as xíngshū (semi-cursive or running script) and cǎoshū (cursive or grass script) are less constrained and faster, where more movements made by the writing implement are visible. These styles' stroke orders vary more, sometimes creating radically different forms. They are descended from Clerical script, in the same time as Regular script (Han Dynasty), but xíngshū and cǎoshū were used for personal notes only, and never used as a standard. The cǎoshū style was highly appreciated in Emperor Wu of Han reign (140–187 AD).

Examples of modern printed styles are Song from the Song Dynasty's printing press, and sans-serif. These are not considered traditional styles, and are normally not written.

INFLUENCES

Japanese and Korean calligraphies were greatly influenced by Chinese calligraphy. The Japanese and Korean people have also developed specific sensibilities and styles of calligraphy. For example, Japanese calligraphy go out of the set of CJK strokes to also include local alphabets such as hiragana and katakana, with specific problematics such as new curves and moves, and specific materials (Japanese paper, washi 和紙, and Japanese ink). In the case of Korean calligraphy, the Hangeul and the existence of the circle required the creation of a new technique which usually confuses Chinese calligraphers.

Temporary calligraphy is a practice of water-only calligraphy on the floor, which dries out within minutes. This practice is especially appreciated by the new generation of retired Chinese in public parks of China. These will often open studio-shops in tourist towns offering traditional Chinese calligraphy to tourists. Other than writing the clients name, they also sell fine brushes as souvenirs and lime stone carved stamps.

Since late 1980s, a few Chinese artists have branched out traditional Chinese calligraphy to a new territory by mingling Chinese characters with English letters; notable new forms of calligraphy are Xu Bing's square calligraphy and DanNie's coolligraphy or cooligraphy.

Mongolian calligraphy is also influenced by Chinese calligraphy, from tools to style.

Calligraphy has influenced ink and wash painting, which is accomplished using similar tools and techniques. Calligraphy has influenced most major art styles in East Asia, including ink and wash painting, a style of Chinese, Korean, Japanese painting, and Vietnamese painting based entirely on calligraphy.

SOUTH ASIA

INDIA

On the subject of Indian calligraphy, writes:

Aśoka's edicts (c. 265–238 BC) were committed to stone. These inscriptions are stiff and angular in form. Following the Aśoka style of Indic writing, two new calligraphic types appear: Kharoṣṭī and Brāhmī. Kharoṣṭī was used in the northwestern regions of India from the 3rd century BC to the 4th century of the Christian Era, and it was used in Central Asia until the 8th century.

In many parts of ancient India, the inscriptions were carried out in smoke-treated palm leaves. This tradition dates back to over two thousand years. Even after the Indian languages were put on paper in the 13th century, palm leaves where considered a preferred medium of writing owing to its longevity (nearly 400 years) compared to paper. Both sides of the leaves were used for writing. Long rectangular strips were gathered on top of one another, holes were drilled through all the leaves, and the book was held together by string. Books of this manufacture were common to Southeast Asia. The palm leaf was an excellent surface for penwriting, making possible the delicate lettering used in many of the scripts of southern Asia.

Burnt clay and copper were a favoured material for Indic inscriptions. In the north of India, birch bark was used as a writing surface as early as the 2nd century AD.

NEPAL

Ranjana script is the primary form of Nepalese calligraphy. The script itself, along with its derivatives (like Lantsa, Phagpa, Kutila) are used in Nepal, Tibet, Bhutan, Leh, Mongolia, coastal Japan, and Korea to write "Om mani padme hum" and other sacred Buddhist texts, mainly those derived from Sanskrit and Pali.

THAILAND

Sanskrit is the primary form of Thai calligraphy. Historically Thai calligraphy has been limited to sacred texts of the Pali Canon with few wider artistic applications where graphic calligraphy representing figures and objects is produced. Calligraphy appears on the personal flag of each member of the Thai royal family bearing its owner's initials in calligraphy. The most obvious place in the country where calligraphy is present is in graffiti. A few books have been published with calligraphic compositions.

TIBET

Calligraphy is central in Tibetan culture. The script is derived from Indic scripts. The nobles of Tibet, such as the High Lamas and inhabitants of the Potala Palace, were usually capable calligraphers. Tibet has been a center of Buddhism for several centuries, and that religion places a great deal of significance on written word. This does not provide for a large body of secular pieces, although they do exist (but are usually related in some way to Tibetan Buddhism). Almost all high religious writing involved calligraphy, including letters sent by the Dalai Lama and other religious and secular authority. Calligraphy is particularly evident on their prayer wheels, although this calligraphy was forged rather than scribed, much like Arab and Roman calligraphy is often found on buildings. Although originally done with a reed, Tibetan calligraphers now use chisel tipped pens and markers as well.

