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Practices of Containing or Appeasing the Genius Loci - The Rolled Black Stones in Rovingian Animistic Rituals by Daniel Arrhakis (2026)
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Practices of Containing or Appeasing the Genius Loci - The Black Tumbled Stones in Rovingian Animistic Rituals
The Concept of Genius Loci
In Rovingian animism, it is understood that each place possesses its own soul and consciousness. Thus, when building, planting, or inhabiting a space, it becomes necessary to recognize and harmonize the already existing spiritual presence.
Asking permission: recognizing the pre-existing entity in the place.
Appeasing: offering respect so that the energy of the place remains harmonious.
These practices—from the construction of a small altar, designated the House of Spirits, to the marking of the territory with black tumbled stones and bamboo—constitute ritual acts intended to ensure the coexistence between human intervention and the spirit of the land. Their objective is to contain stagnant energies, restless spirits, and appease the local guardian spirits, known as Genius Loci.
Black Tumbled Stones on Bamboo Stakes
This is a technique unique to Rovingian monks and can have several variations. In this case, hollow cylindrical structures are built with bamboo canes—either thick sections or several thin canes linked together—leaving a central cavity. These structures are buried in a circle in a specific location, with the center reserved for planting a tree.
The cylinders are filled with sand or water-permeable gravel. On top, black tumbled stones marked with patterns or pseudo-writing in white paint are placed. Then, these structures are buried around the point where the tree will be planted and watered whenever the tree is watered, until it is established. Later, rain naturally ensures this process. Maintenance of the tree and structures should continue until the first flowering and seed production; at this stage, the structures can be removed and the stones placed near the tree.
When dealing with restless spirits, it may be necessary to wait for them to accept the tree assigned to them. This is only confirmed if the tree survives and blossoms for the first time. From that moment on, the stakes and stones can be removed, except for one, which should remain near the tree as a reminder of the ritual.
Practical functions and procedure
Purpose: stones are often understood as guardians of memory and the earth, with black stones associated with the absorption of dense or negative energies.
Use of bamboo: bamboo is seen as an element that helps direct energy and establish the connection between earth and sky.
Procedure: the stones are placed or tied to bamboo stakes, which are driven into the ground. This gesture "binds" or limits the action of restless spirits who resist leaving the place, containing their influence.
Symbols and Pseudo-Writings on Black Stones
Black stones—often tumbled river stones, basalt, or black tourmaline—function as magnetic seals. Inscriptions in white ink serve to channel and fix dense energy through patterns associated with sacred geometry and magical writing. However, in Rovingian animism, these designs can vary, reflecting the personal style and spiritual experience of each nomadic monk.
Left-hand spiral (counter-clockwise): used to absorb, pull, and direct negative energies or stagnant currents to the center of the earth.
Pseudo-runes and containment sigils: angular lines inspired by ancient runic forms or scratched points, representing fences, knots, or energetic locks.
Three concentric circles: symbolize the three containment barriers—physical, astral, and spiritual—intended to prevent the restless spirit from crossing the perimeter delimited by the bamboo stakes.
Parallel horizontal waves: represent the element of water and are linked to continuous irrigation, favoring fluidity and the transmutation of the energetic rigidity of the place.
Tree species for the containment ritual
The tree chosen for the center of the bamboo circle should possess biological and mythological characteristics associated with vigorous rooting, longevity, and the ability to transmute dense energies.
Pagoda Fig (Ficus religiosa / Bodhi Tree): recognized in Asian animism for its deep roots, capable of retaining ancient consciousness and transmuting dense energies into wisdom and stability.
Banyan Fig (Ficus benghalensis): characterized by its aerial roots that descend to the ground, forming an authentic "cage" or natural wooden colonnade. It is indicated for rituals that require strong physical containment and telluric anchoring of a restless spirit.
Weeping willow (Salix babylonica): especially suitable for very damp soils, as its roots intensely seek groundwater, accelerating the filtration and drainage cycle through the sand and gravel cylinders.
Yew (Taxus baccata): an ancient European tree associated with immortality and the portals to the underworld. Its slow growth and dense wood make it suitable for anchoring sites marked by heavy historical memories or ancient suffering.
In Europe, especially in the south, other trees such as Cupressus sempervirens, known as Italian cypress, common cypress, or cemetery cypress, can also be used.
In either case, it is important to keep in mind that these trees should not be planted near houses, plumbing, sanitation systems, or wells, due to their strong and extensive root system.
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Práticas de Contenção ou Apaziguamento do Genius Loci - As Pedras Negras Roladas nos Rituais Animistas Rovingianos
O Conceito de Genius Loci
No animismo rovingiano, entende-se que cada lugar possui uma alma e uma consciência próprias. Assim, quando se constrói, se planta ou se habita um espaço, torna-se necessário reconhecer e harmonizar a presença espiritual já existente.
Pedir licença: reconhecer a entidade pré-existente no local.
Apaziguar: oferecer respeito para que a energia do lugar se mantenha harmoniosa.
Essas práticas — desde a construção de um pequeno altar, designado Casa dos Espíritos, até à marcação do território com pedras roladas negras e bambu — constituem atos rituais destinados a assegurar a coexistência entre a intervenção humana e o espírito da terra. O seu objetivo é conter energias estagnadas, espíritos inquietos, e apaziguar os espíritos guardiões locais, conhecidos como Genius Loci.
Pedras Roladas Negras em Estacas de Bambu
Esta é uma técnica exclusiva dos monges rovingianos e pode apresentar várias variantes. Neste caso, constroem-se estruturas cilíndricas ocas com canas de bambu — quer de secções grossas, quer de várias canas finas ligadas entre si — deixando uma cavidade central. Essas estruturas são enterradas em círculo num determinado local, ficando o centro reservado para a plantação de uma árvore.
Os cilindros são preenchidos com areia ou brita permeável à água. Nos topos, colocam-se pedras roladas negras marcadas com padrões ou pseudoescritas em tinta branca. Depois, enterram-se essas estruturas em torno do ponto onde a árvore será plantada e regam-se sempre que a árvore for regada, até que esta se estabeleça. Mais tarde, a chuva assegura naturalmente esse processo. A manutenção da árvore e das estruturas deve manter-se até à primeira floração e produção de semente; nessa fase, as estruturas podem ser removidas e as pedras colocadas junto à árvore.
Quando se trata de espíritos inquietos, pode ser necessário aguardar que estes aceitem a árvore que lhes foi atribuída. Isso só se confirma se a árvore sobreviver e florir pela primeira vez. A partir desse momento, podem retirar-se as estacas e as pedras, com exceção de uma, que deve permanecer junto à árvore como memória do ritual.
