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Intermediate Egret

Scientific name: Ardea intermedia

The intermediate egret, median egret, smaller egret, or yellow-billed egret (Mesophoyx intermedia) is a medium-sized heron. Some taxonomists put the species in the genus Egretta or Ardea. It is a resident breeder from east Africa across the Indian subcontinent to Southeast Asia and Australia.

Description: This species, as its scientific name implies, is intermediate in size between the great egret and smaller white egrets like the little egret and cattle egret, though nearer to little than great. It is about 56â72 cm (22â28 in) long with a 105â115 cm (41â45 in) wingspan and weighs c.400g (14 oz), with all-white plumage, generally dark legs and a thickish yellow bill. Breeding birds may have a reddish or black bill, greenish yellow gape skin, loose filamentous plumes on their breast and back, and dull yellow or pink on their upper legs (regional variations). The sexes are similar.

Differences from great egret: The non-breeding colours are similar, but the intermediate is smaller, with neck length a little less than body length, a slightly domed head, and a shorter, thicker bill. The great egret has a noticeable kink near the middle of its neck, and the top of its longer bill nearly aligns with the flat top of its head. Close up, the bare skin of the great egret's gape line extends in a dagger shape behind the eye, while the Intermediate's is less pointed and ends below the eye. The intermediate tends to stalk upright with neck extended forward. The great is more patient, often adopting a sideways-leaning "one-eyed" stance.

Differences from little egret: Little egrets have yellow-soled feet and black bills. They often run after fish in shallow water. Breeding birds have long nuptial plumes on the back of their heads.

Behaviour: The intermediate egret stalks its prey methodically in shallow coastal or fresh water, including flooded fields. It eats fish, frogs, crustaceans and insects. It often nests in colonies with other herons, usually on platforms of sticks in trees or shrubs. Two to five eggs are laid, the clutch size varying with region. (Source: Wikipedia)

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The water buffalo or domestic Asian water buffalo (Bubalus bubalis) is a large bovid originating in South Asia, Southeast Asia, and China. Today, it is also found in Europe, Australia, and some American countries. The wild water buffalo (Bubalus arnee) native to Southeast Asia is considered a different species, but most likely represents the ancestor of the domestic water buffalo.

Two extant types of water buffalo are recognized based on morphological and behavioural criteria – the river buffalo of South Asia and further west to the Balkans, Egypt, and Italy, and the swamp buffalo, found from Assam in the west through Southeast Asia to the Yangtze valley of China in the east. The origins of the domestic water buffalo types are debated, although results of a phylogenetic study indicate that the swamp type may have originated in China and was domesticated about 4,000 years ago, while the river type may have originated from India and was domesticated about 5,000 years ago. Water buffalo were traded from the Indus Valley Civilisation to Mesopotamia, in modern Iraq, 2500 BC by the Meluhhas. The seal of a scribe employed by an Akkadian king shows the sacrifice of water buffalo.

At least 130 million domestic water buffalo exist, and more human beings depend on them than on any other domestic animal. They are especially suitable for tilling rice fields, and their milk is richer in fat and protein than that of dairy cattle. The large feral population of northern Australia became established in the late 19th century, and smaller feral herds are in New Guinea, Tunisia, and northeastern Argentina. Feral herds are also present in New Britain, New Ireland, Irian Jaya, Papua New Guinea, Colombia, Guyana, Suriname, Brazil, and Uruguay.

CHARACTERISTICS

The skin of river buffalo is black, but some specimens may have dark, slate-coloured skin. Swamp buffalo have a grey skin at birth, but become slate blue later. Albinoids are present in some populations. River buffalo have comparatively longer faces, smaller girths, and bigger limbs than swamp buffalo. Their dorsal ridges extend further back and taper off more gradually. Their horns grow downward and backward, then curve upward in a spiral. Swamp buffalo are heavy-bodied and stockily built; the body is short and the belly large. The forehead is flat, the eyes prominent, the face short, and the muzzle wide. The neck is comparatively long, and the withers and croup are prominent. A dorsal ridge extends backward and ends abruptly just before the end of the chest. Their horns grow outward, and curve in a semicircle, but always remain more or less on the plane of the forehead. The tail is short, reaching only to the hocks. Height at withers is 129–133 cm for males, and 120–127 cm for females. They range in weight from 300–550 kg, but weights of over 1,000 kg have also been observed.

Tedong bonga is a black pied buffalo featuring a unique black and white colouration that is favoured by the Toraja of Sulawesi.

The swamp buffalo has 48 chromosomes; the river buffalo has 50 chromosomes. The two types do not readily interbreed, but fertile offspring can occur. Buffalo-cattle hybrids have not been observed to occur, and the embryos of such hybrids do not reach maturity in laboratory experiments.

The rumen of the water buffalo has important differences from that of other ruminants. It contains a larger population of bacteria, particularly the cellulolytic bacteria, lower protozoa, and higher fungi zoospores. In addition, higher rumen ammonia nitrogen (NH4-N) and higher pH have been found as compared to those in cattle

ECOLOGY AND BEHAVIOR

River buffalo prefer deep water. Swamp buffalo prefer to wallow in mudholes which they make with their horns. During wallowing, they acquire a thick coating of mud. Both are well adapted to a hot and humid climate with temperatures ranging from 0 °C in the winter to 30 °C and greater in the summer. Water availability is important in hot climates, since they need wallows, rivers, or splashing water to assist in thermoregulation. Some breeds are adapted to saline seaside shores and saline sandy terrain.

DIET

Water buffalo thrive on many aquatic plants and during floods, will graze submerged, raising their heads above the water and carrying quantities of edible plants. They eat reeds (quassab), a giant reed (birdi), a kind of bulrush (kaulan), water hyacinth, and marsh grasses. Some of these plants are of great value to local peoples. Others, such as water hyacinth, are a major problem in some tropical valleys, and water buffalo may help to keep waterways clear.

Green fodders are used widely for intensive milk production and for fattening. Many fodder crops are conserved as hay, chaffed, or pulped. Fodders include alfalfa, berseem and bancheri, the leaves, stems or trimmings of banana, cassava, fodder beet, halfa, ipil-ipil and kenaf, maize, oats, pandarus, peanut, sorghum, soybean, sugarcane, bagasse, and turnips. Citrus pulp and pineapple wastes have been fed safely to buffalo. In Egypt, whole sun-dried dates are fed to milk-buffalo up to 25% of the standard feed mixture.

