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The palace commissioned by Charles V in the middle of the Alhambra was designed by Pedro Machuca, an architect who had trained under Michelangelo. It was conceived in a contemporary Renaissance style.The construction of a monumental Italian-influenced palace in the heart of the Nasrid-built Alhambra symbolized Charles V's imperial status and the triumph of Christianity over Islam achieved by his grandparents (the Catholic Monarchs). It consists of a massive square structure of stone that encloses a perfectly circular courtyard. The exterior facades are divided into two horizontal zones of decoration, with rustication below and pilasters alternating with other embellishments above. The two main entrance portals, on the western and southern sides, have designs resembling triumphal arches with engaged columns. The pedestals of these columns are carved with reliefs depicting allegorical scenes such as the Victories destroying armaments. The upper façade of the southern entrance portal features a Serlian window. Among the other details of the palace façades are a series of bronze rings or knockers, which are strictly ornamental, with more Hispanic symbolic imagery such as lion and eagle heads. Pedro Machuca had intended to create plazas with colonnades on the east and west sides of the building to serve as a grand new approach to the Alhambra palaces, but these were never executed.
Construction of the palace began in 1527. After Machuca's death in 1550, it was continued by his son Luis, who finished the facades and built the internal courtyard. Work was halted for 15 years when the 1568 Morisco Rebellion began. Work was still unfinished when Philip IV visited in 1628 and the project was finally abandoned in 1637, leaving the structure without a roof. It was finally completed after 1923, when Leopoldo Torres Balbás began its restoration. Today, the building houses the Alhambra Museum, which holds objects and artefacts relating to the Alhambra's history, as well as the Fine Arts Museum of Granada, which houses a collection of paintings from Granada dating from the 16th to 20th centuries.
Designed as a military zone at the beginning, the Alhambra became the royal residence and court of Granada in the mid-13th century after the establishment of the Nasrid Kingdom and the construction of the first palace by the founding king Mohammed ibn Yusuf Ben Nasr, better known as Alhamar. It served as a fortress from the 13th through 15th centuries, a citadel of high walls and defensive towers that houses two main areas: the military zone or Alcazaba, barracks of the royal guard, and the medina or palatine city, where the famous Nasrid Palaces and the remains of the houses of nobles and plebeians who lived there. The Palace of Carlos V, built after the city was seized in 1492 by the Catholic Monarchs) is situated in the medina.
The monumental complex also has an independent palace in front of the Alhambra, surrounded by orchards and gardens, which was the solace of the Granadine kings, The Generalife .
The name Alhambra originates from an Arabic word meaning "red castle or vermilion," perhaps due to the color tone of the towers and walls that completely surround the hill of La Sabica.
There is no reference to the Alhambra as a residence of kings until the 13th century, although fortification has existed since the 9th century. The first kings of Granada, the Zirtians, had their castles and palaces in the hills of Albaicin (none remain). The monarchs Ziries were in all probability the emirs who built the Alhambra, beginning in 1238. The founder of the dynasty, Muhammed Al-Ahmar, began with the restoration of the old fort. His work was completed by his son Muhammed II, whose immediate successors continued the repairs. The construction of the palaces (called Casa Real Vieja) dates to the 14th century and is the work of two kings: Yusuf I and Muhammed V. The first is awarded, among others, the Fourth Comares, the Door of Justice, The Baths and some towers. His son, Muhammed V, completed the beautification of the palaces with the Hall of Lions, in addition to other rooms and fortifications. The Alhambra became a Christian court in 1492 when the Catholic Monarchs conquered Granada. Later, several structures were built to house prominent citizens, military barracks, a church and a Franciscan monastery.
Left -to-right from the top: HIM Haile Sellasie I, John Rambo (I also could have used images from Apocalypse Now which hit me hard the first time I saw it), Malik El-Shabazz, Alfred E Newman for Mad Magazine, Kropotkin, wearing Morpheus' glasses in the Matrix, Davy & Goliath, Spock & Star Trek, Edith Prickley on behalf of all SCTV crew, Oscar the Grouch on behalf of all Muppets, Grizelda from The Hilarious House of Frightenstein, Laurel & Hardy, Archibald Haddock, Jimmy Hendrix, my dad's Ray Charles album, The Great Gazoo, a mummy to signify my interest in war & death from an early age, Terry Gilliam's films (Brazil's reality-bending end scene shown here), Charlie Chaplin, and a SHARP patch (skinheads against racial prejudice: I was never a member, but I dressed like them for a time, saw them about and admired their loud antiracist stance.
I think this one must've been influenced by all the magazines I've been reading lately. It feels like a magazine to me.
I took the good pictures on here. Except the woman, of course.
It's neat how subtle and effective a gradient like this is. A pink to purple as opposed to a yellow to blue or something. It's not distracting to the rest of the design but I feel like it's adds to it.
Also added a concrete texture (which I shot) over it to take off the shine and smoothness. I like it looking like someone painted it on a wall.
I also enjoy the Vintage font (music names). I typically only go ga ga over sans serifs, but this one just looked fun.
Anywho, if you're new to Dancehall and this poster offends you, please click here for a bit of explanation. No offense intended.
(Also, really liking the new Flickr layout/size/zoom functions!)
Influencers church (Paradise) fireworks 19/12/2014
Carols and Fireworks.