ISLAMIC WORLD

Islamic calligraphy (calligraphy in Arabic is khatt ul-yad خط اليد‎) has evolved alongside Islam and the Arabic language. As it is based on Arabic letters, some call it "Arabic calligraphy". However the term "Islamic calligraphy" is a more appropriate term as it comprises all works of calligraphy by the Muslim calligraphers from Andalusia in modern Spain to China.

Islamic calligraphy is associated with geometric Islamic art (arabesque) on the walls and ceilings of mosques as well as on the page. Contemporary artists in the Islamic world draw on the heritage of calligraphy to use calligraphic inscriptions or abstractions.

Instead of recalling something related to the spoken word, calligraphy for Muslims is a visible expression of the highest art of all, the art of the spiritual world. Calligraphy has arguably become the most venerated form of Islamic art because it provides a link between the languages of the Muslims with the religion of Islam. The Qur'an has played an important role in the development and evolution of the Arabic language, and by extension, calligraphy in the Arabic alphabet. Proverbs and passages from the Qur'an are still sources for Islamic calligraphy.

It is generally accepted that Islamic calligraphy excelled during the Ottoman era. Istanbul is an open exhibition hall for all kinds and varieties of calligraphy, from inscriptions in mosques to fountains, schools, houses, etc.

PERSIA

The history of calligraphy in Persia dates back to the pre-Islam era. In Zoroastrianism beautiful and clear writings were always praised.

It is believed that ancient Persian script was invented by about 600–500 BC to provide monument inscriptions for the Achaemenid kings. These scripts consisted of horizontal, vertical, and diagonal nail-shape letters, which is why it is called "script of nails/cuneiform script" (khat-e-mikhi) in Persian. Centuries later, other scripts such as "Pahlavi" and "Avestan" scripts were used in ancient Persia.

CONTEMPORARY SRIPTS

The Nasta'liq style is the most popular contemporary style among classical Persian calligraphy scripts; Persian calligraphers call it the "bride of calligraphy scripts". This calligraphy style has been based on such a strong structure that it has changed very little since. Mir Ali Tabrizi had found the optimum composition of the letters and graphical rules so it has just been fine-tuned during the past seven centuries. It has very strict rules for graphical shape of the letters and for combination of the letters, words, and composition of the whole calligraphy piece.

MAYAN CIVILIZATION

Mayan calligraphy was expressed via Mayan hieroglyphs; modern Mayan calligraphy is mainly used on seals and monuments in the Yucatán Peninsula in Mexico. Mayan hieroglyphs are rarely used in government offices; however in Campeche, Yucatán and Quintana Roo, Mayan calligraphy is written in Latin letters. Some commercial companies in southern Mexico use Mayan hieroglyphs as symbols of their business. Some community associations and modern Mayan brotherhoods use Mayan hieroglyphs as symbols of their groups.

Most of the archaeological sites in Mexico such as Chichen Itza, Labna, Uxmal, Edzna, Calakmul, etc. have glyphs in their structures. Carved stone monuments known as stele are common sources of ancient Mayan calligraphy.

MODERN CALLIGRAPHY

REVIVAL

After printing became ubiquitous from the 15th century, the production of illuminated manuscripts began to decline. However, the rise of printing did not mean the end of calligraphy.

The modern revival of calligraphy began at the end of the 19th century, influenced by the aesthetics and philosophy of William Morris and the Arts and Crafts movement. Edward Johnston is regarded as being the father of modern calligraphy. After studying published copies of manuscripts by architect William Harrison Cowlishaw, he was introduced to William Lethaby in 1898, principal of the Central School of Arts and Crafts,who advised him to study manuscripts at the British Museum.

This triggered Johnston's interest in the art of calligraphy with the use of a broad edged pen. He began a teaching course in calligraphy at the Central School in Southampton Row, London from September 1899, where he influenced the typeface designer and sculptor Eric Gill. He was commissioned by Frank Pick to design a new typeface for London Underground, still used today (with minor modifications).

He has been credited for reviving the art of modern penmanship and lettering single-handedly through his books and teachings - his handbook on the subject, Writing & Illuminating, & Lettering (1906) was particularly influential on a generation of British typographers and calligraphers, including Graily Hewitt, Stanley Morison, Eric Gill and Anna Simons. Johnston also devised the simply crafted round calligraphic handwriting style, written with a broad pen, known today as the Foundational hand. Johnston initially taught his students an uncial hand using a flat pen angle, but later taught his hand using a slanted pen angle. He first referred to this hand as "Foundational Hand" in his 1909 publication, Manuscript & Inscription Letters for Schools and Classes and for the Use of Craftsmen.

SUBSEQUENT DEVELOPMENTS

Graily Hewitt taught at the Central School of Arts and Crafts and published together with Johnston throughout the early part of the century. Hewitt was central to the revival of gilding in calligraphy, and his prolific output on type design also appeared between 1915 and 1943. He is attributed with the revival of gilding with gesso and gold leaf on vellum. Hewitt helped to found the Society of Scribes & Illuminators (SSI) in 1921, probably the world's foremost calligraphy society.