Funções práticas e procedimento
Finalidade: as pedras são frequentemente entendidas como guardiãs da memória e da terra, sendo as pedras negras associadas à absorção de energias densas ou negativas.
Uso do bambu: o bambu é visto como um elemento que ajuda a direcionar a energia e a estabelecer a ligação entre a terra e o céu.
Procedimento: as pedras são colocadas ou amarradas a estacas de bambu, que são fincadas no solo. Este gesto “prende” ou limita a atuação de espíritos inquietos que resistem a abandonar o local, contendo a sua influência.
Símbolos e pseudoescritas nas pedras negras
As pedras negras — frequentemente pedras roladas de rio, basalto ou turmalina negra — funcionam como selos magnéticos. As inscrições em tinta branca servem para canalizar e fixar a energia densa por meio de padrões associados à geometria sagrada e à escrita mágica. No entanto, no animismo rovingiano, esses desenhos podem variar, pois refletem o cunho pessoal e a vivência espiritual de cada monge nómada.
Espiral levógira (sentido anti-horário): utilizada para absorver, puxar e encaminhar energias negativas ou correntes estagnadas para o centro da terra.
Pseudo-runas e sigilos de contenção: traços angulares inspirados em antigas formas rúnicas ou pontos riscados, representando cercas, nós ou cadeados energéticos.
Três círculos concêntricos: simbolizam as três barreiras de contenção — física, astral e espiritual — destinadas a impedir que o espírito inquieto ultrapasse o perímetro delimitado pelas estacas de bambu.
Ondas horizontais paralelas: representam o elemento água e articulam-se com a rega contínua, favorecendo a fluidez e a transmutação da rigidez energética do local.
Espécies de árvores para o ritual de contenção
A árvore escolhida para o centro do círculo de bambu deve reunir características biológicas e mitológicas associadas ao enraizamento vigoroso, à longevidade e à capacidade de transmutação de energias densas.
Figueira-dos-Pagodes (Ficus religiosa / Árvore Bodhi): reconhecida no animismo asiático pelas suas raízes profundas, capazes de reter consciências antigas e transmutar energias densas em sabedoria e estabilidade.
Figueira-Banyan (Ficus benghalensis): caracteriza-se pelas raízes aéreas que descem até ao solo, formando uma autêntica “gaiola” ou colunata natural de madeira. É indicada para rituais que exigem forte contenção física e fixação telúrica de um espírito inquieto.
Salgueiro-chorão (Salix babylonica): especialmente adequado para terrenos muito húmidos, uma vez que as suas raízes procuram intensamente a água subterrânea, acelerando o ciclo de filtragem e escoamento através dos cilindros de areia e brita.
Teixo (Taxus baccata): árvore europeia ancestral associada à imortalidade e aos portais do submundo. O seu crescimento lento e a madeira densa tornam-no adequado para ancorar locais marcados por memórias históricas pesadas ou sofrimento antigo.
Na Europa, em especial do sul, também podem usar-se outras árvores como o Cupressus sempervirens, conhecido como cipreste-italiano, cipreste-comum ou cipreste-dos-cemitérios.
Em qualquer dos casos, importa ter presente que estas árvores não devem ser plantadas junto de casas, canalizações, sistemas de saneamento ou poços, devido ao seu sistema radicular forte e extensivo.
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Please take your time... and enjoy it large on black
This is Laos, a land of ethnically diverse inhabitants but where gentle, open, beaming smiles surround you wherever you go. Of all the places we've visited, Laos probably wins the award for Friendliest Country. Despite Laos poverty and isolation, its people were some of the kindest and most outgoing we've ever met. Its delightful old world charm has not been despoiled by the slow but steady pace of modernization. A number of kids played along the coffee plantations and greeted us. A few others kids took care of their cattle. We enjoyed the natural surroundings exploring by feet and bask in the welcoming embrace of the locals. Pakxong spreads over a beautiful forest in the Bolaven Plateau. At this elevated area you can soak up the fresh climate and the friendly atmosphere. Bolaven Plateau greatly suffered during the Vietnam War. The Bolaven Plateau was one of the most heavily bombed theaters of the Second Indochina War. Laos has remained virtually unchanged for half a century. Rich in history and culture, Laos and its peoples, more than 47 ethnic groups, harmonize life to ancient rhythms and traditions that evoke timeless Asia. Although the trappings of the modern world are becoming increasingly visible, Laos remains the least developed country in Southeast Asia. A country where experienced travelers will appreciate breathtaking scenery and ofcourse the friendly people.
From Tad Yuang waterfalls we continued our trekking. The scenery was very good, the plateau is crossed by several rivers and has many scenic waterfalls. We went along rolling high hills and scattered farms and villages where we met this friendly man with a sincere smile I won't forget. He's wearing a warm hat for the chilly evenings and mornings. Thanks to its location on an elevation of 1300 meters and surrounded by clouds forests, temperatures are much lower than elsewhere in Laos. A cloud forest, is a tropical evergreen highland moist forest characterized by a high incidence of low-level cloud cover, usually at the canopy level. Within cloud forests, much of the condensation is in the form of fog drip, where fog condenses on tree leaves and then drips onto the ground below. Even in the hottest period of the year, March and April, temperatures in the daytime usually do not reach over 27 Celsius, while at night it cools down considerably. Starting July, when rain starts to fall more regularly, temperatures drop and a sweater in addition to a rain coat is recommended. Do definitely pack warm clothes when staying with us between November and February.
Laos is een prachtig land met ongerepte natuur, exotische dieren en vriendelijke mensen. Het land is een arm land, met nog onbedorven wildernis en een bevolking van 5,5 miljoen mensen. In Laos zijn zo'n twintig natuurgebieden die door de overheid zijn aangewezen als National Protected Area. Door deze bescherming wordt het unieke landschap en de flora en fauna zoveel mogelijk behouden De gebieden bestaan uit tropische regenwouden, kalkstenen rotsformaties, inheemse flora en fauna en andere wildlife. Zeker voor de avontuurlijke reiziger herbergt dit land een grote hoeveelheid aan onontdekte natuurschatten, vriendelijke mensen en een gevoel dat veel nog puur is.