REPRODUCTION

Swamp buffalo generally become reproductive at an older age than river breeds. Young males in Egypt, India, and Pakistan are first mated at about 3.0–3.5 years of age, but in Italy

they may be used as early as 2 years of age. Successful mating behaviour may continue until the animal is 12 years or even older. A good river male can impregnate 100 females in a year. A strong seasonal influence on mating occurs. Heat stress reduces libido

Although buffalo are polyoestrous, their reproductive efficiency shows wide variation throughout the year. Buffalo cows exhibit a distinct seasonal change in displaying oestrus, conception rate, and calving rate. The age at first oestrus of heifers varies between breeds from 13–33 months, but mating at the first oestrus is often infertile and usually deferred until they are 3 years old. Gestation lasts from 281–334 days, but most reports give a range between 300 and 320 days. Swamp buffalo carry their calves for one or two weeks longer than river buffalo. It is not rare to find buffalo that continue to work well at the age of 30, and instances of a working life of 40 years are recorded.

TAXONOMIC HISTORY

Carl Linnaeus first described the genus Bos and the water buffalo under the binomial Bubalis bubalus in 1758; the latter was known to occur in Asia and as a domestic form in Italy. Ellerman and Morrison-Scott treated the wild and domestic forms of the water buffalo as conspecifics whereas others treated them as different species. The nomenclatorial treatment of wild and domestic forms has been inconsistent and varies between authors and even within the works of single authors.

In March 2003, the International Commission on Zoological Nomenclature achieved consistency in the naming of wild and domestic water buffalo by ruling that the scientific name Bubalus arnee is valid for the wild form. B. bubalis continues to be valid for the domestic form and applies also to feral populations.

DOMESTICATION AND BREEDING

Water buffalo were domesticated in India about 5000 years ago, and in China about 4000 years ago. Two types are recognized, based on morphological and behavioural criteria – the river buffalo of the Indian subcontinent and further west to the Balkans and Italy, and the swamp buffalo, found from Assam in the west through Southeast Asia to the Yangtze valley of China in the east. The present-day river buffalo is the result of complex domestication processes involving more than one maternal lineage and a significant maternal gene flow from wild populations after the initial domestication events. Twenty-two breeds of the river type water buffalo are known, including Murrah, Nili-Ravi, Surti, Jafarabadi, Anatolian, Mediterranean, and Egyptian buffalo. China has a huge variety of buffalo genetic resources, comprising 16 local swamp buffalo breeds in various regions.

Results of mitochondrial DNA analyses indicate that the two types were domesticated independently. Sequencing of cytochrome b genes of Bubalus species implies that the domestic buffalo originated from at least two populations, and that the river and the swamp types have differentiated at the full species level. The genetic distance between the two types is so large that a divergence time of about 1.7 million years has been suggested. The swamp type was noticed to have the closest relationship with the tamaraw.

DISTRIBUTION OF POPULATIONS

The water buffalo population in the world is about 172 million.

IN ASIA

More than 95.8% of the world population of water buffalo are found in Asia including both river and swamp types. The water buffalo population in India numbered over 97.9 million head in 2003, representing 56.5% of the world population. They are primarily of the river type, with 10 well-defined breeds comprising Badhawari, Murrah, Nili-Ravi, Jafarabadi, Marathwada, Mehsana, Nagpuri, Pandharpuri, Toda, and Surti. Swamp buffalo occur only in small areas in the north-eastern part of the country and are not distinguished into breeds.

In 2003, the second-largest population lived in China, with 22.759 million head, all of the swamp type with breeds kept only in the lowlands, and other breeds kept only in the mountains; as of 2003, 3.2 million swamp-type carabao buffalo were in the Philippines, nearly three million swamp buffalo were in Vietnam, and 772,764 buffalo were in Bangladesh. About 750,000 head were estimated in Sri Lanka in 1997.

The water buffalo is the main dairy animal in Pakistan, with 23.47 million head in 2010. Of these, 76% are kept in the Punjab. The rest of them are mostly in the province of Sindh. Breeds used are Nili-Ravi, Kundi, and Azi Kheli. Karachi has the largest population of water buffalos for an area where fodder is not grown, consisting of 350,000 head kept mainly for milking.

In Thailand, the number of water buffalo dropped from more than 3 million head in 1996 to less than 1.24 million head in 2011. Slightly over 75% of them are kept in the country's northeastern region. The statistics also indicate that by the beginning of 2012, less than one million were in the country, partly as a result of illegal shipments to neighboring countries where sales prices are higher than in Thailand.

Water buffalo are also present in the southern region of Iraq, in the marshes. These marshes were drained by Saddam Hussein in 1991 in an attempt to punish the south for the uprisings of 1991. Following 2003, and the fall of the Saddam regime, these lands were reflooded and a 2007 report in the provinces of Maysan and Thi Qar shows a steady increase in the number of water buffalo. The report puts the number at 40,008 head in those two provinces.

IN EUROPE AND THE MEDITERRANEAN

Water buffalo likely were introduced to Europe from India or other Oriental countries. To Italy they were introduced about the year 600 in the reign of the Longobard King Agilulf. As they appear in the company of wild horses, they probably were a present from the Khan of the Avars, a Turkic nomadic tribe that dwelt near the Danube River at the time. Sir H. Johnston knew of a herd of water buffalo presented by a King of Naples to the Bey of Tunis in the mid-19th century that had resumed the feral state in northern Tunis.

European buffalo are all of the river type and considered to be of the same breed named Mediterranean buffalo. In Italy, the Mediterranean type was particularly selected and is called Mediterranean Italian breed to distinguish it from other European breeds, which differ genetically. Mediterranean buffalo are also found in Romania, Bulgaria, Greece, Albania, Kosovo, and the Republic of Macedonia, with a few hundred in the United Kingdom, Germany, the Netherlands, Switzerland, and Hungary. Little exchange of breeding buffalo has occurred among countries, so each population has its own phenotypic features and performances. In Bulgaria, they were crossbred with the Indian Murrah breed, and in Romania, some were crossbred with Bulgarian Murrah. Populations in Turkey are of the Anatolian buffalo breed.

IN AUSTRALIA

Between 1824 and 1849, water buffalo were introduced into the Northern Territory from Timor, Kisar, and probably other islands in the Indonesian archipelago. In 1886, a few milking types were brought from India to Darwin. They have been the main grazing animals on the subcoastal plains and river basins between Darwin and Arnhem Land since the 1880s. In the early 1960s, an estimated population of 150,000 to 200,000 buffalo were living in the plains and nearby areas.

They became feral and are causing significant environmental damage. Buffalo are also found in the Top End. As a result, they were hunted in the Top End from 1885 until 1980. The commencement of the brucellosis and tuberculosis campaign (BTEC) resulted in a huge culling program to reduce buffalo herds to a fraction of the numbers that were reached in the 1980s. The BTEC was finished when the Northern Territory was declared free of the disease in 1997. Numbers dropped dramatically as a result of the campaign, but have since recovered to an estimated 150,000 animals across northern Australia in 2008.