Hewitt is not without both critics and supporters in his rendering of Cennino Cennini's medieval gesso recipes. Donald Jackson, a British calligrapher, has sourced his gesso recipes from earlier centuries a number of which are not presently in English translation. Graily Hewitt created the patent announcing the award to Prince Philip of the title of Duke of Edinburgh on November 19, 1947, the day before his marriage to Queen Elizabeth.

Johnston’s pupil, Anna Simons, was instrumental in sparking off interest in calligraphy in Germany with her German translation of Writing and Illuminating, and Lettering in 1910. Austrian Rudolf Larisch, a teacher of lettering at the Vienna School of Art, published six lettering books that greatly influenced German-speaking calligraphers. Because German-speaking countries had not abandoned the Gothic hand in printing, Gothic also had a powerful effect on their styles.

Rudolf Koch was a friend and younger contemporary of Larisch. Koch's books, type designs, and teaching made him one of the most influential calligraphers of the 20th century in northern Europe and later in the U.S. Larisch and Koch taught and inspired many European calligraphers, notably Karlgeorg Hoefer, and Hermann Zapf.

Contemporary typefaces used by computers, from word processors like Microsoft Word or Apple Pages to professional designers' software like Adobe InDesign, owe a considerable debt to the past and to a small number of professional typeface designers today.

Unicode provides "Script" and "Fraktur" Latin alphabets that can be used for calligraphy. See Mathematical Alphanumeric Symbols.

WIKIPEDIA

Ενετικό Κάστρο, Νάουσα - Πάρος by George Voudouris

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Venetian Castle, Naoussa - Paros

Είναι το στολίδι της Νάουσας, το οποίο έχτισαν τον 15ο αιώνα την εποχή του Σομαρρίπα ως ένα οχυρωμένο οικοδόμημα για να προστατεύει το λιμάνι από τα εμπορικά πλοία. Το Ενετικό Κάστρο είναι ένα πολυφωτογραφημένο σημείο της Νάουσας, που συνδέεται αρμονικά με το μπλε της θάλασσας και το μικρό λιμανάκι με τα τοπικά καϊκια της περιοχής.

It is the jewel of Naoussa, which was built in the 15th century during the Somarripa era as a fortified structure to protect the port from merchant ships. The Venetian Castle is a well-photographed spot of Naoussa, which is harmoniously connected with the blue of the sea and the small port with the local boats of the area.

Metropolitan Melody by Duncan Rawlinson - Duncan.co

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Duncan Rawlinson's work is a harmonious union of vibrant color and abstract beauty, a testament to his exceptional artistic vision. His creations illuminate the canvas with vivid hues of city lights and abstract skylines, where the cacophony of urban life converges into a symphony of colors.

The compositions, adorned with bold color blocks and industrial textures, bring a dynamic perspective to the urban landscape. Each image in this series stands as an emblem of Rawlinson's unique interpretation of the city's vibrant energy. His use of vibrant reds, light blues, oranges, and dark cyan, create a stunning visual narrative that transcends the boundaries of traditional art forms.

While technology has played a role in the creation of these pieces, the true focus remains on the vivid colors and the abstract beauty that shines through. The final compositions, reflecting the interplay of vibrant colors and abstract elements, pay a visually stunning tribute to the city's pulsating energy and the tranquil beauty inherent within abstract art.

Duncan.co/synthetic-perspectives

The Harmonious Garden by Vincenzo Pisani

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Il Giardino Armonico - Antonio Vivaldi - Concerto for four violins in B minor

Villa Medici, Accademia di Francia, Rome

The creation of the French Academy in Rome (Académie de France à Rome) was part of the policy of great work of King Louis XlV at the end of the 17th century. Those works transformed the Louvre, the Tuileries, and Versailles.

The Academy was created in 1666 under the leadership of Colbert, Le Brun and Gian Lorenzo Bernini. It welcomed artists who won the First Prize of Rome and several protégés of powerful lords.

Young artists pensioned by the king got broadened training, being in touch with Rome and Italy.

At the time pensioners followed a regime of strict discipline and devoted their stay to the realisation of copies of Antique or Renaissance art. In 1720 architects joined the sculptors and painters as pensioners.

Before being transferred to the Villa Medici the Academy headed in different buildings. It started in the modest house near Sant'Onofrio on the side of the Janiculum, before moving to the Caffarelli palace in 1683 and to the Capranica palace in 1684. Then the Academy was moved to the Mancini palace in 1725.

At the time the Academy welcomed the painters Boucher, Subleyras, Fragonard, David as well as sculptors like Houdon.

During the Revolution the function of director was abolished.

The Mancini palace had been plundered and devastated by Roman counter-revolutionaries in February 1793. Some pensioners fled to Naples or Florence.

After those events the Academy was removed. It was reinstated in 1795 by the Directory, but it needed a new place to be welcomed. On May 18, 1803 France and the Court of Etrury decided to trade the Mancini palace for the Villa Medici.