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Please take your time... and enjoy it large on black
Laos has remained virtually unchanged for half a century. Rich in history and culture, Laos and its peoples, more than 47 ethnic groups, harmonize life to ancient rhythms and traditions that evoke timeless Asia. The vast majority of Lao people live in Laos is approximately 4 million. Laos is generally very rural areas, and Many Lao people support by agriculture, with rice being the most important crop. Women hold dual responsibility for farm at home. In rice farming women in Laos have a substantial role. Traditionally, men plough, make bunds and prepare seedbeds, and women do more than half of the transplanting of rice, weeding, harvesting, threshing and post-harvest operations. Aside from this enumerated work, a gender division of labour exists in Laos which assigns women the major responsibility for childcare and housework. As household size averages seven people these tasks require numerous hours of work each day in addition to women's work outside their home. Women are responsible for much heavy work—hauling water for the household and, in the absence of rice mills, pounding the rice in big mortars of hollowed out logs to husk it. The men plow and deal with draft animals, while women tend to be responsible for pigs and poultry and vegetable gardens. The animals usually live under the house. Everyone, including the children, helps with transplanting and harvesting rice. Such hard life for elderly women where life expectancy is 59 years est. 2008. Although the trappings of the modern world are becoming increasingly visible, Laos remains the least developed country in Southeast Asia. Laos has enjoyed high economic growth, despite poor national infrastructure and a dominant, inefficient agriculture sector. It is also heavily reliant on international assistance programs. In 1998, Laos began formal negotiations with the World Trade Organization. In 2008 a 5.60 US$/day per capita.
Photo of an old women taken on Don Det. A backpackers’ paradise, Don Det is an island in Laos near the border of Cambodia. Nestled along the breathtaking Mekong River, Don Det is a perfect base for travelers exploring the area. Don Det is off the beaten path, so lacks the touristy feel of other destinations, but still offers beauty and adventure. Along the way to other side of the island we met this old woman. She was working in front of her house busy with household duties. Lao women have played a central role in the national country's and household economies over the past two decades. Women's participation exceeds men's in the economically active population. Due to dual responsibility for farm and household they are usually overburdened with work. At home some of these duties include water collection, which may take two to three hours a day; husking rice for family consumption, which may require two hours of work; milling rice; and caring for the sick and the elderly. Girls assist their mothers with these chores and they are often made responsible for care of younger kids. In spite of their major economic contribution, women are generally not considered as workers. However, women, particularly older ones, do control household budgets and share in financial decision making. However, for some intangible reason, the Lao people are still wonderfully friendly, hospitable and passionate. They do not have much, but show it off with pride.
Si Pan Don, ofwel vierduizend eilanden, is een verzameling bewoonde en onbewoonde eilandjes in de Mekong. De rivier is hier een maar liefst 14 km breed labyrint van zandplaten, eilanden, rotsen, stroomversnellingen en spectaculaire watervallen. De eilandjes liggen in het uiterste zuiden van Laos, tegen de grens met Cambodja en hebben een unieke flora en fauna. Don Det is een oase van rust, want gemotoriseerd verkeer is er nog vrijwel onbekend. Je kunt hier heerlijk wandelen langs tempeltjes, rijstvelden, lotusvijvers en dorpjes. De meeste guesthouses liggen aan de noordelijke zijde van Don Det, en net als Don Khon is ook dit eiland en beetje een backpackers paradijs aan het worden. Laos, is nog één van de weinige overgebleven communistisch regimes en is ook één van de armste naties van Azië. De huidige regering kwam aan de macht in 1975 en legde onmiddellijk een onbuigzaam socialistisch economisch programma op. Verandering begon in 1986 met de losmaken van beperkingen op privé-onderneming. Sinds dien heeft Laos een hoge economische groei, ondanks arme nationale infrastructuur en een overwegende, ondoelmatige landbouwsector. Het is ook zwaar afhankelijk van internationale hulpprogramma's. In 1998 begon Laos formele onderhandelingen met de Wereld Handelsorganisatie. De gemiddelde verdienste per dag is 5,60 US$ per hoofd. Opvallend is de sterke positie die de vrouwen binnen de familie innemen en ze doen zelfs het meeste werk op de rijstvelden. De natte rijstbouw is het voornaamste middel van bestaan. De vrouwen en mannen in Laos blijven ondanks hun moeilijke bestaan altijd vriendelijk en gastvrij. Ze hebben niet veel maar stralen altijd hun trots uit.
MISSION 10.2
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:ll Mission Log ll:
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This time the mission of all 26th lieutenants was to move forward to the droid fabric.
God thanks we were able to do this all together. The Xeta Squad is harmonizes perfect.
When we were on the way to the factory, some little mountains appeared at the horizon.
We went closer and closer to the mountains. Then we´ve seen, that in these mountains was a rear entrance.
Could it be one to the fabric?
It might is one.
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Lacce: " It could be the rear entrance. Let´s wait a few minutes. Maybe we can see if we´re right."
Then the big and heavy iron door opened slowly. Two droids came out.
Lacce: " Let´s blow em away and go into... "
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Maybe, we´re closer to our target as we think...
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Mission 10.2 for the 457th Corps .
Image processing: image obtained from my footage at the singer/percussionist Franck Armocida. I superimposed one photo on the "Voices for Freedom" by Amnesty Int. poster and harmonized the background with the same main colour orange. Then I used paintbrush to draw on the background and the model is indicating the title of the important event while on his left side there is the logo (Med Free Orchestra) of his band that has been special guest. This footage has taken place just after their concert in a very friendly environment & mutual collaboration. Thanks!
P.S: about the meaning of the lettering "Ho' Oponopono", I invite to watch the video description at the below reported link.
This is the cover of my new live music video turned few days ago at "Voices for Freedom" VXL by Amnesty International, the 4-days international event & contest dedicated to prize the best songs & lyrics of songwriters and bands involving the protection of human rights & the denounce of vexations & crimes against Whumanity© (whomanity & humanity, concept copyrighted by WhiteANGEL ;)
The song "'Ho Oponopono" prayer has been played & performed by the great "Med Free Orkestra". As per the lyrics, the old traditional hawaian prayer sung in many languages & mixed with the "Prayer to the Mediterranean" (also known as "Mare nostrum" poem) written by Erri De Luca, has been performed, recited&sung by the unique voice of the artist singer & percussionist Franck Armocida (photographed by me for the video cover).
I recorded it live and then remixed & edited in studio in less than 2 days. I gave the priority to the quickness in order to release & publish it when the event "Voci per la Libertà" was still in progress so I cared less the precision in details. Anyway, I'm kinda satisfied of the audio. This was possible because I have been allowed to reach the best acustic position to record the video & because of the amazing talented workers in the sound engineering of this event. The video is visible in my Yoube WhiteANGEL channel at the link:
Cover photo, drawed background & digital editing by WhiteAngel.