During the 1950s, buffalo were hunted for their skins and meat, which was exported and used in the local trade. In the late 1970s, live exports were made to Cuba and continued later into other countries. Buffalo are now crossed with riverine buffalo in artificial insemination programs, and may be found in many areas of Australia. Some of these crossbreds are used for milk production. Melville Island is a popular hunting location, where a steady population up to 4,000 individuals exists. Safari outfits are run from Darwin to Melville Island and other locations in the Top End, often with the use of bush pilots. The horns, which can measure up to a record of 3.1 m tip-to-tip, are prized hunting trophies.

The buffalo have developed a different appearance from the Indonesian buffalo from which they descend. They live mainly in freshwater marshes and billabongs, and their territory range can be quite expansive during the wet season. Their only natural predators in Australia are adult saltwater crocodiles, with whom they share the billabongs, and dingoes, which have been known to prey on buffalo calves and occasionally adult buffalo when the dingoes are in large packs.

Buffalo were exported live to Indonesia until 2011, at a rate of about 3000 per year. After the live export ban that year, the exports dropped to zero, and had not resumed as of June 2013.

IN SOUTH AMERICA

Water buffalo were introduced into the Amazon River basin in 1895. They are now extensively used there for meat and dairy production. In 2005, the buffalo herd in the Brazilian Amazon stood at roughly 1.6 million head, of which 460,000 were located in the lower Amazon floodplain. Breeds used include Mediterranean from Italy, Murrah and Jafarabadi from India, and Carabao from the Philippines.

During the 1970s, small herds were imported to Costa Rica, Ecuador, Cayenne, Panama, Surinam, Guyana, and Venezuela.

In Argentina, many game ranches raise water buffalo for commercial hunting

IN NORTH AMERICA

In 1974, four water buffalo were imported to the United States from Guam to be studied at the University of Florida. In February 1978, the first herd arrived for commercial farming. Until 2002, only one commercial breeder was in the United States. Water buffalo meat is imported from Australia. Until 2011, water buffalo were raised in Gainesville, Florida, from young obtained from zoo overflow. They were used primarily for meat production, frequently sold as hamburger.[38] Other US ranchers use them for production of high-quality mozzarella cheese.

HUSBANDRY

The husbandry system of water buffalo depends on the purpose for which they are bred and maintained. Most of them are kept by people who work on small farms in family units. Their buffalo live in very close association with them, and are often their greatest capital asset. The women and girls in India generally look after the milking buffalo while the men and boys are concerned with the working animals. Throughout Asia, they are commonly tended by children who are often seen leading or riding their charges to wallowing places. Water buffalo are the ideal animals for work in the deep mud of paddy fields because of their large hooves and flexible foot joints. They are often referred to as "the living tractor of the East". It probably is possible to plough deeper with buffalo than with either oxen or horses. They are the most efficient and economical means of cultivation of small fields. In most rice-producing countries, they are used for threshing and for transporting the sheaves during the rice harvest. They provide power for oilseed mills, sugarcane presses, and devices for raising water. They are widely used as pack animals, and in India and Pakistan also for heavy haulage. In their invasions of Europe, the Turks used buffalo for hauling heavy battering rams. Their dung is used as a fertilizer, and as a fuel when dried.

Buffalo contribute 72 million tones of milk and three million tones of meat annually to world food, much of it in areas that are prone to nutritional imbalances. In India, river-type buffalo are kept mainly for milk production and for transport, whereas swamp-type buffalo are kept mainly for work and a small amount of milk.

DAIRY PRODUCTS

Water buffalo milk presents physicochemical features different from that of other ruminant species, such as a higher content of fatty acids and proteins. The physical and chemical parameters of swamp and river type water buffalo milk differ. Water buffalo milk contains higher levels of total solids, crude protein, fat, calcium, and phosphorus, and slightly higher content of lactose compared with those of cow milk. The high level of total solids makes water buffalo milk ideal for processing into value-added dairy products such as cheese. The conjugated linoleic acid (CLA) content in milk ranged from 4.4 mg/g fat in September to 7.6 mg/g fat in June. Seasons and genetics may play a role in variation of CLA level and changes in gross composition of the water buffalo milk.

Water buffalo milk is processed into a large variety of dairy products:

- Cream churns much faster at higher fat levels and gives higher overrun than cow cream.

- Butter from water buffalo cream displays more stability than that from cow cream.

- Ghee from water buffalo milk has a different texture with a bigger grain size than ghee from cow milk.

- Heat-concentrated milk products in the Indian subcontinent include paneer, khoa, rabri, kheer and basundi.

- Fermented milk products include dahi, yogurt, and chakka.

- Whey is used for making ricotta and mascarpone in Italy, and alkarish in Syria and Egypt.

- Soft cheeses made include mozzarella in Italy, karish, mish, and domiati in Egypt, madhfor in Iraq, alghab in Syria, kesong puti in the Philippines, and vladeasa in Romania.

- The semihard cheese beyaz peynir is made in Turkey.

- Hard cheeses include braila in Romania, rahss in Egypt, white brine in Bulgaria, and akkawi in Syria.

- Watered-down buffalo milk is used as a cheaper alternative to regular milk.

MEAT AND SKIN PRODUCTS

Water buffalo meat, sometimes called "carabeef", is often passed off as beef in certain regions, and is also a major source of export revenue for India. In many Asian regions, buffalo meat is less preferred due to its toughness; however, recipes have evolved (rendang, for example) where the slow cooking process and spices not only make the meat palatable, but also preserve it, an important factor in hot climates where refrigeration is not always available.Their hides provide tough and useful leather, often used for shoes.

BONE AND HORN PRODUCTS

The bones and horns are often made into jewellery, especially earrings. Horns are used for the embouchure of musical instruments, such as ney and kaval.

ENVIRONMENTAL EFFECTS

Wildlife conservation scientists have started to recommend and use introduced populations of feral domestic water buffalo in far-away lands to manage uncontrolled vegetation growth in and around natural wetlands. Introduced water buffalo at home in such environs provide cheap service by regularly grazing the uncontrolled vegetation and opening up clogged water bodies for waterfowl, wetland birds, and other wildlife. Grazing water buffalo are sometimes used in Great Britain for conservation grazing, such as in Chippenham Fen National Nature Reserve. The buffalo can better adapt to wet conditions and poor-quality vegetation than cattle.

Currently, research is being conducted at the Lyle Center for Regenerative Studies to determine the levels of nutrients removed and returned to wetlands when water buffalo are used for wetland vegetation management.

However, in uncontrolled circumstances, water buffalo can cause environmental damage, such as trampling vegetation, disturbing bird and reptile nesting sites, and spreading exotic weeds.

RESEARCH

The world's first cloned buffalo was developed by Indian scientists from National Dairy Research Institute, Karnal. The buffalo calf was named Samrupa. The calf did not survive more than a week, and died due to some genetic disorders. So, the scientists created another cloned buffalo a few months later, and named it Garima.