While moving in, the Academy also changed status. Now linked to the Institut de France, the entrance examination, “Prix de Rome” (Prize of Rome) was organised by the Academy of Fine Arts. Musicians entered the French Academy in Rome through the composition prize created in 1803. Engravers joined the Academy when the biennale engraving prize was created in 1804, or through the quadrennial medal and fine rock engraving prize, starting in 1807.

Those two disciplines had been added to celebrate Napoleonic victories. From 1835 to 1841, Ingres directed the villa.

Directors traditionally were former pensioners of the Villa, although there were some exceptions, like Carolus-Duran for instance. Throughout the 19th century the Academy received famous pensioners such as Victor Balthard, the architect of the Halles of Paris, Charles Garnier who built the Parisian opera, and composers like Berlioz, Bizet, Gounod or Debussy.

The Academy also welcomed sculptors like Carpeaux or David d’Angers.

Women entered the Academy at the beginning of the 20th century, with Lili Boulanger, Great prize of Rome in music composition in 1913, but also Odette Pauvert, Great Prize of Rome 1925 in painting.

During World War II the Villa was requisitioned by Mussolini. The Academy was then been transferred to Nice and later Fontainebleau.

In 1961 André Malraux appointed the painter Balthus to the direction of the Villa. Both wanted to deeply reform it. Balthus started a great renovation of the building and organised manifestations to open the Villa to the Romans. He also created new exhibition rooms.

This new approach was enacted by a decree in 1971. The Academy was then separated from the Fine Arts Academy's tutorship and the principles of the examination were deeply modified.

The duration of the scholarship was reduced from four to two years maximum, while writers, moviemakers, photographers, set designers as well as art restorers and art historians broadened the circle of pensioners.

Their number grew from 12 to 25. The Villa Medici takes parts in cultural and artist exchanges.

The Villa offers exhibitions, concerts, symposia and seminars on relevant topics on arts, letters and their history.

It was framed by the 1971 decree to be a perfect place for Franco Italian meetings.

The Villa plays a decisive role in Roman and European culture.

Those goals were the core of policies led by Jean Leymarie (1977-1984), Jean-Marie Drot (1985-1994), Jean-Pierre Angremy (1994-1997), Bruno Racine (1997-2002) as well as Frédéric Mitterrand (2008-2009) and recently Eric De Chassey (2009- ).

www.villamedici.it/en/

Indonesia - Lombok - Mataram - Streetlife - 19 by Manfred Sommer

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Lombok is an island in West Nusa Tenggara province, Indonesia. It forms part of the chain of the Lesser Sunda Islands, with the Lombok Strait separating it from Bali to the west and the Alas Strait between it and Sumbawa to the east. It is roughly circular, with a "tail" (Sekotong Peninsula) to the southwest, about 70 km across and a total area of about 4,514 km². The provincial capital and largest city on the island is Mataram. It is somewhat similar in size and density with neighboring Bali and shares some cultural heritage, but is administratively part of Nusa Tenggara Barat along with sparsely populated Sumbawa. It is surrounded by a number of smaller islands locally called Gili.

The island was home to some 3.17 million Indonesians as recorded in the decennial 2010 census; the latest estimate (for January 2014) gives the population as 3,311,044.

HISTORY

Little is known about the Lombok before the seventeenth century. Before this time it was made up of numerous competing and feuding petty states each of which were presided over by a Sasak 'prince'. This disunity was taken advantage of by the neighbouring Balinese who took control of western Lombok in the early seventeenth century. The Makassarese meanwhile invaded eastern Lombok from their colonies in neighbouring Sumbawa. The Dutch had first visited Lombok in 1674 and the Dutch East India Company concluded its first treaty with the Sasak Princess of Lombok. The Balinese had managed to take over the whole island by 1750, but Balinese infighting resulted in the island being split into four feuding Balinese kingdoms. In 1838, the Mataram kingdom brought its rivals under control.

Relations between the Sasak and Balinese in western Lombok were largely harmonious and intermarriage was common. In the island's east, however, relations were less cordial and the Balinese maintained control from garrisoned forts. While Sasak village government remained in place, the village head became little more than a tax collector for the Balinese. Villagers became a kind of serf and Sasak aristocracy lost much of its power and land holdings.

During one of the many Sasak peasant rebellions against the Balinese, Sasak chiefs sent envoys to the Dutch in Bali and invited them to rule Lombok. In June 1894, the governor general of the Dutch East Indies, Van der Wijck, signed a treaty with Sasak rebels in eastern Lombok. He sent a large army to Lombok and the Balinese raja capitulated to Dutch demands.(see Dutch intervention in Lombok) The younger princes however overruled the raja and attacked and routed the Dutch. The Dutch counterattacked overrunning Mataram and the raja surrendered. The entire island was annexed to the Netherlands East Indies in 1895. The Dutch ruled over Lombok's 500,000 people with a force of no more than 250 by cultivating the support of the Balinese and Sasak aristocracy. The Dutch are remembered in Lombok as liberators from Balinese hegemony.