Photo captured via Minolta MC Tele Rokkor-X 300mm F/4.5 lens. Channeled Scablands section within the Columbia Plateau Region. Inland Northwest. Spokane County, Washington. Late September 2018.
Exposure Time: 1/320 sec. * ISO Speed: ISO-100 * Aperture: F/5.6 * Bracketing: None * Color Temperature: 5000 K * Film Plug-In: Fuji Velvia 100
The dead woman for whom the vase had been commissioned is shown lying on a couch surrounded by mourning relatives and friends. This figural composition harmonizes well with the overall decorative scheme of the vase, being organized along the same basic horizontal-vertical lines as the framing bands of abstract ornament; some of the rhythm set up in the encircling zones of meander is picked up by the repeating motif of the mourner; the balance of dark and light elements of the abstract decoration is also preserved across the figural panel by the filling of the intervening spaces around the figures with Geometric motifs.
Even more remarkable than the formal quality is the subject matter of this scene. The events of the funeral are related in a simple and readily comprehensible manner. The deceased lies on a tall couch enveloped in a large checkered shroud, while mourners wait in file to raise the shroud for a last view of her. Grief is portrayed symbolically by an already conventional gesture of raising the hands to the head. The mourners are not all anonymous ciphers, even those waiting in line, some of them with weapons, portrayed as knights. In suggesting this relationship to the deceased, and in portraying the emotion of grief by both conventional and unconventional means, the Dipylon Master introduced a note of pathos into Greek art. He had not the formal means at his disposal to progress further in this direction, but one suspects from this attempt that he was an extraordinarily sympathetic individual. It may well be that he was influenced by another medium, namely oral poetry. Sympathy for the suffering of fellow men and a desire to portray their grief are intrinsic aspects of Homer's Iliad, which, I feel sure, must have been composed by this time.
Source: Barbara E. Bohen, “The Dipylon Amphora: Its Role in the Development of Greek Art”
Athenian geometric belly-handled amphora
H. 83 cm; D. 29 cm
Attributed to The Dipylon Painter
760 – 750 BC
From Kerameikos cemetery, Athens
Athens, National Museum, inv. 804
In: KAPPELMAYR, Barbara (Red.) (1995). Geïllustreerd handboek van de kunst. VG Bild-Kunst/De Hoeve, Alphen aan de Rijn. ISBN 90 6113 763 2
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Pp. 874ff in: QUADRALECTIC ARCHITECTURE – A Panoramic Review by Marten Kuilman. Falcon Press (2011). ISBN 978-90-814420-0-8
quadralectics.wordpress.com/4-representation/4-2-function...
‘Real’ palaces were designed and constructed in Spain at about the same time as Palladio provided the Valmarana family with shelter in Italy. The Royal Palace of the Escorial is located some forty-five kilometers northwest of Madrid (Spain) at the rim of the Guadarrama Mountains. It appears as a great stone platform carved from the mountain and its harmonizing with the landscape makes it a stone scape. It has reminiscence, according to George KUBLER (1982, p. 98), to certain Quattrocento paintings of ideal cities drawn with a single-point perspective in Renaissance Italy. He gives the panel painting ‘A City Square’, attributed to Luciano de Laurana, in the Walters Art Gallery in Baltimore, as an example.
The history of the Escorial has four distinct elements, which were planned by King Philip II (1527 – 1598) after he became King of Spain in 1556: 1. The initial purpose as a place to house the tombs of the dynasty, in particular his father Charles V, who was buried in Yuste; 2. The foundation of a monastery (with hospital buildings); 3. A basilica (with a dome); 4. A palace (with a library). These four intentions, which were brought forward more or less simultaneously, have aspects of higher division thinking, but the psychological setting of the King is hard to prove.
Spain was in the second half of the sixteenth century on the heights of its political power, covering the larger part of Europe when Philip II was King of Spain and Portugal, King of Naples, Duke of Milan, Ruler of the Spanish Netherlands, and King consort of England (as the husband of Mary I). It was furthermore, a global player in the colonial expansions across the Atlantic.
King Philip II began his search for a foundation of a new monastery in 1558 – 1559. He called it San Lorenzo de la Victoria – referring to the victory in the battle of San Quintin (in northern France) on 10 August 1557, on the day of San Lorenzo. The King employed the help of the Jeronymite Order, but their suggestions and plan, where about half the size than the cuadro (block), which was laid out in April 1562 in a location near El Escorial. The plan of the monastery, which was first to be started, had a classical tetradic design.
George KUBLER (1982) mentioned three Jeronymite friars, who played a major role in the history of the construction of the Scoria. Juan de San Jeronimo was present from 1562 to 1591 as the chief accountant and most authoritative as a chronicler. Antonio de Villacastin was the Obrero mayor (chief workman) and Jose de Sigüenza wrote a history of the building by recording the progress of design and construction.
The official work started in 1563 with the intention of Philip II to bring the body of his father Charles V, the Emperor, who died in 1558, from Yuste to the new location. Philip had an interest in building matters, which only increased after his European tour at his father’s command (1548 – 1551). The King visited England for the marriage to Queen Mary (1516 – 1558, also known as Bloody Mary, because she had three hundred religious dissenters burned at the stake) in July 1554. He was accompanied at that (political-inspired) trip by the architect and engineer Gaspar de Vega, who had to study foreign buildings and constructions, which could be useful in Spain. Vega returned overland and visited places like the Louvre, St.Germain-en-Laye and Fontainebleau.
The three main architects of the Escorial were Francisco de Villalpando, Juan Bautista de Toledo, and Juan de Herrera. The first named architect was originally a bronze worker, who translated Serlio. He was titled as a ‘geometer and architect’, which was the first official use of this term by a Spanish royal patron. His qualities as a humanist and theorist gained him (royal) recognition in the liberal art of architecture (KUBLER, 1982).
The second, Juan Bautista de Toledo, was appointed as an architect in 1559. He had been Michelangelo’s assistant at St. Peter from 1546 to 1548. His promotion turned into a personal tragedy when his wife and two daughters and all his books and papers were lost when the ship sank, which had to bring them from Naples to Spain. His appointment – after this event and as an outsider – was marred with conflicts and crises, but the King backed him until he died on 21 May 1567.
The third, Juan de Herrera, was an assistant of Toledo, appointed by the King in 1563 to check on the unpredictable authority of Toledo. He was appointed in 1576 as a royal architect – after years working in the background, with close ties to the King as Master of the Horse (1569 – 1577) and later (1579) as a court chamberlain.