On 15 September 2007, the Philippines announced its development of Southeast Asia's first cloned buffalo. The Philippine Council for Agriculture, Forestry and Natural Resources Research and Development (PCARRD), under the Department of Science and Technology in Los Baños, Laguna, approved this project. The Department of Agriculture's Philippine Carabao Center (PCC) will implement cloning through somatic cell nuclear transfer as a tool for genetic improvement in water buffalo. "Super buffalo calves" will be produced. There will be no modification or alteration of the genetic materials, as in genetically modified organisms.

On 1 January 2008, the Philippine Carabao Center in Nueva Ecija, per Filipino scientists, initiated a study to breed a super water buffalo that could produce 4 to 18 litres of milk per day using gene-based technology. Also, the first in vitro river buffalo was born there in 2004 from an in vitro-produced, vitrified embryo, named "Glory" after President Gloria Macapagal-Arroyo. Joseph Estrada's most successful project as an opposition senator, the PCC was created through Republic Act 3707, the Carabao Act of 1992.

IN CULTURE

Some ethnic groups, such as Batak and Toraja in Indonesia and the Derung in China, use water buffalo or kerbau (called horbo in Batak or tedong in Toraja) as sacrificial animals at several festivals.

- Legend has it that the Chinese philosophical sage Laozi left China through the Han Gu Pass riding a water buffalo.

- According to Hindu lore, the god of death Yama, rides on a male water buffalo.

- The carabao subspecies is considered a national symbol in the Philippines.

- In Vietnam, water buffalo are often the most valuable possession of poor farmers: "Con trâu là đầu cơ nghiệp". They are treated as a member of the family: "Chồng cày, vợ cấy, con trâu đi bừa" ("The husband ploughs, the wife sows, water buffalo draws the rake") and are friends of the children. Children talk to their water buffalo, "Bao giờ cây lúa còn bông. Thì còn ngọn cỏ ngoài đồng trâu ăn." (Vietnamese children are responsible for grazing water buffalo. They feed them grass if they work laboriously for men.) In the old days, West Lake, Hà Nội, was named Kim Ngưu - Golden Water Buffalo.

- The Yoruban Orisha Oya (goddess of change) takes the form of a water buffalo.

FIGHTING FESTIVALS

- Pasungay Festival is held annually in the town of San Joaquin, Iloilo in the Philippines.

- Moh juj Water Buffalo fighting, is held every year in Bhogali Bihu in Assam. Ahotguri in Nagaon is famous for it.

- Do Son Water Buffalo Fighting Festival of Vietnam, held each year on the ninth day of the eighth month of the lunar calendar at Do Son Township, Haiphong City in Vietnam, is one of the most popular Vietnam festivals and events in Haiphong City. The preparations for this buffalo fighting festival begin from the two to three months earlier. The competing buffalo are selected and methodically trained months in advance. It is a traditional festival of Vietnam attached to a Water God worshipping ceremony and the Hien Sinh custom to show martial spirit of the local people of Do Son, Haiphong.

- "Hai Luu" Water Buffalo Fighting Festival of Vietnam, According to ancient records, the buffalo fighting in Hai Luu Commune has existed from the 2nd century B.C. General Lu Gia at that time, had the buffalo slaughtered to give a feast to the local people and the warriors, and organized buffalo fighting for amusement. Eventually, all the fighting buffalo will be slaughtered as tributes to the deities.

- "Ko Samui" Water Buffalo Fighting Festival of Thailand, is a very popular event held on special occasions such as New Year's Day in January, and Songkran in mid-April, this festival features head-wrestling bouts in which two male Asian water buffalo are pitted against one another. Unlike in Spanish Bullfighting, wherein bulls get killed while fighting sword-wielding men, Buffalo Fighting Festival held at Ko Samui, Thailand is fairly harmless contest. The fighting season varies according to ancient customs & ceremonies. The first Buffalo to turn and run away is considered the loser, the winning buffalo becomes worth several million baht. Ko Samui is an island in the Gulf of Thailand in the South China Sea, it is 700 km from Bangkok and is connected to it by regular flights.

- "Ma'Pasilaga Tedong" Water Buffalo Fighting Festival, in Tana Toraja Regency of Sulawesi Island, Indonesia, is a very popular event where the Rambu Solo' or a Burial Festival took place in Tana Toraja.

RACING FESTIVALS

Carabao Carroza Festival is being held annually every May in the town of Pavia, Iloilo, Philippines.

Kambala races of Karnataka, India, take place between December and March. The races are conducted by having the water buffalo (he buffalo) run in long parallel slushy ditches, where they are driven by men standing on wooden planks drawn by the buffalo. The objectives of the race are to finish first and to raise the water to the greatest height and also a rural sport. Kambala races are arranged with competition, as well as without competition and as a part of thanks giving (to god) in about 50 villages of coastal Karnataka.

In the Chonburi Province of Thailand, and in Pakistan, there are annual water buffalo races.

Chon Buri Water buffalo racing festival, Thailand In downtown Chonburi, 70 km south of Bangkok, at the annual water buffalo festival held in mid-October. About 300 buffalo race in groups of five or six, spurred on by bareback jockeys wielding wooden sticks, as hundreds of spectators cheer. The water buffalo has always played an important role in agriculture in Thailand. For farmers of Chon Buri Province, near Bangkok, it is an important annual festival, beginning in mid-October. It is also a celebration among rice farmers before the rice harvest. At dawn, farmers walk their buffalo through surrounding rice fields, splashing them with water to keep them cool before leading them to the race field. This amazing festival started over a hundred years ago when two men arguing about whose buffalo was the fastest ended up having a race between them. That’s how it became a tradition and gradually a social event for farmers who gathered from around the country in Chonburi to trade their goods. The festival also helps a great deal in preserving the number of buffalo, which have been dwindling at quite an alarming rate in other regions. Modern machinery is rapidly replacing buffalo in Thai agriculture. With most of the farm work mechanized, the buffalo-racing tradition has continued. Racing buffalo are now raised just to race; they do not work at all. The few farm buffalo which still do work are much bigger than the racers because of the strenuous work they perform. Farm buffalo are in the "Buffalo Beauty Pageant", a Miss Farmer beauty contest and a comic buffalo costume contest etc.. This festival perfectly exemplifies a favored Thai attitude to life — "sanuk," meaning fun.

Babulang Water buffalo racing festival, Sarawak, Malaysia, is the largest or grandest of the many rituals, ceremonies and festivals of the traditional Bisaya (Borneo) community of Limbang, Sarawak. Highlights are the Ratu Babulang competition and the Water buffalo races which can only be found in this town in Sarawak, Malaysia.