During World War II a Japanese invasion force comprising elements of the 2nd Southern Expeditionary Fleet invaded and occupied the Lesser Sunda Islands, including the island of Lombok. They sailed from Soerabaja harbour at 09:00 hrs on 8 March 1942 and proceeded towards Lombok Island. On 9 May 1942 at 17:00 hrs the fleet sailed into port of Ampenan on Lombok Island. The Dutch defenders were soon defeated and the island occupied.

Following the cessation of hostilities the Japanese forces occupying Indonesia were withdrawn and Lombok returned temporarily to Dutch control. Following the subsequent Indonesian independence from the Dutch, the Balinese and Sasak aristocracy continued to dominate Lombok. In 1958, the island was incorporated into the province of West Nusa Tenggara with Mataram becoming the provincial capital. Mass killings of communists occurred across the island following the abortive coup attempt in Jakarta and Central Java. During President Suharto's New Order administration, Lombok experienced a degree of stability and development but not to the extent of the boom and wealth in Java and Bali. Crop failures led to famine in 1966 and food shortages in 1973. The national government's transmigrasi program moved a lot of people out of Lombok. The 1980s saw external developers and speculators instigate a nascent tourism boom although local's share of earnings was limited. Indonesia's political and economic crises of the late 1990s hit Lombok hard. In January 2000, riots broke out across Mataram with Christians and ethnic Chinese the main victims, with alleged agents provocateur from outside Lombok. Tourism slumped, but in recent years has seen a renewed growth.

GEOGRAPHY

The Lombok Strait lies to the immediate west of the island, marking the passage of the biogeographical division between the prolific fauna of the Indomalayan ecozone and the distinctly different, but similarly prolific, fauna of Australasia - this distinction is known as the "Wallace Line" (or "Wallace's Line") and is named after Alfred Russel Wallace. Wallace was the first person to comment on the division between the two regions, as well as the abrupt boundary between the two biomes.

To the east of Lombok lies the Alas Strait, a narrow body of water separating the island of Lombok from the nearby island of Sumbawa to the east.

The island's topography is dominated by the centrally-located stratovolcano Mount Rinjani, the second highest volcano in Indonesia which rises to 3,726 m. The most recent eruption of Rinjani was in May 2010 at Gunung Barujari. Ash was reported as rising two km into the atmosphere from the Barujari cone in Rinjani's caldera lake of Segara Anak. Lava flowed into the caldera lake raising its temperature while crops on the slopes of Rinjani were damaged by ash fall. The volcano, and its crater lake, 'Segara Anak' (child of the sea), are protected by the Gunung Rinjani National Park established in 1997. Recent evidence indicates an ancient volcano, Mount Samalas, of which now only a caldera remains, was the source of one of the largest volcanic eruptions in recorded history, causing worldwide changes in weather.

The highlands of Lombok are forest clad and mostly undeveloped. The lowlands are highly cultivated. Rice, soybeans, coffee, tobacco, cotton, cinnamon, cacao, cloves, cassava, corn, coconuts, copra, bananas and vanilla are the major crops grown in the fertile soils of the island. The southern part of the island is fertile but drier, especially toward the southern coastline.

The water supply in Lombok is stressed and this places strain upon both the water supply of the provincial capital, Mataram, and the island in general. The southern and central areas are reported to be the most critically affected. West Nusa Tenggara province in general is threatened with a water crisis caused by increasing forest and water table damage and degradation. 160 thousand hectares of a total of 1960 thousand hectares are thought to have been affected. The Head of Built Environment and Security Forest Service Forest West Nusa Tenggara Andi Pramari stated in Mataram on Wednesday, May 6, 2009 that, "If this situation is not addressed it can be expected that within five years it may be difficult for people to obtain water in this part of NTB (West Nusa Tenggara). Not only that, the productivity of agriculture in value added will fall, and the residents are experiencing water deficiency in their wells". High cases of timber theft in the region of NTB are contributing to this problem.

In September 2010, Central Lombok some villagers were reported to be walking for several hours to fetch a single pail of water. Nieleando, a small coastal village about 50 kilometers from the provincial capital, Mataram, has seen dry wells for years. It has been reported that occasionally the problem escalates sufficiently for disputes and fighting between villagers to occur. The problems have been reported to be most pronounced in the districts of Jonggat, Janapria, Praya Timur, Praya Barat, Praya Barat Daya and Pujut. In 2010 all six districts were declared drought areas by provincial authorities. Sumbawa, the other main island of the province, also experienced severe drought in 2010, making it a province-wide issue.

DEMOGRAPHICS

The island's inhabitants are 85% Sasak whose origins are thought to have migrated from Java in the first millennium BC. Other residents include an estimated 10–15% Balinese, with the small remainder being Tionghoa-peranakan, Javanese, Sumbawanese and Arab Indonesians.