The inactive year of Toledo’s death (1567) was followed two years later by an increase in activities. Flemish slaters expanded their trade after the work on the King's temporary dwelling La Fresneda was finished. The main staircase, which was the showpiece of the monastery, the roofing of the kitchen wing, and the paving made good progress. The cloister was finished in 1579 when the parapets were placed. The basilica started in 1574 and was finished in 1586.
The building of the fountain began in 1586, following the symbolism of the Garden of Eden, with four rivers watering Asia, Africa, Europe and America. The design had similarities with the Fons Vitae, also with four basins, at the Manga cloister of Santa Cruz in Coimbra (Portugal), built in 1533 – 1534.
The work on the actual royal dwelling (King’s House) in the northeast quadrant had begun in 1570 – 1572. It took nearly fifteen years until the court moved from their provisional quarters to the new accommodation in August 1585, but most of the palace and the college had still to be finished.
The library portico, which was part of Toledo’s ‘’universal plan’, only started when the construction of the palace, basilica, and college had ceased and was finished in 1583. The hospital buildings (infirmary) were situated outside the main cuadro (of 1562) at the southwestern corner. Farm buildings, later known as La Compana, were also outside the monastery. The northern service buildings (casas de oficios) were mentioned in 1581. Fig. 727 shows the Escorial in a reconstruction of the situation in 1568.
The history of the Escorial came into a new phase after Philip died in September 1598. The complex was complete except for its initial purpose: the underground burial chamber intended for the tombs of the dynasty. The circular plan of Panteón, initiated under Herrera’s direction, had four stairs and a light shaft. However, little work was done until 1617 – 1635 when G.B. Crescenzi altered the plan from circular to octagonal. After he died in 1635 the work was completed in 1654 by Fray Nicolas de Madrid (following Crescenzi’s plan). The crypt was described by Fray Francisco de los Santos as the Panteon. His book included all the rituals of transferring the royal bodies since 1586.
Several fires caused damage to the complex in later years. The first one happened in 1577 at the southwest tower. A most destructive fire took place on the 7th of June 1671, in which also the monastery roofs burst into flames. Many manuscripts were destroyed. Some sixty years later, in 1731, the fire started again at a chimney in the college. The Compana was destroyed in 1744, and the last great fires took place in 1763 and 1825.
A plague of termites threatened the building in 1953. This event sparked a restoration program instigated by the government. The crossing towers in the monastery and college were rebuilt in 1963. Their spires were re-designed by Bartolomé Zúmbigo in 1673 in a Baroque fashion but changed again to the original layout of Herrera as given in the last quarter of the sixteenth century. The result was an example of the use of two of the major elements of a quadralectic architecture: the octagonal roof fitted onto the square of the tower.
Characterization of the Escorial complex by art historians (like Nikolaus Pevsner) pointed to a classification as a ‘mannerist’ building. Mannerism is the term (from maniera) used for imitation and exaggeration of the work of the High Renaissance. Its severity and simplicity were associated in the first half of the twentieth century (mainly by German art historians) with puritanism and asceticism, like the character of Philip II himself. This perception was later challenged and even denied: ‘If psychic states and architectural forms were this closely related in the process of design, then architecture as a whole would long ago have been recognized as a dictionary of psychic attitudes’ (KUBLER, 1982; p. 126).
The plan of the Escorial near Madrid follows tetradic lines with a four-division in function (palace, college, monastery, and place of contemplation) organized around a church with a square ground plan.
Some observers pointed to Post-Reformation geomancy as initiating the design. Nigel PENNICK (1979) stated that ‘the Escorial at Madrid was built according to a Jesuit interpretation of the Vision of Ezekiel’. Others go further back and tried to find Renaissance ideas of magic underlying the design of the Escorial (TAYLOR, 1967). René Taylor wondered whether the courtier and ‘architect’ Herrera could not be ‘a Magus, a man deeply versed in Hermetism and occult lore, who by virtue of this was attached in a special way to the King?’
George Kubler (pp. 128 – 130) denied the view that the King and Herrera had occult views. He could prove that the King did not sympathize with astrology and horoscopes. The court’s association with the mystic Ramon Lull (1232 – 1316) – the ‘Doctor illuminatus’ with his combinatorial method for categorizing all possible knowledge (see p. 780), but also with his intention to convert Muslims to Christianity – was purely academically, according to Kubler. It is regrettable that none of these authors make any reference to a particular type of division thinking, which might elucidate such labels like Mannerism, Puritanism, astrology, magic, etc.
---
Bibliography
KUBLER, George (1982). Building the Escorial. Princeton University Press, Princeton, New Jersey. ISBN 0-691-03975-5
PENNICK, Nigel (1979). The Ancient Science of Geomancy. Man in harmony with the earth. Thames and Hudson Ltd., London.
TAYLOR, René (1967). Architecture and Magic. Considerations on the Idea of the Escorial. Pp. 81 – 109 in: Essays in the History of Archtecture Presented to Rudolf Wittkower. New York.
This is a teaspoon filled with flavored green tea blend with a ceramic tea cup on the background. Fresh cranberries, sweet raspberries, beautiful rose buds harmonize wonderfully with Sencha( Japanese green tea) base.
More information about green tea and its history can be found on my blog blog.espemporium.com/
Musically, they had kind of an Ike and Tina going. Some of my favorite music has that male-female harmonizing or call-and-response thing going. A set of pipes on both of them, for sure.
WE WILL MISS YOU ANDY! Thanks for the 75 amazing years of entertainment!!!!
Andy Williams, whose languid crooning style and amazing presence propelled him to
recording and television stardom in the 1960s, with hits including “Moon River” and a
favorite Christmas song “It’s the Most Wonderful Time of the Year,” died Sept. 25
at his home in Branson, Mo. He was 84. He died after a year-long battle with bladder
cancer, per his publicist, Paul Shefrin. Mr. Williams’s entertainment career spanned
eight decades, starting when he was an 8-year-old singer performing at church socials
in his native Iowa. Born Howard Andrew Williams on Dec. 3, 1927, in Wall Lake, Iowa.
His father, Jay Williams, was a railway mail clerk who trained the Williams children to
sing in the choir of the local Presbyterian church. Their skill at harmonizing led their father
to believe they were destined for greatness. By the late 1930s, the Williams Brothers —
Andy and his older siblings Richard, Robert and Donald — began singing on the radio in
Des Moines. The family eventually settled in Los Angeles, so the boys had a chance to
break into film. The Williams Brothers accompanied Bing Crosby on the 1944 pop hit
“Swinging on a Star,” an Oscar-winning song Crosby also sang in the film “Going My Way.”