Vihear Suor village Water buffalo racing festival, in Cambodia, each year, people visit Buddhist temples across the country to honor their deceased loved ones during a 15-day period commonly known as the Festival of the Dead but in Vihear Suor village, about 35 km northeast of Cambodia, citizens each year wrap up the festival with a water buffalo race to entertain visitors and honour a pledge made hundreds of years ago. There was a time when many village cattle which provide rural Cambodians with muscle power to plough their fields and transport agricultural products died from an unknown disease. The villagers prayed to a spirit to help save their animals from the disease and promised to show their gratitude by holding a buffalo race each year on the last day of "P'chum Ben" festival as it is known in Cambodian. The race draws hundreds of spectators who come to see riders and their animals charge down the racing field, the racers bouncing up and down on the backs of their buffalo, whose horns were draped with colorful cloth.

Pothu puttu matsaram, Kerala, South India, is similar to Kambala races.

WIKIPEDIA

"Karlstadt is a town in the Main-Spessart in the Regierungsbezirk of Lower Franconia (Unterfranken) in Bavaria, Germany. It is the administrative centre of Main-Spessart (Kreisstadt), and has a population of around 15,000.

Karlstadt lies on the River Main in the district (Landkreis) of Main-Spessart, roughly 25 km north of the city of Würzburg. It belongs to the Main-Franconian wine-growing region. The town itself is located on the right bank of the river, but the municipal territory extends to the left bank.

Since the amalgamations in 1978, Karlstadt's Stadtteile have been Gambach, Heßlar, Karlburg, Karlstadt, Laudenbach, Mühlbach, Rohrbach, Stadelhofen, Stetten, and Wiesenfeld.

From the late 6th to the mid-13th century, the settlement of Karlburg with its monastery and harbor was located on the west bank of the Main. It grew up around the Karlsburg, a castle perched high over the community, that was destroyed in the German Peasants' War in 1525.

In 1202, Karlstadt itself was founded by Konrad von Querfurt, Bishop of Würzburg. The town was methodically laid out with a nearly rectangular plan to defend Würzburg territory against the Counts of Rieneck. The plan is still well preserved today. The streets in the old town are laid out much like a chessboard, but for military reasons they are not quite straight.

In 1225, Karlstadt had its first documentary mention. In 1236, the castle and the village of Karlburg were destroyed in the Rieneck Feud. In 1244, winegrowing in Karlstadt was mentioned for the first time. From 1277 comes the earliest evidence of the town seal. In 1304, the town fortifications were finished. The parish of Karlstadt was first named in 1339. In 1369 a hospital was founded. Between 1370 and 1515, remodelling work was being done on the first, Romanesque parish church to turn it into a Gothic hall church. About 1400, Karlstadt became for a short time the seat of an episcopal mint. The former Oberamt of the Princely Electorate (Hochstift) of Würzburg was, after Secularization, in Bavaria's favour, passed in 1805 to Grand Duke Ferdinando III of Tuscany to form the Grand Duchy of Würzburg, and passed with this to the Kingdom of Bavaria.

The Jewish residents of the town had a synagogue as early as the Middle Ages. The town's synagogue was destroyed on Kristallnacht (the Night of Broken Glass, 9 November 1938) by Nazi SA men, SS, and Hitler Youth, as well as other local residents. Its destruction is recalled by a plaque at the synagogue's former site. The homes of Jewish residents were attacked as well, the possessions therein were looted or brought to the square in front of the town hall where they were burned, and the Jews living in the town were beaten.

Lower Franconia (German: Unterfranken) is one of seven districts of Bavaria, Germany. The districts of Lower, Middle and Upper Franconia make up the region of Franconia. It consists of nine districts and 308 municipalities (including three cities).

After the founding of the Kingdom of Bavaria the state was totally reorganised and, in 1808, divided into 15 administrative government regions (German: Regierungsbezirke, singular Regierungsbezirk), in Bavaria called Kreise (singular: Kreis). They were created in the fashion of the French departements, quite even in size and population, and named after their main rivers.

In the following years, due to territorial changes (e. g. loss of Tyrol, addition of the Palatinate), the number of Kreise was reduced to 8. One of these was the Untermainkreis (Lower Main District). In 1837 king Ludwig I of Bavaria renamed the Kreise after historical territorial names and tribes of the area. This also involved some border changes or territorial swaps. Thus the name Untermainkreis changed to Lower Franconia and Aschaffenburg, but the city name was dropped in the middle of the 20th century, leaving just Lower Franconia.

From 1933, the regional Nazi Gauleiter, Otto Hellmuth, (who had renamed his party Gau "Mainfranken") insisted on renaming the government district Mainfranken as well. He encountered resistance from Bavarian state authorities but finally succeeded in having the name of the district changed, effective 1 June 1938. After 1945 the name Unterfranken was restored.

Franconia (German: Franken, pronounced [ˈfʁaŋkŋ̍]; Franconian: Franggn [ˈfrɑŋɡŋ̍]; Bavarian: Frankn) is a region of Germany, characterised by its culture and Franconian dialect (German: Fränkisch).

Franconia is made up of the three Regierungsbezirke of Lower, Middle and Upper Franconia in Bavaria, the adjacent, Franconian-speaking, South Thuringia, south of the Thuringian Forest—which constitutes the language boundary between Franconian and Thuringian— and the eastern parts of Heilbronn-Franconia in Baden-Württemberg.

Those parts of the Vogtland lying in Saxony (largest city: Plauen) are sometimes regarded as Franconian as well, because the Vogtlandian dialects are mostly East Franconian. The inhabitants of Saxon Vogtland, however, mostly do not consider themselves as Franconian. On the other hand, the inhabitants of the Hessian-speaking parts of Lower Franconia west of the Spessart (largest city: Aschaffenburg) do consider themselves as Franconian, although not speaking the dialect. Heilbronn-Franconia's largest city of Heilbronn and its surrounding areas are South Franconian-speaking, and therefore only sometimes regarded as Franconian. In Hesse, the east of the Fulda District is Franconian-speaking, and parts of the Oden Forest District are sometimes regarded as Franconian for historical reasons, but a Franconian identity did not develop there.

Franconia's largest city and unofficial capital is Nuremberg, which is contiguous with Erlangen and Fürth, with which it forms the Franconian conurbation with around 1.3 million inhabitants. Other important Franconian cities are Würzburg, Bamberg, Bayreuth, Ansbach and Coburg in Bavaria, Suhl and Meiningen in Thuringia, and Schwäbisch Hall in Baden-Württemberg.

The German word Franken—Franconians—also refers to the ethnic group, which is mainly to be found in this region. They are to be distinguished from the Germanic people of the Franks, and historically formed their easternmost settlement area. The origins of Franconia lie in the settlement of the Franks from the 6th century in the area probably populated until then mainly by the Elbe Germanic people in the Main river area, known from the 9th century as East Francia (Francia Orientalis). In the Middle Ages the region formed much of the eastern part of the Duchy of Franconia and, from 1500, the Franconian Circle. The restructuring of the south German states by Napoleon, after the demise of the Holy Roman Empire, saw most of Franconia awarded to Bavaria." - info from Wikipedia.

Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.

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The passing of the 10,000,000 views in the joy of accomplishment to capture the thrill of creative effort. 3333 images are shown in the gallery and 20 are over 50,000 views. Most viewed image exceeds 300,000 views Numerology is naturally an interest that occurs during awakening because many individuals will find themselves starting to see repeated numerological sequences over and over, sometimes even to the point where these numbers begin to haunt them. The most common being 11:11 however the more you notice the more you see, numbers such as 12:34, 111, 1:33, 333, 444, 555, etc. begin to follow you everywhere you go. Many people believe they are simply “Angelic Numbers” or “Messages from the Angels” but in truth Numerology is a very complex system. Each number corresponds to the system of the Kabbalah and the Tarot. The way to understand each of the numerological sequences you have to study the tree of life, archetypes, geometry and various symbolism throughout ancient history. Each number is a point on the dimensional plane of the system of the mind. Numerology works in a way that triggers a subconscious archetypal response within your long term memory all going right back to processing numbers like a futuristic computer. Carl Jung has studied this concept of subconscious triggers extensively within his work such as Man and His Symbols. They are essentially mind relapse triggers that influence our long term memory and change our DNA. You could say they’re “upgrades” but what they are doing is triggering your subconscious mind into the act of remembrance of who you are.What does seeing Numerology such as 11:11, 12:34, 1:11, 3:33… mean to me?

In reality while there is much symbolism behind each number, the true meaning all comes down to what resonates with you most. They could be said these are “Codes” that unlock our dna strands and awaken old memories of who we used to be but they are honestly a trigger like a talisman. 11:11 is by far the most common as well as 111,222,333,444,555, etc. Any of the master numbers can/will start showing up repeatedly denoting a particular sequential message. It’s always good to pay attention to your thoughts at the particular time you see the number or look at what you are doing. Being conscious of our surroundings, what we’re doing or what is around us at the time such as a symbol can sometimes help to figure out the meaning behind the message of the number.

There are various theories out there for why numbers are displaying a particular message. Some of these include:

Binary DNA Activation – Reality is composed from numbers, our mind is similar to a computer which relies on binary codes (1’s and 0’s). These Numbers such as 11:11 are working as a form of binary that activates your dormant (junk) DNA.

11:11 Gateway/Portal – Also known as Stargates, 10.10. 10. 11.11.11 12.12.12 These are astrological alignments that are created during a specific date in time. They are most known for being an Energetic Gateway for others to Awaken and also known to create energetic shifts. It could also signify that “11:11 is the doorway between two worlds – between the 3rd dimensional and the 5th dimensional worlds” [ref]In5d All About 11:11[/ref]

Making a Wish – Many Teenagers used to play the game “make a wish it’s 11:11”, perhaps their subconscious knew more than they did about this mysterious phenomena.

Life Path Numbers – Life Path numbers are a different form of numerology but are connected to Symbolic interpretation. They are found by adding your birth date and birth year together into a single digit.

Angel or Spirit Guide Messages – The more popular theory by Doreen Virtue that Numerology is basically messages from your angels or spirit guides trying to communicate with you. These messages include similar sayings such as “you are on the right direction of your spiritual path” or “stay positive, you have nothing to fear in regards to your soul purpose”

Fibonacci Sequence/Golden Ratio – Our reality is made around the Golden Ratio even our bodies are composed from the beautiful sequence of Phi, perhaps the numbers are simply reminding us of who we are?

Global Consciousness – Cosmic consciousness, sometimes people just simply think that these numbers are here to tell us we are connected to one another.

Wake Up Call – The most popular interpretation, Wake up call to GLOBAL AWAKENING. Numerology is mainly noticed by people who are going through the process of a Spiritual/ Kundalini Awakening. These numbers could simply mean you are on the right track and they signify your own Awakening Journey.

Since Numerology is linked to archetypal symbolism, the most direct interpretation will always be the symbolic representation of the Number itself. The numbers are there to guide us but the most powerful meaning is the one you put in front of the symbol. What resonates with you?

The Master Numbers:

1010 – reality is a biogenetic experiment created from numbers

911 – 9=Endings. 11=DNA. 911=ending code of our DNA program in this reality.

111 – The vision, illumination, channel to the subconscious, insight without rational thought, the gateway

222 – Duality – Polarity – Reality is created by an electromagnetic energy grid. 2+2=2=6=Flower of Life

333 – Represents a higher octave of 9 = closure in 3D

444 – Represents a higher octave of 3 = 4d mastery of thought and illusion

555 – All elements(air, earth, water, fire, ether) combined is a sphenic number. In base 10, it is a repdigit, and because it is divisible by the sum of its digits, it is a Harshad number. It is also a Harshad number in binary, base 11, base 13 and hexadecimal. Represents 5D

666 – Creating the merkabah, star of david, aligning the elements and the senses together in understanding. the number of man elements of earth combined with spirit

777 – Spiritual divine connection (connected to crown chakra)

888 – Rebirth, infinity, paradise regained

999 – Karma codes ending, life cycles complete. It is the Triple Triad – Completion; fulfillment; attainment; beginning and the end; the whole number; a celestial and angelic number – the Earthly Paradise.

10 – Completion and back to the source energy field or universal cosmic consciousness. Ten is the number of the cosmos—-the paradigm of creation. The decad contains all numbers and therefore all things and possibilities. It is the radix or turning point of all counting.

The representation of all master numbers connects to the universal sequence of 369.

0 – Tree of life, zero point

3 – Density line, creation for all. 3d. creation, the triangle, the student, the third solution, the creation of a double charge, the progression through life.

6 – Perfect balance, which ideally transmit the will of God on earth. Heaven uniting with earth. double-builder 33, the power of the material world, balance

9 – Completion, whole creation, all thought, divine, full circle, bio-energy, complete creation, power, brilliance, triple connection and balance.