The Sasak population are culturally and linguistically closely related to the Balinese, but unlike the Hindu Balinese, the majority are Muslim and the landscape is punctuated with mosques and minarets. Islamic traditions and holidays influence the Island's daily activities.

In 2008 the Island of Lombok had 866,838 households and an average of 3.635 persons per household.

The 2010 census recorded a population of 4,496,855 people in the province of NTB, of which 70.42% reside on Lombok, giving it a population of 3,166,789 at that date.

Religion

The island's indigenous Sasak people are predominantly Muslim however before the arrival of Islam Lombok experienced a long period of Hindu and Buddhist influence that reached the island through Java. A minority Balinese Hindu culture remains in Lombok. Islam may have first been brought to Lombok by traders arriving from Sumbawa in the 17th century who then established a following in eastern Lombok. Other accounts describe the first influences arriving in the first half of the sixteenth century. According to the palm leaf manuscript Babad Lombok which contains the history of Lombok describes how Sunan Prapen was sent by his father The Susuhunan Ratu of Giri on a military expedition to Lombok and Sumbawa in order to convert the population and propagate the new religion. However, the new religion took on a highly syncretistic character, frequently mixing animist and Hindu-Buddhist beliefs and practices with Islam.

A more orthodox version of Islam increased in popularity in the early twentieth century. The Indonesian government agamaization programs (acquiring of a religion) in Lombok during 1967 and 1968 led to a period of some considerable confusion in religious allegiances and practices. These agamaization programs later led to the emergence of more conformity in religious practices in Lombok. The Hindu minority religion is still practised in Lombok alongside the majority Muslim religion.

Hinduism is followed by ethnic Balinese and by a minority of the indigenous Sasak. All the main Hindu religious ceremonies are celebrated in Lombok and there are many villages throughout Lombok that have a Hindu majority population. According to local legends two of the oldest villages on the island, Bayan and Sembalun, were founded by a prince of Majapahit.[18] According to the 2010 population census declared adherents of Hinduism numbered 101,000 people with the highest concentration in the Mataram Regency where they accounted for 14% of the population. The Ditjen Bimas Hindu (DBH)/ Hindu Religious Affairs Directorate's own analysis conducted in close association with Hindu communities throughout the country found that the number of Hindus in the population are much higher than counted in the government census. The survey carried out in 2012 found the Hindu population of Lombok to be 445,933. This figure is more in line with the commonly stated view that 10-15% of the Islands population is Hindu.

The Nagarakertagama, the 14th century palm leaf poem that was found on Lombok, places the island as one of the vassals of the Majapahit empire. This manuscript contained detailed descriptions of the Majapahit Kingdom and also affirmed the importance of Hindu-Buddhism in the Majapahit empire by describing temple, palaces and several ceremonial observances.

Christianity is practised by a small minority including some ethnic Chinese and immigrants from Bali and East Nusa Tenggara. There are Roman Catholic churches and parishes in Ampenan, Mataram, Praya and Tanjung. There is a catholic hospital in Mataram as well. Two Buddhist temples can be visited in and around Tanjung where about 800 Buddhists live.

The history of a small Arab community in Lombok has history dating back to early settlement by traders from Yemen. The community is still evident mainly in Ampenan, the old Port of Mataram. Due to the siting of a UNHCR refugee centre in Lombok some refugees from middle eastern countries have intermarried with Lombok people

A non-orthodox Islamic group found only on Lombok are the Wektu Telu ("Three times"), who pray three times daily, instead of the five times stipulated in the Quran. Waktu Telu beliefs are entwined with animism, and is influenced not only by Islam, but also Hinduism and pantheistic beliefs. There are also remnants of Boda who maintain Pagan Sasak beliefs and could be representative of an original Sasak culture, undiluted by later Islamic innovations.

Many influences of animist belief prevail within the Sasak people, most of whom believe in the existence of spirits or ghosts. They regard both food and prayer as indispensable whenever they seek to communicate with spirits, including the dead and ritualistic traditional practices endure. Traditional magic is practised to ward off evil and illness and to seek solutions to disputations and antipathy. Magic may be practised by an individual alone but normally a person experienced in such things is sought out to render a service. Normally money or gifts are made to this person and the most powerful practitioners are treated with considerable respect.

Economy and politics.

Many of the visitors to Lombok and much of the islands goods come across the Lombok Strait by sea or air links from Bali. Only 40 kilometres separate the two islands. Lombok is often marketed as “an unspoiled Bali,” or “Bali’s sister island.” Currently with support of the central government Lombok and Sumbawa are being developed as Indonesia 2nd destination for international and domestic tourism. Lombok has retained a more natural, uncrowded and undeveloped environment, which attract travelers who come to enjoy its relaxed pace and the opportunity to explore the island's unspoiled, spectacular natural beauty. The more contemporary marketing campaigns for Lombok/Sumbawa seek to differentiate from Bali and promote the island of Lombok as a standalone destination. The opening of the Lombok International Airport on 1 October 2011 assisted in this endeavour.