With his radiant smile, chiseled dimples and earnest personality, Andy Williams conveyed
an unfailingly wholesome image throughout his career — sometimes to his dismay. All too
often, he wrote in his memoir, he was perceived as a “farm boy in a tuxedo”. Mr. Williams’s
heyday spanned the life of his musical variety TV program, “The Andy Williams Show,” which
aired on NBC from 1962 to 1967 and again from 1969 to 1971. ( www.youtube.com/watch?v=NPt1Z5aXNOQ&feature=related and www.youtube.com/watch?v=HKkbQhjNefc )
The Christmas specials that spun off from the show ran for decades afterward, featuring
celebrities singing Christmas songs as well as members of the Williams family.
( www.youtube.com/watch?v=r2hHeU2ejBM&feature=related and
www.youtube.com/watch?v=BxqPbehjN3c&feature=related )
Williams was a lifelong Republican who once accused President Obama of
"following Marxist theory." From Andy Williams' Personal Quotes: "Don't like him at all.
I think he wants to create a socialist country. The people he associates with are very
Left-wing. One is registered as a Communist. Obama is following Marxist theory.
He's taken over the banks and the car industry. He wants the country to fail". Per: www.imdb.com/name/nm0930023/bio . To many of us Andy Williams has remained a
major recording star and continued to sing concerts well into the 2000 years at the
Moon River Theatre, a complex he built in the Ozark town of Branson, Missouri.
Andy built the $12 million state-of-the-art theater, which opened in 1992 and was
christened the Andy Williams Moon River Theater due to the inspiration of a friend.
Andy became the first non-country star to perform in Branson and other theme shows
have since been inspired to populate the small town--now considered the live music
capital of the world. See: www.andywilliamstheatre.com/ and
www.independent.co.uk/arts-entertainment/music/news/croon...
the background of the picture best describes the character of this special bottling, despite the high content of alcohol: floral.
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Tango, the dance of love, takes intense concentration as couples intertwine with drama and speed. These professionals were sharing their art at the California State Fair. The dance has in origins in Argentina and harmonizes the physical elements of masculine and feminine. A fantastic performance .
In 2013, the National Museum of Modern and Contemporary Art, Korea opened a new branch in Sogyeok-dong, Jongno-gu at the former site of the Defense Security Command. The announcement for the construction of the National Museum of Modern and Contemporary Art, Seoul (MMCA Seoul) came out in 2009, and the architecture for the museum was selected through idea proposals and an architectural design competition in 2010. What makes the Seoul branch different from the others is that it introduced Korea’s traditional architectural concept of ‘madang’, which is a spacious courtyard where people can come in and gather together to socialize. MMCA Seoul's building is also designed to harmonize with the surrounding nature around the city.
Equipped with facilities including a reference center, a project gallery theater and a multipurpose hall, MMCA Seoul strives to accommodate every mode of new artistic endeavor and to communicate with the public. The site is where Korea’s historical and political developments were achieved. Most of the old buildings are gone but a few still remains to remind people of its significant role.
Of all the places we've visited, Laos probably wins the award for Friendliest Country. Despite Laos poverty and isolation, its people were some of the kindest and most outgoing we've ever met. We visited a Kieng Than Lei village along the Sexet river. A number of kids played along the beach and greeted us. Walking is by far the best way to get around this small village. And during our strolls we'd often bump into the same kids over and over. A small village next to the Tad Lo waterfall. We enjoy the natural surroundings exploring by foot or elephant. Tad Lo spreads over a beautiful forest in the Bolaven Plateau. At this elevated area you can soak up the fresh climate and the friendly atmosphere.
Photo of this lovely smiling lady taken in Kieng Than Lei. A little village located on the Bolaven Plateau. A great place to explore some of the lesser-known areas of the southern region of Laos. A village to meet the friendly Lao people despite their poverty and isolation.
Laos has remained virtually unchanged for half a century. Rich in history and culture, Laos and its peoples, more than 47 ethnic groups, harmonize life to ancient rhythms and traditions that evoke timeless Asia. Although the trappings of the modern world are becoming increasingly visible, Laos remains the least developed country in Southeast Asia. A country where experienced travelers will appreciate breathtaking scenery and ofcourse the friendly people.
This is the Hyangwonjeong Pavilion, a two-story hexagonal royal structure located in Gyeongbokgung Palace, Seoul. It was built around 1885 during the Joseon Dynasty and sits in the center of Hyangwonji Pond. The pavilion features intricate craftsmanship and traditional Korean architecture designed to harmonize with nature. 광화문 경복궁, Gyeongbokgung Palace, Seoul, South Korea: 2025 Feb
I wonder why they decided for these yellow light posts. Maybe bercause grey skies are pretty prevalent around here and yellow harmonizes with grey.
[Sankt-Peter-Ording_20211014_1328_e-m10_10145543]
...made to harmonize with Amy Butler curtains in an urbanite's version of a "master bedroom" (yup, it's small!).
da colônia de pescadores-
Onde o mar encontra os barcos de pesca e o céu com seus tons harmoniza a água colorindo-a da mais diversa gama de cores e luzes refletidas.Um cenário moldado por rochas e árvores,intensa energia evocativa.
the fishing colony-
Where the sea meets the fishing boats and sky tones harmonizes with its water-coloring of the most diverse range of colors and lights reflected.A scenario framed by rocks and trees, intense evocative power.
The Function and Importance of Fairy Counting Staffs or Trasgos for Rovingians By Daniel Arrhakis (2026)
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The Function and Importance of Fairy Counting Staffs or Trasgos for Rovingians
Spiritual, Ecological, and Community Instruments in the Rovingian Tradition
Fairy Counting Staffs, also known as Trasgos, play a central role in the culture of Rovingian nomadic monks. Stuck in the ground, these staffs are recognized for their multifunctionality, serving as tools for harmonization, spiritual signage, and ecological protection for Rovingians.
Pillars of the Importance of Fairy Counting Staffs (Trasgos)
Ecological and Spiritual Sentinels
Currently, the staffs have replaced the ancient symbolism of Druidic authority, assuming the role of environmental protection markers. When placed in protected areas, they indicate that the space is sacred and should be treated with reverence.
These staffs act as anchors between heaven and earth, protecting the location against malevolent or restless entities through specific carvings and ornaments.
Vibrational Cleansing (Sound Purification)
Through the carvings and bells, the staffs use sound to dissipate negative energies and ward off "stagnant spirits." The wind, animals, or people activate the sound of the bells, which acts as a "sound prayer," purifying the environment.
This process contributes to the balance of the "harmony of the spheres" and awakens areas of stagnant energy.