Canon EOS 5D, 24-70L, ND2-400 Variable filter, 1 sec exposure and longer
2015
_MG_9002
Role players from the fictional village of Bayan enjoy a game of volleyball during Exercise MAPLE RESOLVE 19 at 3rd Canadian Division Support Base Detachment Wainwright on May 11th, 2019.
Image By: Private Jordyn Anderson
Garrison Wainwright Imaging
WT07-2019-0013-0013
influenced by the late australian artist brett whiteley and australian aboriginal art
Brett Whiteley AO (7 April 1939 – 15 June 1992) was an Australian avant-garde artist. He is represented in the collections of all the large Australian galleries, ...
Kumo is Japanese for spider and a fitting name for the new Japanese influenced fixed blade knife designed by custom knifemaker R.J. Martin and manufactured by Spyderco. A self-professed steel junkie, R.J. Martin is celebrated for integrating multiple grind lines on the blades of his knife designs. Made from a solid 9-inch piece of VG-10 steel, the Kumo blade has two definite grinds: a swedge-grind along the spine and a hollow-grind above the non-serrated cutting edge. Converging in the center of the blade the two grind lines meet creating a look that is streamlined and pleasingly tapered. Where the thumb naturally settles on the blade are a series of notches that latch onto the thumb pad adding an appreciative level of grip and cutting control. In Japanese fashion, the handle is wrapped with epoxy-saturated cord over an undercoat of pebbly black stingray skin that has a silver Spyderco bug Menuki peeking through the wrapping. The Kumo slips into in a fitted black Kydex sheath mounted with a TekLok® detachable polymer clip that can be situated to carry the knife in five different carry positions: vertical, inverted, cross-draw, small of back or horizontal position. Overall length of the Kumo is 8-5/16” (211mm) it’s PlainEdge cutting edge is 3-3/4” (95mm) and it weighs 3 oz (85g).
Fondazione Querini Stampalia by Carlo Scarpa (Venice 1906 – Sendai, Japan 1978). Scarpa was an Italian architect, influenced by the materials, landscape, and the history of Venetian culture, and Japan. He attended the Academy of Fine Arts where he focused on architectural studies. Graduated from the Accademia in Venice, with the title of Professor of Architecture, he apprenticed with the architect Francesco Rinaldo.
His architecture is deeply sensitive to the changes of time, from seasons to history, rooted in a sensuous material imagination. He was Mario Botta's thesis adviser along with Giuseppe Mazzariol; the latter was the Director of the Fondazione Querini Stampalia when Scarpa completed his renovation and garden for that institution.
Scarpa taught drawing and Interior Decoration at the "Istituto universitario di architettura di Venezia" from the late 1940s until his death. While most of his built work is located in the Veneto, he made designs of landscapes, gardens, and buildings, for other regions of Italy as well as Canada, the United States, Saudi Arabia, France and Switzerland. His name has 11 letters and this is used repeatedly in his architecture.
One of his last projects, left incomplete at the time of his death, was altered in 2006) by his son Tobia: the Villa Palazzetto in Monselice. This work is one of Scarpa's most ambitious landscape and garden projects, the Brion Sanctuary notwithstanding. It was executed for Aldo Businaro, the representative for Cassina who is responsible for Scarpa's first trip to Japan.
1. a state of equilibrium or equipoise; equal distribution of weight, amount, etc.
2. something used to produce equilibrium;
counterpoise.
3. mental steadiness or emotional stability;
habit of calm behavior, judgment, etc.
4. a state of bodily equilibrium: He lost his balance and fell down the stairs.
5. an instrument for determining weight, typically by the equilibrium of a bar with a fulcrum at the center, from each end of which is suspended a scale or pan, one holding an abject of known weight, and the other holding the object to be weighed.
6. the remainder or rest: He carried what he could and left the balance for his brother to bring.
7. the power or ability to decide an outcome by throwing one\'s strength, influence, support, or the like, to one side or the other.
8. (in winemaking) the degree to which all the attributes of a wine are in harmony, with none either too prominent or deficient.
9. Accounting
a. equality between the totals of the two sides of an account.
b. the difference between the debit total and the credit total of an account.
c. unpaid difference represented by the excess of debits over credits.
10. an adjustment of accounts.
11. the act of balancing; comparison as to weight, amount, importance, etc.; estimate.
12. preponderating weight: The balance of the blame is on your side.
13. Fine Arts. composition or placement of elements of design, as figures, forms, or colours, in such a manner as to produce an aesthetically pleasing or harmoniously integrated whole.
14. Dance. a balancing movement.
15. Also called balance wheel.
Horology. a wheel that oscillates against the tension of a hairspring to regulate the beats of a watch or clock.
16. (initial capital letter) Astronomy, Astrology. the constellation or sign of Libra; Scales.
17. Audio. (in a stereophonic sound system) the comparative loudness of two speakers, usually set by a control (balance control) on the amplifier or receiver.
-verb (used with object)
18. to bring to or hold in equilibrium;
poise: to balance a book on one\'s head.
19. to arrange, adjust, or peoportion the parts of symmetrically.
20. to be equal or peoportionate to: I\'m always happy when cash on hand balances expected expenses. One side of an equation must balance the other.
