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Isaba es una villa y un municipio español de la Comunidad Foral de Navarra, situado en la merindad de Sangüesa, en la comarca de Roncal-Salazar, el valle de Roncal .
La villa se ubica en una ladera de un promontorio en la confluencia de los ríos Uztárroz, Belagua y Belabarce que, a partir de ahí, forman el río Esca y al pie de la peña de Ardibidiguinea y cerca de la de Ezkaurre
Está situada a 96 km de Pamplona al noreste de Navarra, en la frontera con la provincia de Huesca y de Francia. En su término municipal se encuentra el pico más alto de la geografía navarra, la Mesa de los Tres Reyes, llamada así porque se encuentra justo en la confluencia de los antiguos reinos (actuales comunidades autónomas) de Navarra y de Aragón con el (también antiguo reino) de Francia.
Descubra las calles estrechas y empedradas en torno a las que se alzan armoniosas casas señoriales de piedra y madera, con empinados tejados a dos o cuatro aguas que evitan que la nieve se deposite en ellos.
En el centro del pueblo, se alza majestuosa la iglesia-fortaleza de San Cipriano del siglo XVI. Y como buen ejemplar de los escudos nobiliarios que predominan en Isaba, acérquese a contemplar el de la fuente Uturrotx, en el que aparece labrada la historia del valle. Aunque la mejor manera de conocer la identidad y la historia roncalesa es visitando la Casa de la Memoria de Isaba.
Desde Isaba podrán acceder a las pistas de esquí de fondo y recorrer múltiples senderos.
Scarlet Caterpillarclub (Cordyceps militaris) and it's host caterpillar.
This specimen (one of the many found at this specific location) was originally found partially buried on top of one of the ancient moss covered graves in a Sussex churchyard during our Fungi Tour of Ancient Sussex Churches, on one of our stops, 22 October 2015.
The image was produced with artificial light and processed from 40 individual image files using a process called Focus Stacking.
Cassius Blue (Leptotes cassius) on host plant Plumbaginaceae, Leadwort (Plumbago sp), 9/28/2016, The Landing's, Skidaway Island, Savannah, Chatham Co., Ga.
This small butterfly has an average wingspan of but 0.75".
Cabaret Show by The Cocoa Butter Club Hosted by Sadie Sinner the Song Bird at 1 Lombard Street Restaurant City of London - Brilliant Creativity Highly Recommended
Art Gallery FIPGC Host Fiera Milano 2015.
Galleria d'Arte dei Membri della Federazione Internazionale Pasticceria Gelateria Cioccolateria.
Web Site: www.federazionepasticceri.it
Rabari man of Gujarat.
The region of Gujarat has played host to many a tribal culture and nourished them from the very earliest periods of history. One such tribe here, the Rabaris, still pursue a pastoral lifestyle—much in the same way as they did ages ago.
The Rabaris are a semi-nomadic tribe—pursuing a pre-agrarian, pastoral lifestyle—found mainly in the Kutch and Saurashtra regions of Gujarat. Though living today in permanent settlements, they are believed to have originally migrated from Baluchistan more than a millennium ago.
But over these thousand and more years, the Rabaris have undergone many changes and have been widely influenced by the local cultures with which they came in contact. Not only are they divided into distinct clans, they also prefer to trace their origin to Hindu Gods and even the Rajputs.
Without delving into the garbled clues provided by folk lore about their origin, a closer look at the Rabari today leads one into his quaint, colourful and rugged lifestyle.
By no means are the Rabaris an isolated people. The men are on the move—almost 10 out of the 12 months—in search of grazing pastures for their livestock; while the women and children remain in their villages. These villages are normally small, devoid of more than superficial amenities and, almost always, set in bleak, barren suroundings.
In a typical village, their rectangular houses, called vandhas, are built in rows. The white-washed mud walls and tiled roofs may have an appearance of starkness when viewed from outside. But within each house, the Rabari’s fondness for patterns is easily visible from the many geometric patterns that adorn its interiors. The tiny mirrors embedded into these mud-plaster patterns only enhance their beauty as they catch the faint glimmer of light streaming in from a small window or a low doorway. A home usually consists of two rooms, and an extended enclosure in the verandah which forms the kitchen.
The room at the back is normally used as a storehouse—a virtual treasure house of embroidered clothes and quilts kept in carved wooden pataras (chests); and the kothis and kothlas (granaries) made of mud and cowdung. The other room is mainly a living room decorated with embroidered torans or decorated doorways, while the doors are covered with brass foil etched in a myriad patterns. Often, the only piece of furniture that one might find is a carved, wooden cradle.