Regeneration Anchors (Ecosystemic Regeneration)
When arranged in specific geometries, the staffs serve as energetic anchoring points between the earth and the spiritual plane. In areas devastated by climatic events, it is believed that these landmarks help accelerate the vital recovery of the forest, promoting the energetic and biological restoration of the soil and flora. Ritual of Crossing and Community Interaction
By ringing the bells during the crossing, the traveler asks permission from the forest beings and signals their presence. This gesture transforms the crossing into a ritual of respect and safety, functioning as a sonic prayer and a request for permission from the local spirits. Thus, a safe and harmonious journey is ensured.
Conclusion
The Fairy or Goblin Counting Staffs are essential spiritual and ecological landmarks for contemporary Rovingian tradition. Their importance lies in the transition from symbols of Druidic authority to sentinels of environmental protection and regeneration, consolidating their role in the preservation and harmony of ecosystems and communities.
_______________________________________________________________________________________________________
A Função e a Importância dos Bastões Contadores de Fadas ou Trasgos para os Rovingianos
Instrumentos Espirituais, Ecológicos e Comunitários na Tradição Rovingiana
Os Bastões Contadores de Fadas, também conhecidos como Trasgos, desempenham um papel central na cultura dos monges nómadas rovingianos. Espetados no solo, estes bastões são reconhecidos por sua multifuncionalidade, servindo como ferramentas de harmonização, sinalética espiritual e proteção ecológica para os rovingianos.
Pilares da Importância dos Bastões Contadores de Fadas (Trasgos)
Sentinelas Ecológicas e Espirituais
Atualmente, os bastões substituíram o antigo simbolismo de autoridade druídica, assumindo o papel de marcadores de proteção ambiental. Ao serem posicionados em áreas protegidas, indicam que o espaço é sagrado e deve ser tratado com reverência.
Estes bastões funcionam como âncoras entre o céu e a terra, protegendo o local contra entidades malévolas ou inquietas através dos entalhes e ornamentos específicos.
Limpeza Vibracional (Purificação Sonora)
Através dos entalhes e guizos, os bastões utilizam o som para dissipar energias negativas e afastar “espíritos estagnantes”. O vento, animais ou pessoas ativam o som dos guizos, que atua como uma “oração sonora” purificando o ambiente.
Este processo contribui para o equilíbrio da “harmonia das esferas” e desperta áreas de energia estagnada.
Âncoras de Regeneração (Regeneração Ecossistémica)
Quando dispostos em geometrias específicas, os bastões servem como pontos de ancoragem energética entre a terra e o plano espiritual. Em zonas devastadas por eventos climáticos, acredita-se que estes marcos ajudam a acelerar a recuperação vital da floresta, promovendo a restauração energética e biológica do solo e da flora.
Ritual de Travessia e Interação Comunitária
Ao tocar os guizos durante a travessia, o caminhante pede permissão aos entes da floresta e sinaliza a sua presença. Este gesto transforma a travessia num ritual de respeito e segurança, funcionando como uma oração sonora e um pedido de permissão aos espíritos locais. Assim, garante-se uma jornada segura e harmoniosa.
Conclusão
Os Bastões Contadores de Fadas ou Trasgos são marcos espirituais e ecológicos essenciais para a tradição rovingiana contemporânea. Sua importância reside na transição de símbolos de autoridade druídica para sentinelas de proteção ambiental e regeneração, consolidando seu papel na preservação e harmonia dos ecossistemas e comunidades.
This abandoned building from the early 20th century, was last used as a school that closed in 1978. After the school closed the building was used until 2004 as a men's shelter in part of the building, and artists leased other parts for studios. The arts center brought visual and performing artists together under one roof and the ambition was to make it into something like PS1 in Brooklyn, NY. Advocates for the homeless and artists both protested this decision. The school and the homeless shelter were both closed when the Corcoran made a bid to purchase the property. The Corcoran initially came to the arts center as a partner and then turned around and did a take over. An interesting fact about this school - Marvin Gaye began singing in the school choir and in the hallways, harmonizing with friends.
Then I zoomed in even closer. They do a lot of Renaissance Faires, mostly in the western states, and they also do Christmas performances and the like. I guess I like coming back to them whenever I've gone to the Faire because of their familiarity. So many acts don't have that effect on me.
Close your eyes and listen. The rush of water harmonizes with the rustling leaves and the distant calls of birds. It's a symphony composed by nature–a melody that resonates deep within your soul. As you follow the stream, you'll encounter mini waterfalls, their spray catching the sunlight like a thousand diamonds.
Fujigawachi Valley receives water from Mount Natsuki, a 1,386-meter-high mountain situated on the border of Oita and Miyazaki prefectures. The journey begins at Kannon Falls and extends for approximately eight kilometers.
For photographers, Fujigawachi Valley is a dream. Capture the play of light on water, the reflections in still pools, and the interplay of shadows and sunbeams. Whether you wield a professional camera or a humble smartphone, every frame here is a masterpiece waiting to be framed.
Close your eyes and listen. The rush of water harmonizes with the rustling leaves and the distant calls of birds. It's a symphony composed by nature–a melody that resonates deep within your soul. As you follow the stream, you'll encounter mini waterfalls, their spray catching the sunlight like a thousand diamonds.
Fujigawachi Valley receives water from Mount Natsuki, a 1,386-meter-high mountain situated on the border of Oita and Miyazaki prefectures. The journey begins at Kannon Falls and extends for approximately eight kilometers.
For photographers, Fujigawachi Valley is a dream. Capture the play of light on water, the reflections in still pools, and the interplay of shadows and sunbeams. Whether you wield a professional camera or a humble smartphone, every frame here is a masterpiece waiting to be framed.
New forearms, extra padding around the waist, complete new lower legs, harmonized the color blocking. Let me know how I can make it better, I welcome your thoughts.
Museum of Ethnography Budapest Hungary
Architects: NAPUR Architect
Area : 34000 m²
The new building of the Museum of Ethnography in Budapest City Park (Városliget) was opened 2022. The award-winning new museum building – which is part of Europe’s largest urban-cultural development called Liget Budapest Project has dynamic yet simple lines simultaneously harmonized with the park environment and communicating with the surrounding urban area.
The collection, which comprises 250.000 items from the Carpathian Basin and from every corner of the world, has been hosted by various facilities since its establishment in 1872, but never in its history did it operate in a building designed specifically to cater to its needs. The project was one of over 1700 entries from 115 countries. According to the decision of an international jury, the competition was won by the Hungarian architectural studio, Napur Architect (beating leading world-class architect studios such as Zaha Hadid, BIG), whose building is distinguished by a dynamic yet simple design harmonized with the natural environment of the park while communicating with the urban texture of its surroundings. The gently curving lines enable the building to function as a gateway and a passage linking the city and the park. Sixty percent of the structure is under ground level, and thanks to the landscaped roof and the transparency of the sections over the ground, the new museum is adapted to its environment in its scale too. The grass-covered roof area will be a pleasant community space awaiting visitors to Városliget.