21. Accounting.
a. to add up the two sides of (an account) and determine the difference.
b. to make the necessary entries in (an account) so that the sums of the two sides will be equal.
c. to settle by paying what remains due on an account; equalize or adjust.
22. to weigh in a balance.
23. to estimate the relative weight or importance of; compare: to balance all the probabilities of a situation.
24. to serve as a counterpoise to; counterbalance; offset: The advantages more than balance the disadvantages.
25. Dance. to move in rhythm to and from: to balance one\'s partner.
-verb (used without object)
26. to have an equality or equivalence in weight, parts, etc.; be in equilibrium: The account doesn\'t balance. Do these scales balance?
27. Accounting. to reckon or adjust accounts.
28. to waver or hesitate: He would balance and temporize endlessly before reaching a decision.
29. Dance. to move forward and backward or in opposite directions.
-Idioms
30. in the balance, with the outcome in doubt or suspense: While the jury deliberated, his fate rested in the balance.
31. on balance, considering all aspects: On balance, the new product is doing well.
Origin: 1250-1300; ME balaunce< AF; OF balance< VL *balancia, var. of *bilancia, equiv. to LL bilanc-BI- 1+ lanx metal dish, pan of a pair of scales) + -IA
Influence/Attention was one of my favorite demos at 10100, it's an interactive art installation by Orit Zucherman (with Sajid Sadi) presenting sixteen moving portraits of Media Lab faculty with a variety of gestures.
Shapes of Influence 2016 is the second in a biennial series of ceramics exhibitions. The intent of this juried exhibition is to showcase the best in contemporary ceramics. This years exhibition was juried by Erin Furimsky.
Exhibiting Artists:
Lisa Marie Barber, Lindsey Beasley, Gary Beaumont, Casey Beck, Jill Birschbach, Sally Brogden, Robert Bruch, Jim Budden, Brian Christensen, Shenny Cruces, Audry Deal-McEver, Paula Diaz-Sylvester, Christine Dokolasa, Yewen Dong, Ben Grazzini, Mary Harden, Hugh Henderson, Jason Hess, Lauren Kearns, Lucien Koonce, Emily Loehle, Robert Lorenz, John Masello, Hannah Meredith, Matthew Mitros, April Noble, Helen Otterson, Rosalinda Post-Lucas, Mike Rand, Don Reynolds, Gina Robbins, Kazuma Sambe, Lauren Sabndler, JoAnn Schnabel, Suzanne Sidebottom, Karen Swyler, Joan Ulrich, Mark Walnock, Mieke Zuiderweg
Credits:
Hair: Magika – Nonsense
Hair Stick: Neko Hama – Kanzashi Aya
Skin: Glam Affair – Linn
Earrings: Dahlinks – Fan Earrings
Dress: Lika Ruby – China Dress Heart
Bracelet: Sigma Jewels – Anya Single Bracelet
Nails: N-core – Manicure
Shoes: N-core – Coquette
Pose: fri.day
This beautiful Pennsylvania influenced Ewer jug (also called a harvest jug) is covered with a variety of intricate slip trailed decorations spanning from top to bottom. Each section, or part, of the jug contains early American symbols; some relating to secret societies such as the Masons, Skull and Bones, Knights Templar, and the Bohemian Club. A special “dirt” glaze (as Chris coined) and heavy aging was used to achieve an incredible authentic look. Firing this piece for a second time gave the glaze a few abnormalities, which only increased its beauty rarity.
Measuring 13.5 inches tall, 11.5 inches wide, and 10 inches deep this jug is fit for a mantelpiece. The two major features of this pot are the eagles. The eagle on the left side of the pot is peering over his left wing, adorned by the olive branches of peace. On the right side is an eagle peering over his right wing, preparing to snatch up bundles of arrows to prepare for war. This is to signify that America wants peace, but will fight if necessary. The top half of the pot also displays an owl, a central symbol of the Bohemian club, and the expression, "ANNUIT COEPTIS - HE APPROVES OF OUR UNDERTAKING."
The bottom half of the pot is split up into panels with various symbols, most of which are Masonic-influenced. Included are the eye of providence, the sword pointing to the naked heart, the Eastern star, and a Masonic scale, which signifies the balance between the right and left.
For more info, please visit davidtsmith.com
just attended the first session of Influencers Youth and it was great!! looking forward for the next two nights!
The Springfield Art Association will host an opening reception for a nationally juried ceramic exhibition entitled Shapes of Influence on Friday evening, August 3rd, from 5:30-7:30 PM. Awards and a gallery talk by juror Simon Levin will occur at 6:45 PM.
The show will be on display in the SAA's M.G. Nelson Family Gallery from August 3-September 1 and features work from over two dozen states and Canada.
Juried artists include Morgan Barton, Kenneth Baskin, Casey Beck, Irina Bondarenko, Robert Bruch, Danielle Callahan, Michelle Coakes, John Cohorst, Louis Colomarini, John Costanza, Paula Diaz-Sylvester, Auguste Elder, Karen Ellis-Phillips, Curtis and Karen Frederick, Verne Funk, John Gargano, Kaitlyn Getz, Sarah Gross, Lois Harbaugh, Ian Hazard-Bill, Jason Hess, Jennifer Holt, Drew Ippoliti, Iskra Ivanova, Anna Kats, Patty Kochaver, Robert Kokenyesi, Lucien Koonce, Joe Kraft, Annie Lee, Andrew Mcintyre, Jessie Martin, Paul McCoy, Avra Messe, Molly Morning-glory, Matthew Patton, Sara Prigodich, Jenny Reed, Masa Sasaki, Jessica Sallay-Carrington, Kourtney Stone, Suzanne Storer, Sam Thompson, Austin Wieland, Nicole Winning, Matthew Wright, Kensuke Yamada, Lisa York, and David Zahn.