The community’s main stay is milk and milk produce from their livestock in order to purchase commodities that they trade in various forms at the local village or town markets.
Much of the handiwork seen in their decorated homes is that of their women. In fact, Rabari women are famous for their embroidery work, called bharat kaam, from which they make numerous traditional garments and furnishings. The kediyun, a gathered jacket with an embroidered smock, worn by young Rabari men and children, skirts and blouses for the women and girls—are al dexterously embroidered. Interestingly, the Rabari girl, completes over the years, her entire dowry which includes clothes as well as beautiful quilts or derkee.
Kokulashtami, after the rains, is marriage time. The men are back from their wanderings for this al important occasion. All marriages take place on this one day. Since child marriage is still very much in vogue within this tribe, outsiders are distrusted. Again, the Rabari marries only within the tribe and often into families which are closely located. Marrying outside the fold leads to social castigation and is very rare. While Rabari couples are probably the most exotically dressed, the marriage is a simple ritual performed by a Brahmin priest.
Rabaris, by and large, and ardent followers and worshippers of the Mother Goddess. Each clan has its own tribal goddess as the patron deity, though their homes often have pictures of other gods and goddesses as well. Strong tendencies of deifying and invoking the dead are still prevalent—a pointer to the community’s old world origin.
Another old world custom that has persisted is the custom of tattooing and there is a marked similarity In the motifs used in their embroideries and tattoos.
As an outsider it is difficult to communicate with these people since they speak a dialect which is a mixture of Marwari and Gujarati. But once they understand the visitor’s innocent curiosity, they exude the warmth and friendship that has always been a part of their make-up.
They had a good selection of literature in the entrance hall so Víctor was entertained while I enjoyed sketching.
16/12/2012
noodlers ink + watercolour
on smooth sketching paper (24 x 32 cm)
Art Gallery FIPGC Host Fiera Milano 2015.
Galleria d'Arte dei Membri della Federazione Internazionale Pasticceria Gelateria Cioccolateria.
Web Site: www.federazionepasticceri.it
All Saints church, Jesus Lane, Cambridge
Detail from Our Lord Enthroned, by Edward Burne-Jones, 1866
From MY CHRISTMAS SET.
All Saints church was built for the Church of England in 1864 to the designs of the great George Bodley, perhaps the most consistently brilliant of all 19th century English church architects. It is a high Tractarian temple designed in the Decorated style, and is generally considered to be Bodley's masterpiece. Interior decoration includes the work of William Morris, Edward Burne-Jones, Ford Madox Brown, Charles Kempe and Frederick Leach.
For many years Cambridge's highest Anglo-catholic church, the congregation gradually dwindled as fashions changed and the population of the parish moved out to the big new housing estates. In 1973, All Saints was declared redundant.
Attempts were made to find a new use, but after three years none had been found. So, in keeping with the redundant churches legislation of the time, All Saints was scheduled for demolition.
There was a national outcry, and at the eleventh hour the church was saved, and vested in the care of the Churches Conservation Trust in 1981. Considerable restoration was needed, and the building was mothballed until the early years of the 21st century, when a massive programme of repairs was carried out, although the church still remained locked.
In 2007, theological students from neighbouring Westcott House began to care for the building, opening it to the public most days and using it for daily liturgies. The response of the public, and a renewed interest genrally in 19th Century churches, galvanised the CCT to the extent that a lot of money was spent in turning it into a somewhat controversial visitors centre, with movement-activated spotlights and voice commentary as you wander around, the first of which makes photography now very difficult, and the second of which is merely very irritating.
Die Blätter fallen, fallen wie von weit,
als welkten in den Himmeln ferne Gärten;
sie fallen mit verneinender Gebärde.
Und in den Nächten fällt die schwere Erde
aus allen Sternen in die Einsamkeit.
Wir alle fallen. Diese Hand da fällt.
Und sieh dir andre an: es ist in allen.
Und doch ist Einer, welcher dieses Fallen
unendlich sanft in seinen Händen hält.
(Rilke: Herbst)
She was our host for the night during the little trek we did there.
In Tagong village, we thought we'd have a guide but we only could take a picture of a map (actually a drawing) to help us find the winter nomad's shelter.
Indeed, for few month each year, they're not really nomads but they live in houses, lost in the high grasslands of Kham.
On the way we met her husband on a bike.
After that, we found them at their house and they welcomed us for a lunch.