The spectacular trademark of the building is the glass curtain wall surrounding the landscaped roof garden, reminiscent of two intertwined hillsides, with a unique characteristic, consisting of nearly half a million pixels, a raster made by metal grid based on ethnographic motifs selected from the museum's Hungarian and international collections.
The new functions and flexible spaces of the modern and state-of-the-art museum building will facilitate the understanding of the historical heritage embodied by the collection as well as the various aspects of contemporary society. Besides passing down this historical heritage, the realization of more recent professional and research themes and perspectives continues to be among the priority objectives of the museum, as confirmed by its mission. The creatively built spaces will open up new opportunities to communicate with visitors, enabling the presentation of the everyday objects, phenomena, and ideas of the past and the present side by side.
Museum of Ethnography Budapest Hungary
Architects: NAPUR Architect
Area : 34000 m²
The new building of the Museum of Ethnography in Budapest City Park (Városliget) was opened 2022. The award-winning new museum building – which is part of Europe’s largest urban-cultural development called Liget Budapest Project has dynamic yet simple lines simultaneously harmonized with the park environment and communicating with the surrounding urban area.
The collection, which comprises 250.000 items from the Carpathian Basin and from every corner of the world, has been hosted by various facilities since its establishment in 1872, but never in its history did it operate in a building designed specifically to cater to its needs. The project was one of over 1700 entries from 115 countries. According to the decision of an international jury, the competition was won by the Hungarian architectural studio, Napur Architect (beating leading world-class architect studios such as Zaha Hadid, BIG), whose building is distinguished by a dynamic yet simple design harmonized with the natural environment of the park while communicating with the urban texture of its surroundings. The gently curving lines enable the building to function as a gateway and a passage linking the city and the park. Sixty percent of the structure is under ground level, and thanks to the landscaped roof and the transparency of the sections over the ground, the new museum is adapted to its environment in its scale too. The grass-covered roof area will be a pleasant community space awaiting visitors to Városliget.
The spectacular trademark of the building is the glass curtain wall surrounding the landscaped roof garden, reminiscent of two intertwined hillsides, with a unique characteristic, consisting of nearly half a million pixels, a raster made by metal grid based on ethnographic motifs selected from the museum's Hungarian and international collections.
The new functions and flexible spaces of the modern and state-of-the-art museum building will facilitate the understanding of the historical heritage embodied by the collection as well as the various aspects of contemporary society. Besides passing down this historical heritage, the realization of more recent professional and research themes and perspectives continues to be among the priority objectives of the museum, as confirmed by its mission. The creatively built spaces will open up new opportunities to communicate with visitors, enabling the presentation of the everyday objects, phenomena, and ideas of the past and the present side by side.
Art Nouveau it was inspired by natural forms and structures, not only in flowers and plants, but also in curved lines. Architects tried to harmonize with the natural environment.
To visualise this philosophy I took pictures of art nouveau architecture as well as plants and combined them in one picture.
This picture is double exposure done on analogue film. The film is exposed taking architecture pictures and once all pictures are taken the film is wind back to be exposed a second time. This time pictures of natural and floral objects are taken. Since one hardly remembers what picture was taken when in the first round, it is a lot of random process how the objects overlay in the final picture. But surprise is part of the fun.
This is the last shot I took at Cabo Raso on a magnificent evening for photography, meaning plenty of clouds with the light shining through and an abundance of color right after the sun had set. I tried to arrange the shot so that the gap in the clouds harmonizes with the swirling water in front of me, unfortunately in the upper right there was no light getting through and nearly no texture in the clouds but I still like it.
I used a lee 0.9 hard grad and a hoya hd polarizer and the postprocessing was mostly contrast adjustments.
have a nice weekend, hopefully I'll find the time to go out shoot again, even if it's only here in germany ;-)
The beginning of the 1930’s marks the democratization of aerodynamics in the car lines. Each manufacturer tries to harmonize its range with more contemporary offerings, including Peugeot with its 301 Profilée version. The model we present is in an advanced state of preservation, but is very healthy. Its paint is not the original one, and shows an old quality restoration. The interior is complete, but the upholstery is in a rather used state. From a mechanical point of view, a restoration will be necessary, but the package seems to be in good condition. Here is the opportunity to acquire one of the rare survivors of the 301 Profilée versions!
l'Aventure Peugeot Citroën DS, la Vente Officielle
Aguttes
Estimated : € 5.000 - 10.000
Sold for € 8.580
Citroen Heritage
93600 Aulnay-sous-Bois
France
September 2021
Design composed of a symbols set harmonized to each other that blend together for a very personal creation of great visual impact.
In a game of overlap born the unusual idea with an evocative aesthetic from the world of slot machines, roulettes, poker chips and dices of the American casinos green tables.
In this composition stand out, as well as the unmistakable symbol of the ace of spades, playing cards with their rich decorations printed on the back.
Harley-Davidson Softail tank airbrushed and painted with special techniques.
Full of overlapping transparent glazes, metallic and pearlescent colors that blend together with each other.
The rural choir of fauna.. ready to harmonize
breaks into joyful song.. as the sun begins to rise
an orchestra of wild oats performs on center stage
directing the entire field .. pleasing crowds of any age
... those who witness glory.. those who hear the morning song
those that feel the peace within.. those that truly belong
capture the notes each morning ...beauty of dawns rural choir
the climb of the crescendo.. encouraging the sunrise higher
....let the wild oats of dawn..sow a song today..
- Kelly De Witt Schlicht -
Close your eyes and listen. The rush of water harmonizes with the rustling leaves and the distant calls of birds. It's a symphony composed by nature–a melody that resonates deep within your soul. As you follow the stream, you'll encounter mini waterfalls, their spray catching the sunlight like a thousand diamonds.
Fujigawachi Valley receives water from Mount Natsuki, a 1,386-meter-high mountain situated on the border of Oita and Miyazaki prefectures. The journey begins at Kannon Falls and extends for approximately eight kilometers.
For photographers, Fujigawachi Valley is a dream. Capture the play of light on water, the reflections in still pools, and the interplay of shadows and sunbeams. Whether you wield a professional camera or a humble smartphone, every frame here is a masterpiece waiting to be framed.