Invited artists include Dan Anderson, Kahil Irving, Peter Pincus, and Kelsie Rudolph.
The M.G. Nelson Gallery is open to the public M-F from 9 AM-5 PM and Saturdays from 10 AM-3 PM.
A recent sketchbook page from my textiles project, considering the brain and ways of protecting feelings via methods of facial / head protection. Here, I am looking at different influences towards design, such as architectural, then creating a simple design from this building.
(Foto is digitally captured from my paper print)
Borobudur is a 9th-century Mahayana Buddhist Temple in Magelang, Central Java, Indonesia. The monument consists of six square platforms topped by three circular platforms, and is decorated with 2,672 relief panels and 504 Buddha statues. A main dome, located at the center of the top platform, is surrounded by 72 Buddha statues seated inside a perforated stupa.
Built in the 9th century during the reign of the Sailendra Dynasty, the temple's design in Gupta architecture reflects India's influence on the region. It also depicts the gupta style from India and shows influence of Buddhism as well as Hinduism. The monument is both a shrine to the Lord Buddha and a place for Buddhist pilgrimage. The journey for pilgrims begins at the base of the monument and follows a path around the monument and ascends to the top through three levels symbolic of Buddhist cosmology: Kāmadhātu (the world of desire), Rupadhatu (the world of forms) and Arupadhatu (the world of formlessness). The monument guides pilgrims through an extensive system of stairways and corridors with 1,460 narrative relief panels on the walls and the balustrades.
Evidence suggests Borobudur was constructed in the 9th century and abandoned following the 14th century decline of Hindu kingdoms in Java, and the Javanese conversion to Islam. Worldwide knowledge of its existence was sparked in 1814 by Sir Thomas Stamford Raffles, then the British ruler of Java, who was advised of its location by native Indonesians. Borobudur has since been preserved through several restorations. The largest restoration project was undertaken between 1975 and 1982 by the Indonesian government and UNESCO, following which the monument was listed as a UNESCO World Heritage Site. Borobudur is still used for pilgrimage; once a year Buddhists in Indonesia celebrate Vesak at the monument, and Borobudur is Indonesia's single most visited tourist attraction.
There is no written record of who built Borobudur or of its intended purpose. The construction time has been estimated by comparison between carved reliefs on the temple's hidden foot and the inscriptions commonly used in royal charters during the 8th and 9th centuries. Borobudur was likely founded around 800 CE. This corresponds to the period between 760 and 830 CE, the peak of the Sailendra dynasty in central Java, when it was under the influence of the Srivijayan Empire. The construction has been estimated to have taken 75 years and been completed during the reign of Samaratungga in 825.
There is confusion between Hindu and Buddhist rulers in Java around that time. The Sailendras were known as ardent followers of Buddhism, though stone inscriptions found at Sojomerto suggest they may have been Hindus. It was during this time that many Hindu and Buddhist monuments were built on the plains and mountains around the Kedu Plain. The Buddhist monuments, including Borobudur, were erected around the same time as the Hindu Shiva Prambanan temple compound. In 732 CE, the Shivaite King Sanjaya commissioned a Shivalinga sanctuary to be built on the Wukir hill, only 10 km east of Borobudur.
Construction of Buddhist temples, including Borobudur, at that time was possible because Sanjaya's immediate successor, Rakai Panangkaran, granted his permission to the Buddhist followers to build such temples. In fact, to show his respect, Panangkaran gave the village of Kalasan to the Buddhist community, as is written in the Kalasan Charter dated 778 CE. This has led some archaeologists to believe that there was never serious conflict concerning religion in Java as it was possible for a Hindu king to patronize the establishment of a Buddhist monument; or for a Buddhist king to act likewise. However, it is likely that there were two rival royal dynasties in Java at the time—the Buddhist Sailendra and the Saivite Sanjaya—in which the latter triumphed over their rival in the 856 battle on the Ratubaka plateau. This confusion also exists regarding the Lara Jonggrang temple at the Prambanan complex, which was believed that it was erected by the victor Rakai Pikatan as the Sanjaya dynasty's reply to Borobudur, but others suggest that there was a climate of peaceful coexistence where Sailendra involvement exists in Lara Jonggrang.
Borobudur lay hidden for centuries under layers of volcanic ash and jungle growth. The facts behind its abandonment remain a mystery. It is not known when active use of the monument and Buddhist pilgrimage to it ceased. Sometime between 928 and 1006, King Mpu Sindok moved the capital of the Medang Kingdom to the region of East Java after a series of volcanic eruptions; it is not certain whether this influenced the abandonment, but several sources mention this as the most likely period of abandonment. The monument is mentioned vaguely as late as ca. 1365, in Mpu Prapanca's Nagarakretagama written during Majapahit era and mentioning "the vihara in Budur". Soekmono (1976) also mentions the popular belief that the temples were disbanded when the population converted to Islam in the 15th century.