Nusa Tenggara Barat and Lombok may be considered economically depressed by First World standards and a large majority of the population live in poverty. Still, the island is fertile, has sufficient rainfall in most areas for agriculture, and possesses a variety of climate zones. Consequently, food in abundant quantity and variety is available inexpensively at local farmer's markets, though locals still suffer from famine due to drought and subsistence farming. A family of 4 can eat rice, vegetables, and fruit for as little as US$0.50. Even though a family's income may be as small as US$1.00 per day from fishing or farming, many families are able to live a contented and productive life on such astonishingly small incomes. However, the people of Lombok are coming under increasing pressure from rising food and fuel prices. Access to housing, education and health services remains difficult for many of the island's indigenous population.

The percentage of the population living in poverty in urban areas of Nusa Tenggara Barat in 2008 was 29.47% and in 2009 it was 28.84%. For those living in rural areas in 2008 it was 19.73% and in 2009 it reduced marginally to 18.40% For combined urban and village the figures were 23.81% and in 2009 it fell slightly to 22.78%.

In Mataram in 2008 the percentage of the population that was unmarried was 40.74%, married 52.01%, divorced 2.51% and widowed 4.75%.

TOURISM

Tourism is an important source of income on Lombok. The most developed tourism area of the island is on the west coast of the island and is centered about the township of Senggigi. The immediate surrounds of the township contain the most developed tourism facilities. The west coast coastal tourism strip is spread along a 30 km strip following the coastal road north from Mataram and the old airport at Ampenan. The principal tourism area extends to Tanjung in the northwest at the foot of Mount Rinjani and includes the Sire and Medana Peninsulas and the highly popular Gili Islands lying immediately offshore. These three small islands are most commonly accessed by boat from Bangsal near Pemenang, Teluk Nare a little to the south, or from further south at Senggigi and Mangsit beach. Many hotels and resorts offer accommodations ranging from budget to luxurious. Recently direct fast boat services have been running from Bali making a direct connection to the Gili islands. Although rapidly changing in character, the Gili islands still provide both a lay-back backpacker's retreat and a high class resort destination.

Other tourist destinations include Mount Rinjani, Gili Bidara, Gili Lawang, Narmada Park and Mayura Park and Kuta (distinctly different from Kuta, Bali). Sekotong, in southwest Lombok, is popular for its numerous and diverse scuba diving locations.

The Kuta area is also famous for its beautiful, largely deserted, white sand beaches. The Small town is rapidly developing since the opening of the International airport in Praya. Increasing amounts of surfers from around the globe come here seeking out perfect surf and the slow and rustic feel Lombok. South Lombok surfing is considered some of the best in the world. Large polar lows push up through the Indian Ocean directing long range, high period swell from as far south as Heard Island from late March through to September or later. This conicides with the dry season and South-East trade winds that blow like clock work. Lombok is famous for its diversity of breaks, which includes world-renowned Desert Point at Banko Banko in the southwest of the island.

The northern west coast near Tanjung has many new upmarket hotel and villa developments centreed about the Sire and Medana peninsular nearby to the Gili islands and a new boating marina at Medana bay. These new developments complement the already existing 5 star resorts and a large golf course already established there.

PRE-2000

Tourist development started in the mid-1980s, when Lombok attracted attention as an 'unspoiled' alternative to Bali. Initially, low budget bungalows proliferated at places like the Gili islands and Kuta, Lombok on the South Coast. These tourist accommodations were largely owned by and operated by local business entrepreneurs. Areas in proximity to the airport, places like Sengiggi, experienced rampant land speculation for prime beachfront land by big businesses from outside Lombok.

In the 1990s the national government in Jakarta began to take an active role in planning for and promoting Lombok's tourism. Private organizations like the Bali Tourism Development Corporation (BTDC) and the Lombok Tourism Development Corporation (LTDC) were formed. LTDC prepared detailed land use plans with maps and areas zoned for tourist facilities. Large hotels provide primary employment for the local population. Ancillary business, ranging from restaurants to art shops have been started by local businessmen. These businesses provide secondary employment for local residents.

1997 to 2007

The 1997 Asian Financial Crisis and the fall of Suharto regime in 1998 marked the beginning a decade of setbacks for tourism. Spurred by rapid devaluation of the currency and the transition to true democracy caused all of Indonesia to experience a period of domestic unrest. Many of Indonesian Provinces struggled with elements of the population desiring autonomy or independence from the Republic of Indonesia. At the same time fanatical Islamic terrorism in Indonesia further aggravated domestic unrest across the archipelago.

In Jan 2000, radical Islamic agitators from the newly formed Jemaah Islamiyah provoked religious and ethnic violence in the Ampenan area of Mataram and the southern area of Senggigi. Many foreign expatriates and tourists were temporarily evacuated to Bali. Numerous foreign embassies issued Travel Warnings advising of the potential danger of traveling to Indonesia.