[mks_separator style=”dotted” height=”2″]The 11 is the most intuitive of all numbers. It represents illumination; a channel to the subconscious; insight without rational thought; and sensitivity, nervous energy, shyness,andimpracticality. It is a dreamer. The 11 has all the aspects of the 2, enhanced and charged with charisma, leadership, and inspiration. It is a number with inborn duality, which creates dynamism, inner conflict, andothercatalyses with its mere presence. It is a number that, when not focused on some goal beyond itself, can beturnedinward to create fears and phobias. The 11 walks the edge between greatness and self-destruction. Its potential for growth, stability, and personal power lies in its acceptance of intuitive understanding, and of spiritual truths. For the 11, such peace is not found so much in logic, but in faith. It is the psychic’s number.The 22 is the most powerful of all numbers. It is often called the Master Builder. The 22 can turn the most ambitious of dreams into reality. It is potentially the most successful of all numbers. It has many of the inspirational insights of the 11, combined with the practicality and methodical nature of the 4. It is unlimited, yet disciplined. It sees the archetype, and brings itdown to earth in some material form. It has big ideas, great plans, idealism, leadership, and enormous self-confidence. If not practical, the 22s waste their potential. Like the 11, the 22 can easily shrink from its own ambition, causing difficult interior pressures. Both the 11 and the 22 experience the pressure-cooker effect very strongly, particularly at an early age. It must work toward the realization of goals that are larger than personal ambition. The 22 serves the world in a practical way.The 33 is the most influential of all numbers. It is the Master Teacher. The 33 combines the 11 and the 22 and brings their potential to another level. When expressed to the fullest, the 33 lacks all personal ambition, and instead focuses its considerable abilities toward the spiritual uplifting of mankind. What makes the 33 especially impressive, is the high level of sincere devotion. This is shown in its determination to seek understanding and wisdom before preaching to others. The 33 in full force is extremely rare. [ref]Numerology: Key to Your Inner Self By Hanz Decoz[/ref]

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Numbers Their Culture and Their Meanings:

The Numbers explained Further Curiosity of Crystalinks [ref]Crystalinks.com A major thank you to Ellie who let us use her pages for reference[/ref]:

Zero

Zero is a powerful number which brings great transformational change, sometimes occurring in a profound manner. It has much intensity, so caution is needed wherever it appears to ensure that extremes are not encountered.

Zero represents the Cosmic Egg, the primordial Androgyne – the Plenum. Zero as an empty circle depicts both the nothingness of death and yet the totality of life contained within the circle. As an ellipse the two sides represent ascent and descent, evolution and involution.

Before the One (meaning the Source—not the number) there is only Void, or non-being; thought; the ultimate mystery, the incomprehensible Absolute. Begins with meanings such as, Non-existence; nothingness; the unmanifest; the unlimited; the eternal. The absence of all quality or quantity.

Cultural References

Taoism: It symbolizes the Void; non-being.

Buddhism: It is the Void and no-thingness.

Kabbalism: Boundless; Limitless Light; the Ain.

Pathagoras saw zero as the perfect. Zero is the Monad, the originator and container of All.

Islamic: Zero is the Divine Essence.

Zero Number connected to Fibonacci Numbers

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One (1)

1 (one) is a number, numeral, and the name of the glyph representing that number. It is the natural number following 0 and preceding 2. It represents a single entity. One is sometimes referred to as unity or unit as an adjective. For example, a line segment of “unit length” is a line segment of length 1. Is considered to be a primordial unity. The beginning. The Creator. It the First Cause or as some cultures refer, the First Mover. One is the sum of all possibilities. It is essence, the Center. One is referred to isolation. One springs forth, upsurges. It is seen as the number that gives cause to duality as multiplicity and back to final unity. Chinese: refer to one as Yang, masculine; celestial. It is seen as an auspicios number. One is The Monad. Christian : God the Father; the Godhead.

Hebrew: Adonai, the Lord, the Most High, the I am, hidden intelligence. Islamic: One refers to one as God as unity; the Absolute; self sufficient. Pathagorean: One as meaning Spirit; God, from which all things come. It is the very essence, the Monad. Taoism “Tao begets One, One begets Two, Two begets Three and Three begets all things.” [mks_separator style=”dotted” height=”2″]

Two (2)

Duality. Alteration; diversity; conflict; dependence. Two is a static condition. It is rooted, seen as balance (two sides); stability; reflection. Two are the opposite poles. Represents the dual nature of the human being. It is desire, since all that is manifest in duality is in pairs of opposites. As One represents a point, two represents a length. The Binary is the first number to recede from Unity, it also symbolizes sin which deviates from the first good and denotes the transitory and the corruptible.Two represents two-fold strength—that is symbolized by two of anything, usually in history, by animals in pairs. Cultural References In Alchemy, two are the opposites, sun and moon. King and Queen. Sulpher and quicksilver, at first antagonistic but finally resolved and united in the androgyne. Buddhist: see two as the duality of samsara; male and female. Two is theory and practice; wisdom and method. It is blind and the lame united to see the way and to walk it.

Chinese, two is Yin , feminine; terrestrial; inauspicious. Christian: Christ with two natures as God and human.

Revelation: Two is the number of witness. The disciples were sent out by two’s (Mark 6:7). Two witnesses are required to establish truth (Deu 17:6, John 8:17, 2 Cor 13:1). Examples in Revelation are the beast out of the earth who has two horns like a lamb but spoke like a dragon (13:11). He is the false prophet. However the two witnesses are the true prophets of God (11:3). Hebrew: Two is The life-force. In Qabalism wisdom and self-consciousness. Hindu: Two is duality, the shakta-shakti. Islamic: Two Spirit. Platonic: Plato says two is a digit without meaning as it implies relationship, which introduces the third factor. Pythagorean: Two is The Duad, the divided terrestrial being. Taoist says two is representative of The K’ua, the Two. Determinants, the yin-yang. Two is a weak yin number as it as no center. Duality. Alteration; diversity; conflict; dependence. Two is a static condition. It is rooted, seen as balance (two sides); stability; reflection. Two are the opposite poles. Represents the dual nature of the human being. It is desire, since all that is manifest in duality is in pairs of opposites. As One represents a point, two represents a length. The Binary is the first number to recede from Unity, it also symbolizes sin which deviates from the first good and denotes the transitory and the corruptible.Two represents two-fold strength—that is symbolized by two of anything, usually in history, by animals in pairs. Cultural References

In Alchemy, two are the opposites, sun and moon. King and Queen. Sulpher and quicksilver, at first antagonistic but finally resolved and united in the androgyne. Buddhist: see two as the duality of samsara; male and female. Two is theory and practice; wisdom and method. It is blind and the lame united to see the way and to walk it. Chinese, two is Yin , feminine; terrestrial; inauspicious. Christian: Christ with two natures as God and human. Revelation: Two is the number of witness. The disciples were sent out by two’s (Mark 6:7). Two witnesses are required to establish truth (Deu 17:6, John 8:17, 2 Cor 13:1). Examples in Revelation are the beast out of the earth who has two horns like a lamb but spoke like a dragon (13:11). He is the false prophet. However the two witnesses are the true prophets of God (11:3). Hebrew: Two is The life-force. In Qabalism wisdom and self-consciousness. Hindu: Two is duality, the shakta-shakti. Islamic: Two Spirit. Platonic: Plato says two is a digit without meaning as it implies relationship, which introduces the third factor. Pythagorean: Two is The Duad, the divided terrestrial being. Taoist says two is representative of The K’ua, the Two. Determinants, the yin-yang. Two is a weak yin number as it as no center [mks_separator style=”dotted” height=”2″]

Three (3). The third dimension – we do things in threes so they will manifest in our physical realm. It’s roots stem from the meaning of multiplicity. Creative power; growth. Three is a moving forward of energy, overcoming duality, expression, manifestation and synthesis. Three is the first number to which the meaning “all” was given. It is The Triad, being the number of the whole as it contains the beginning, a middle and an end. The power of three is universal and is the tripartide nature of the world as heaven, earth, and waters. It is human as body, soul and spirit. Notice the distinction that soul and spirit are not the same. They are not. Three is birth, life, death. It is the beginning, middle and end. Three is a complete cycle unto itself. It is past, present, future. The symbol of three is the triangle. Three interwoven circles or triangles can represent the indissoluble unity of the three persons of the trinity. Others symbols using three are: trident, fleur-de-lis, trefoil, trisula, thunderbolt, and trigrams. The astral or emotional body stays connected to the physically body for three days after death. There is scientific evidence that the brain, even when all other systems are failing takes three days to register complete shutdown. There are 3 phases to the moon. Lunar animals are often depcited as 3 legged.