The monument was not forgotten completely, though folk stories gradually shifted from its past glory into more superstitious beliefs associated with bad luck and misery. Two old Javanese chronicles (babad) from the 18th century mention cases of bad luck associated with the monument. According to the Babad Tanah Jawi (or the History of Java), the monument was a fatal factor for Mas Dana, a rebel who revolted against Pakubuwono I, the king of Mataram in 1709. It was mentioned that the "Redi Borobudur" hill was besieged and the insurgents were defeated and sentenced to death by the king. In the Babad Mataram (or the History of the Mataram Kingdom), the monument was associated with the misfortune of Prince Monconagoro, the crown prince of the Yogyakarta Sultanate in 1757. In spite of a taboo against visiting the monument, "he took what is written as the knight who was captured in a cage (a statue in one of the perforated stupas)". Upon returning to his palace, he fell ill and died one day later.
Lieutenant Governor-General Thomas Stamford Raffles took great interest in the history of Java. He collected Javanese antiques and made notes through contacts with local inhabitants during his tour throughout the island. On an inspection tour to Semarang in 1814, he was informed about a big monument deep in a jungle near the village of Bumisegoro. He was not able to make the discovery himself and sent H.C. Cornelius, a Dutch engineer, to investigate. In two months, Cornelius and his 200 men cut down trees, burned down vegetation and dug away the earth to reveal the monument. Due to the danger of collapse, he could not unearth all galleries. He reported his findings to Raffles including various drawings. Although the discovery is only mentioned by a few sentences, Raffles has been credited with the monument's recovery, as one who had brought it to the world's attention.
The Dutch East Indies government then commissioned F.C. Wilsen, a Dutch engineering official, who studied the monument and drew hundreds of relief sketches. J.F.G. Brumund was also appointed to make a detailed study of the monument, which was completed in 1859.
Borobudur attracted attention in 1885. The restoration was carried out between 1907 and 1911. Due to the limited budget, the restoration had been primarily focused on cleaning the sculptures, and Van Erp did not solve the drainage problem. Within fifteen years, the gallery walls were sagging and the reliefs showed signs of new cracks and deterioration. Van Erp used concrete from which alkali salts and calcium hydroxide leached and were transported into the rest of the construction. This caused some problems, so that a further thorough renovation was urgently needed.
In 1973, a master plan to restore Borobudur was created. The Indonesian government and UNESCO then undertook the complete overhaul of the monument in a big restoration project between 1975 and 1982. The foundation was stabilized and all 1,460 panels were cleaned. The restoration involved the dismantling of the five square platforms and improved the drainage by embedding water channels into the monument. Both impermeable and filter layers were added. This colossal project involved around 600 people to restore the monument and cost a total of US$ 6,901,243. After the renovation was finished, UNESCO listed Borobudur as a World Heritage Site in 1991. It is listed under Cultural criteria "to represent a masterpiece of human creative genius", "to exhibit an important interchange of human values, over a span of time or within a cultural area of the world, on developments in architecture or technology, monumental arts, town-planning or landscape design", and "to be directly or tangibly associated with events or living traditions, with ideas, or with beliefs, with artistic and literary works of outstanding universal significance".
Borobudur contains approximately 2,670 individual bas reliefs (1,460 narrative and 1,212 decorative panels), which cover the façades and balustrades. The total relief surface is 2,500 square metres and they are distributed at the hidden foot and the five square platforms.
The narrative panels, which tell the story of Sudhana and Manohara,[69] are grouped into 11 series encircled the monument with the total length of 3,000 metres (9,800 ft). The hidden foot contains the first series with 160 narrative panels and the remaining 10 series are distributed throughout walls and balustrades in four galleries starting from the eastern entrance stairway to the left. Narrative panels on the wall read from right to left, while on the balustrade read from left to right. This conforms with pradaksina, the ritual of circumambulation performed by pilgrims who move in a clockwise direction while keeping the sanctuary to their right.[70]
The hidden foot depicts the workings of karmic law. The walls of the first gallery have two superimposed series of reliefs; each consists of 120 panels. The upper part depicts the biography of the Buddha, while the lower part of the wall and also balustrades in the first and the second galleries tell the story of the Buddha's former lives. The remaining panels are devoted to Sudhana's further wandering about his search, terminated by his attainment of the Perfect Wisdom.
Apart from the story of the Buddhist cosmology carved in stone, Borobudur has many statues of various Buddhas. The cross-legged statues are seated in a lotus position and distributed on the five square platforms (the Rupadhatu level) as well as on the top platform (the Arupadhatu level).
The Buddha statues are in niches at the Rupadhatu level, arranged in rows on the outer sides of the balustrades, the number of statues decreasing as platforms progressively diminish to the upper level. The first balustrades have 104 niches, the second 104, the third 88, the fourth 72 and the fifth 64. In total, there are 432 Buddha statues at the Rupadhatu level. At the Arupadhatu level (or the three circular platforms), Buddha statues are placed inside perforated stupas. The first circular platform has 32 stupas, the second 24 and the third 16, that add up to 72 stupas. Of the original 504 Buddha statues, over 300 are damaged (mostly headless) and 43 are missing (since the monument's discovery, heads have been stolen as collector's items, mostly by Western museums).