Subsequently, the 2002 Bali bombings, the 2005 Bali bombings and the Progress of the SARS outbreak in Asia all dramatically impacted tourism activities in Lombok. Tourism was slow to return to Lombok, provoked in part by a worldwide reluctance to travel because of global tensions. Only since 2007–2008, when most developed countries lifted their Travel Warnings has tourism recovered to the pre-2000 levels.

2008 TO THE PRESENT

The years leading up to 2010 has seen a rapid revival and promotion of tourism recovery in the tourism industry. The number of visitors has far surpassed the pre-2000 levels. All signs indicate the long-term trend will see a steady increase in the number of visitor arrivals.

Both the local government and many residents recognise that tourism and services related to tourism will continue to be a major source of income for the island. The island's natural beauty and the customary hospitality of its residents make it an obvious tourist destination.

Lombok retains the allure of an undeveloped and natural environment. Tourism visits to this tropical island are increasing again as both international and local tourists are re-discovering the charms of Lombok. With this new interest comes the development of a number of boutique resorts on the island providing quality accommodation, food and drinks in near proximity to relatively unspoiled countryside.

The Indonesian government is actively promoting both Lombok and neighboring Sumbawa as Indonesia's number two tourism destination after Bali. The President of Indonesia, Susilo Bambang Yudhoyono, the Ministry of Cultural and Tourism and the regional Governor have made public statements supporting the development of Lombok as a tourism destination and setting a goal of 1 million visitors annually by the year 2012 for the combined destination of Lombok and Sumbawa. This has seen infrastructure improvements to the island including road upgrades and the construction of a much delayed new International airport in the islands south. Despite this, Sumbawa retains a very rustic feel compared to Lombok.

Lombok International Airport (Bandara Internasional Lombok) (IATA: LOP, ICAO: WADL) is south west of the small regional city of Praya in South central Lombok. It commenced operations on 1 October 2011. It replaced Selaparang airport near Ampenan. It is the only operational international airport within the province of West Nusa Tenggara (Nusa Tenggara Barat).

Selaparang Airport in Ampenan was closed for operations on the evening of 30 September 2011. It previously provided facilities for domestic services to Java, Bali, and Sumbawa and international services to Singapore to Kuala Lumpur via Surabaya and Jakarta. It was the island's original airport and is situated on Jalan Adi Sucipto on the north western outskirts of Mataram. The terminals and basic airport infrastructure remain intact but it is closed to all civil airline traffic.

Lembar Harbor seaport in the southwest has shipping facilities and a ferry for road vehicles and passenger services. In 2013, the gross tonnage is 4.3 million Gross Tonnages or increase by 72 percent from 2012 data means in Lombok and West Nusa Tenggara the economy progress significantly. Labuhan Lombok ferry port on the east coast provides a ferry for road vehicles and passenger services to Poto Tano on Sumbawa.

Pelni Shipping Line provides a national network of passenger ship services throughout the Indonesian archipelago. Pelni have offices in Ampenan.

TRANSPORT BETWEEN BALI AND LOMBOK

Flights from Ngurah Rai International Airport (IATA: DPS) to Lombok International Airport (IATA: LOP) take about 40 minutes. Lombok international airport is located in southwest Lombok, 1.5 hours drive to Senggigi main tourist areas in the west Lombok, 2 hours drive to the jetty of Teluk Nara before you cross to Gili Islands and about 30 minutes drive to Kuta south Lombok.

Public Ferries depart from Padang Bai (Southeast Bali) and Lembar (Southwest Lombok) every hour, taking a minimum of 4–5 hours make the crossing in either direction.

Fastboat services are available from various departure points on Bali and principally serve the Gili Islands, with some significant onward traffic to the Lombok mainland. Arrival points on Lombok are dependent upon the operator, at either Teluk Nare/Teluk Kodek, Bangsal harbour or the township of Senggigi, all on the northwest coast. Operating standards vary widely.

WATER RESOURCES

Areas in southern Lombok Island were classified as arid and prone to water shortages due to low rainfall and lack of water sources. On May 2011, grounbreaking ceremony has done to initial the Pandanduri dam construction which will span about 430 hectares and cost estimated Rp.800 billion ($92.8 million) to accommodate about 25.7 million cubic meters of water and be able to irrigate 10,350 hectares of farmland. The project would be finished by the next five years.

WIKIPEDIA

Harmonious Color Chart by Tracee Murphy

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Harmonious Colors are any 5 touching colors on the color wheel. In other words pick one color from the color wheel and choose four other colors to the right or left and these give you your five harmonious colors.

Harmonious colors will not create "mud colors" when mixed together. This is one way to choose which colors will look good in your paintings.

These paints are Terry Madden paints and were selected using his color clock.

India - Rajasthan - Kota - City Palace - Mural - 190 by Manfred Sommer

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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

Indonesia - Lombok by Manfred Sommer

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