At first glance, all the Buddha statues appear similar, but there is a subtle difference between them in the mudras or the position of the hands. There are five groups of mudra: North, East, South, West and Zenith, which represent the five cardinal compass points according to Mahayana. The first four balustrades have the first four mudras: North, East, South and West, of which the Buddha statues that face one compass direction have the corresponding mudra. Buddha statues at the fifth balustrades and inside the 72 stupas on the top platform have the same mudra: Zenith. Each mudra represents one of the Five Dhyani Buddhas; each has its own symbolism.
Part of an ongoing project exploring women's sexuality in the confines of societal norms.
35 mm black and white film
Hangul was influenced by the western use of various typesets in the middle of the 20th century. Various fonts evolved. The text above means Seoul Womens' University.
Written by: Chantal Sood @chantalsood
Miquela Sousa, Instagram model, singer, social rights activist, is social media’s latest “it” girl. She is often seen sporting the latest fashion products from all the trending brands, from Chanel clothing to Kylie Cosmetic Lip Kits. At first glance, she seems like any other blogger, visiting all of L.A.’s hot spots and responding to her followers, referred to as “Miquelites.” However, unlike other bloggers, Sousa is virtual. She is computer generated to resemble a 19-year-old Brazilian- Spanish girl. While her creator’s identity remains anonymous, one thing is clear: virtual influencers are going to change how the world of fashion operates.
For more videos, visit www.bacciinc.com
The Springfield Art Association will host an opening reception for a nationally juried ceramic exhibition entitled Shapes of Influence on Friday evening, August 3rd, from 5:30-7:30 PM. Awards and a gallery talk by juror Simon Levin will occur at 6:45 PM.
The show will be on display in the SAA's M.G. Nelson Family Gallery from August 3-September 1 and features work from over two dozen states and Canada.
Juried artists include Morgan Barton, Kenneth Baskin, Casey Beck, Irina Bondarenko, Robert Bruch, Danielle Callahan, Michelle Coakes, John Cohorst, Louis Colomarini, John Costanza, Paula Diaz-Sylvester, Auguste Elder, Karen Ellis-Phillips, Curtis and Karen Frederick, Verne Funk, John Gargano, Kaitlyn Getz, Sarah Gross, Lois Harbaugh, Ian Hazard-Bill, Jason Hess, Jennifer Holt, Drew Ippoliti, Iskra Ivanova, Anna Kats, Patty Kochaver, Robert Kokenyesi, Lucien Koonce, Joe Kraft, Annie Lee, Andrew Mcintyre, Jessie Martin, Paul McCoy, Avra Messe, Molly Morning-glory, Matthew Patton, Sara Prigodich, Jenny Reed, Masa Sasaki, Jessica Sallay-Carrington, Kourtney Stone, Suzanne Storer, Sam Thompson, Austin Wieland, Nicole Winning, Matthew Wright, Kensuke Yamada, Lisa York, and David Zahn.
Invited artists include Dan Anderson, Kahil Irving, Peter Pincus, and Kelsie Rudolph.
The M.G. Nelson Gallery is open to the public M-F from 9 AM-5 PM and Saturdays from 10 AM-3 PM.
I saw this first on my old uni pal and fellow illustrator WJC's brilliant blog
warwickjohnsoncadwell.blogspot.com/2010/09/influence-map....
and felt compelled to discover my own influence map. A really enjoyable exercise, which seems to prove that my main inspiration still comes from my boyhood.
You can download a template here
fox-orian.deviantart.com/art/Influence-Map-Template-17455...
Welcome to high-flying Road Atlanta for the second season of Lexus 0 to 60 featuring some of your favorite celebrity influencers who competed for the automotive throne on the 2.54-mile road course just north of Braselton, Georgia. The performance driving action matched up two teams of three drivers with the latest ensemble of high performance coupes and sedans from Lexus including the new stalwart of the family known as the LC 500. Intelligent performance aptly fits its venerable persona.
Mosques with minarets in Vienna? A town commission, which wanted to prevent this - as in Carinthia - could find this a hard nut to crack in Vienna. Because the townscape of the federal capital already contains numerous elements, which were strongly influenced by the Islamic culture. It's not all about buildings like the Islamic Center on Hubertusdamm - Vienna's only structurally recognizable mosque. Even classical Viennese architecture has Islamic features.
The most well-known example is the Saint Charles' Church: with its dome and the two pillars, at first glance, it can actually be held for a Turkish mosque. And this is not so unintentional, explains Claudius Caravias in his latest book "The Mosque on the (very small river) Vienna": Johann Bernhard Fischer von Erlach was inspired by, among other things, the Suleiman Mosque in Constantinople, today's Istanbul.
Only at second glance does it become apparent that the two belfries are modeled after the Trajan's Column in Rome, and that the portico of the colonnade quotes the Pantheon as well as St. Peter's Basilica. This architectural mixture can be understood, above all, from the wish of the patron Emperor Karl VI, that Vienna, as the residence of the Roman-German emperor, becomes the third Rome besides Western and Eastern Rome (Constantinople) - and the church a symbol of it.
Moscheen mit Minaretten in Wien? Eine Ortsbildkommission, die das verhindern wollte – wie in Kärnten –, könnte sich in Wien daran die Zähne ausbeißen. Denn das Ortsbild der Bundeshauptstadt enthält bereits zahlreiche Elemente, die von der islamischen Kultur stark geprägt wurden. Dabei geht es gar nicht nur um Bauten wie das Islamische Zentrum am Hubertusdamm – Wiens einzige baulich erkennbare Moschee. Auch klassische Wiener Architektur trägt islamische Züge.
Bekanntestes Beispiel ist die Karlskirche: Mit ihrer Kuppel und den beiden Säulen kann sie bei flüchtigem Hinsehen tatsächlich für eine türkische Moschee gehalten werden. Und das ist gar nicht so unbeabsichtigt, erklärt Claudius Caravias in seinem aktuellen Buch „Die Moschee an der Wien“: Johann Bernhard Fischer von Erlach ließ sich unter anderem von der Süleyman-Moschee in Konstantinopel, dem heutigen Istanbul, inspirieren.
Erst auf den zweiten Blick lässt sich erkennen, dass die beiden Glockentürme der Trajanssäule in Rom nachempfunden sind und die Säulenvorhalle das Pantheon aber auch den Petersdom zitiert. Verstehen lässt sich diese architektonische Mischung vor allem aus dem Wunsch des Auftraggebers Kaiser Karl VI., dass Wien als Residenzstadt des römisch-deutschen Kaisers neben West- und Ost-Rom (Konstantinopel) zum dritten Rom wird – und die Kirche zum Symbol dafür.
diepresse.com/home/panorama/oesterreich/387597/Karlskirch...
There are lots of images on the walls of Toy Story Midway Mania. There is such a variety that most riders will find something that brings back a fond memory.
There are lots of memories here for me. The images of yummy candy on the Candy Land board very likely led to the growth of at least one sweet tooth. Chutes and Ladders (known as Snakes and Ladders in the rest of the world) was always frustrating - every up was quickly followed by a down. Mouse Trap was the most fun, building the trap itself then watching it operate in all of its Rube Goldberg inspired glory.
Finally, the book of Grimm's Fairy Tales reminds me of one of my favorie movies as a child, the 1962 Cinerama film The Wonderful World of the Brothers Grimm. It was recently restored and released on BluRay, enabling future generations to discover and enjoy it.
Human activities influence the environment and reduce the value of forests, tundra and plains in terms of original biodiversity and habitat. Primarily larger mammals are hit by the fragmentation caused by roads and pipelines. The GLOBIO methodology has modeled the future impact of human activities in the Arctic, as seen in this map. Infrastructure and settlements are used as proxies for human activities, using the GLOBIO model from the Global Environment Outlook 3.
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This photo has been graciously provided to be used in the GRID-Arendal resources library by: Hugo Ahlenius
An open source photo gallery which aims to offer you some of our best takes – Use this photos for personal or commercial purposes, attribution is appreciated but not required – Here you go – Njoy!
Meeting details at 2011 Top 100 SMB Influencers. Picture by Grant Wickes principal of Wickpoint Management Services and currently VP Businss Development Wasp Barcode Technologies.
In picture: gary Swank, Rieva Lesonsky
Estonian cuisine
The traditional cuisine of Estonia uses meat and potato varieties, which today is influenced by many countries. The most typical foods in Estonia are black bread, pork, potatoes ,brawn, sauerkraut and dairy products. Estonian food preferences have historically depended heavily on seasons.
Black rye bread accompanies almost every salty food in Estonia. Instead of wishing "bon appetite" Estonians sometimes say jätku leiba ("may your bread last"). Until the 20th century, the Estonians highly respected their black bread - if a piece of bread was dropped on the floor, it had to be picked up and kissed.
Traditional desserts include kissel, curd snack and kama.
Nowadays the local beer is the number one choice to accompany food, different juices or simply water being the main non-alcoholic choice. Estonians are also proud of their vodka and herbal liquor Vana Tallinn. Milk and buttermilk are also widely drunk.
Influencers church (Paradise) fireworks 19/12/2014
Carols and Fireworks.
Canon EOS 5D, 24-70L, ND2-400 Variable filter, 1 sec exposure and longer
2015
_MG_9064
Influencers church (Paradise) fireworks 19/12/2014
Carols and Fireworks.
Canon EOS 5D, 24-70L, ND2-400 Variable filter, 1 sec exposure and longer
2015
_MG_9036
This week I spent four days in Limerick and as an experiment I limited myself to three Zeiss Batis lenses [25mm, 85mm and 135] as they are weatherproof. For most of the time I used the 25mm lens which proved to be the more useful of the three and I must admit that I really like it.
The weather forecast indicated that it would rain for much of the week but in reality is was sunny for most of my visit and on Thursday it became too hot for me between 3pm an 6pm.
For about five years I stayed at the George Boutique hotel but this year I could not afford the asking price for two nights and I got a much better offer from Pery's Hotel which was much closer to the railway station. To be honest I was a little bit concerned when I made the booking but the hotel turned out to be much more suitable for me than the George - the room was huge [it actually had three single beds] and the location was excellent especially as it was close to a large selection of restaurants.
The Hotel proved to be an excellent base and I managed to photograph much more of the city that I had on previous visits.
On Wednesday the 19th. June 2019 I walked from my hotel to Mount St. Lawrence Cemetery and it was much closer than had expected and then I got the 304 bus to the University of Limerick campus which I had not intended to visit until Thursday or Friday.
As of August 20th 2013, Mayor of Limerick Kathleen Leddin launched an online database which holds information on the 70,000 buried in the graveyard, dating from 1855 to 2008. This database will contain information such as the names, addresses, times of death, position of graves, ages and dates of deaths of those buried in Mount St. Lawrence. This will contribute greatly to the city and surrounding areas. The city can use the information on the records to give accurate figures on the mortality rate, for example. It will also help to discover what the problems were in the hospitals of Limerick back in those times and why the death rate was so high.
Cemeteries in Limerick began to fall under immense pressure due to cholera epidemics in the 1830’s and the Great Famine in the 1840’s. This led to the founding of Mount St. Lawrence cemetery. Originally it formed part of the larger medieval parish of St. Lawrence in Limerick. This parish also contained a leper hospital, granted by King John, which was later returned to Limerick Corporation. They then leased some of the land to the Limerick Diocese for use as burials grounds. Mount St. Lawrence was officially opened on March 29th 1849 in a ceremony presided over by Dr John Ryan, Bishop of Limerick at this time. The Neo-Gothic Church was designed as a mortuary chapel by architects M & S Hennessy, who also designed the tall spire of St. John's Cathedral, which is now a notable point in Limerick City. It was designed in Celtic and Gothic Revival styles with an Arts and Crafts influenced interior. Mount St Lawrence graveyard was the primary place of burial in Limerick City for all members and classes of society, from the wealthy and powerful to those poverty stricken.
Mount Saint Lawrence has always contained plots reserved for certain groups, for example, religious graves, diocesan graves and a Republican plot.
Andalusia (/ˌændəˈluːsiə, -ziə, -ʒə/; Spanish: Andalucía [andaluˈθi.a]) is an autonomous community in southern Spain. It is the most populous and the second largest in area of the autonomous communities in the country. The Andalusian autonomous community is officially recognised as a "historical nationality". The territory is divided into eight provinces: Almería, Cádiz, Córdoba, Granada, Huelva, Jaén, Málaga and Seville. Its capital is the city of Seville (Spanish: Sevilla).
Andalusia is in the south of the Iberian peninsula, in south-western Europe, immediately south of the autonomous communities of Extremadura and Castilla-La Mancha; west of the autonomous community of Murcia and the Mediterranean Sea; east of Portugal and the Atlantic Ocean; and north of the Mediterranean Sea and the Strait of Gibraltar. Andalusia is the only European region with both Mediterranean and Atlantic coastlines. The small British overseas territory of Gibraltar shares a three-quarter-mile land border with the Andalusian province of Cádiz at the eastern end of the Strait of Gibraltar.
The main mountain ranges of Andalusia are the Sierra Morena and the Baetic System, consisting of the Subbaetic and Penibaetic Mountains, separated by the Intrabaetic Basin. In the north, the Sierra Morena separates Andalusia from the plains of Extremadura and Castile–La Mancha on Spain's Meseta Central. To the south the geographic subregion of Upper Andalusia lies mostly within the Baetic System, while Lower Andalusia is in the Baetic Depression of the valley of the Guadalquivir.
The name "Andalusia" is derived from the Arabic word Al-Andalus (الأندلس) The toponym al-Andalus is first attested by inscriptions on coins minted in 716 by the new Muslim government of Iberia. These coins, called dinars, were inscribed in both Latin and Arabic. The etymology of the name "al-Andalus" has traditionally been derived from the name of the Vandals; however, a number of proposals since the 1980s have challenged this contention. Halm in 1989 derived the name from a Gothic term, *landahlauts, and in 2002, Bossong suggested its derivation from a pre-Roman substrate. The region's history and culture have been influenced by the native Iberians, Phoenicians, Carthaginians, Greeks, Romans, Vandals, Visigoths, Byzantines, Jews, Romani, Muslim Moors and the Castilian and other Christian North Iberian nationalities who reconquered and settled the area in the latter phases of the Reconquista.
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👑 Senses : 👀 Vision 👆 To Touch 💃 Proprioception 👂 Hearing Equilibrioception 👃 Smell ♨️ Thermoception
⚡ Intelligences : ️ Spatial Intelligence
⛹️ Kinesthetic Body Intelligence
👨👩👧👦 Interpersonal Intelligence
🌲 Ecologicalist Naturalist Intelligence
🔭 Existential Intelligence
📋 WHAT :
️ eXploration 21
🌟 eXploration of "Andalusia"
💫 Spain/Europe World
🌌 Nature Galaxy
✨ eXploration (️)
📝 Type : Ground eXploration
🎨 Style : eXploration Somewhere in Spain
🔊 Language : International (🇬🇧 description in English, but comprehensible by the whole world)
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⚠ The items are sorted by the most appropriate categories. But can not be completely exhaustive on social networks. You can use our site or our application. If you want total exhaustiveness and much more.
📏 HOW MUCH :
👑 7 Senses
⚡ 5 Intelligences
WHO :
🎥 Filmed by Lucie.R & Fabien.G
📡 Posted by LG
📼 Video made by LG (Windows Movie Maker 2017)
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❓ WHY : To eXplore Andalusia
📍 WHERE : Spain 🇪🇸
🕓 WHEN : May, 2018
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