Three is the heavenly number, representing soul, as four represents body. Together the two equal seven (3+4=7 ) and form the sacred hebdomad. The 3×4=12 representing the signs of the Zodiac and months of the year. Pythagorean three means completion. There are three wishes, genies have three wishes, three leprecons, three prince or princesses, three witches, three weird sisters among others. Cultural References Africa Ashanti: the moon goddess is three people, two black, and one white. Arabian, Pre-Islamic: the Manant is a threefold goddess representing the 3 Holy Virgins, Al-Itab, Al-Uzza, and Al-Manat. They are depicted as aniconic stelae, stones or pillars, or as pillars surmounted by doves. Buddhist: tradition the theme of 3 is represented by, The Tri-ratna, The Three Precious Jewels, and the Buddha, Dharma, Sangha.

Chinese: Sanctity; the auspicious number; the first odd, yang number….The moon toad, or bird, is three-legged. Celtic: Bridgit is threefold; there are the Three Blessed Ladies and innumerable Triads, often a threefold aspect of the same divinity. Christianity: Three represents the Trinity, the soul, the union of body and soul in human in the church. There were three gifts of the Magi to Christ as God-King-Sacrifice; three figures of transformation, temptations, denials by Peter (one of the 12 Apostles—- 12=3 (1+2=3). There were 3 crosses at Calvary, He died on The Hills, there were 3 days to the death process for Christ, and there were 3 appearances after his death. There were 3 Marys, and there are 3 qualities or theological virtutes being Faith, Hope, Love or more commonly known as Charity. The number 3 gives to the meaning the embracing Godhead – Father, Mother, Son/Daughter. Egyptian: Hermetic tradition, Thoth is the Thrice Great, ‘Trismegistus’. The Supreme Power. The opening line of the Emerald Tablets of Thoth the Atlantean. Tablet 11

Three is the mystery, come from the great one, Hear, and light on thee will dawn. In the primeval dwell three unities,Other than these none can exist. These are the equilibrium, source of creation,One God, One Truth, One Point of Freedom.Three come forth from the three of the balance, All Life, all Good, all Power.Three are the qualities of God in his light-home Infinite Power, Infinite Wisdom, Infinite Love. Three are the circles (or states) of Existence: The Circle of Light where dwells nothing but God, and only God can traverse it, The Circle of Chaos where all things by nature arise from Death, The Circle of Awareness where all things spring from Life. All things animate are of three states of existence, Chaos or death, liberty in humanity, and felicity of Heaven. There is an ancient wisdom that’s says; ‘Messages or events that come in three’s are worth noticing. ‘Whenever anything is mentioned three times it is a witness to us that these things are of utmost importance. Three symbolizes manifestation into the physical. It is the triangle – pyramid shape in the vesica pisces – see image below. The TV Show ‘Charmed’ deals the ‘Power of Three Sister Witches’, known as the Charmed Ones. Their job is to vanquish evil forces in their many forms and sometimes non-forms. knot The symbol to the side, called a Triquetra (tri-KET a Latin word meaning ‘three cornered’) appears on The Book Of Shadows.an ancient book of spells that assists these ‘Charmed Ones’ in dealing with the evil forces they are continually encountering. In some episodes so called evil and good must work together to bring balance to a situation. They cancel each other out in the end – poof – gone – disappeared! ‘Power of Three’ has to do with Alchemy. The Egyptian god Thoth or the Greek Hermes Trismegistus (Thrice Blessed or Thrice Great) are the progenitors of the Emerald Tablets describing the mysteries of Alchemy. The alchemy of three is demonstrated by its power of multiplicity. For example, in understanding the numbers – One gave rise to Two (1+1=2) and Two gave Rise to Three (2+1=3) and Three gave rise to all numbers (3+1=4, 3+2=5, 3+3=6, 3+4=7, 3+5=8 3+6=9). Thus in addition to being a number of good fortune, Three is also the number of multiplicity and alchemy among other things. Many believe the Triquetrais an ancient symbol of the female trinity, because it is composed of three interlaced yonic Vesica Pisces (a.k.a. PiscisSLatin for “Vessel of the Fish”) and is the most basic and important construction in Sacred Geometry, which is the architecture of the universe.

A Vesica is formed when the circumference of two identical circles each pass through the center of the other in effect creating a portal. ‘The Triquetra’ represents the ‘Power of Three’ or the threefold nature of existence i.e. body, mind and spirit; life, death and rebirth; past, present and future; beginning, middle and end; Sun, Moon and Earth; and the threefold co-creative process described as thought, word, and deed. Sphere=ovum Vesica Pisces – Oval opening of the penis The creation process as described in the Vedas is unfolding, maintaining, and concluding as in birth, life and death. There are innumerable trinities and triads throughout myth and religious traditions, such as the triple goddess; maiden, mother, crone. One example in Greek mythology is Kore, Demeter, Hecate. The Christian trinity is Father, Son and Holy Ghost. Vedic trinities include Brahma, Vishnu and Shiva with their consorts Saraswati, Lakshmi and Kali to name just a few. [mks_separator style=”dotted” height=”2″]

Four (4)

Four is the 4th dimension = time which is illusion. Four is seen as the first solid number. Spatial in scheme or order in manifestation.Static as opposed to the circular and the dynamic Wholeness; totality; completion; solid Earth; order

Rational – relativity and justice Symbol of measurement

Foundation The are four cardinal points; four seasons; four winds; four directions (as in North, South, East, West); four elements (Fire, Water, Air, Earth) in the western culture. There are four sides to a square; four arms to a cross. There are four rivers to Paradise, that formed a cross (the Garden of Eden was said to be within the four rivers). Within Paradise were four infernal regions, seas, and sacred mountains. There are four watches of the night and day, quarters of the moon. There are four quarters to the earth. There are four tetramorphs. The Divine Quaternity is in direct contrast to the Trinity. Four is a symbolic number used throughout in the Old Testament. The quaternary can be depicted as the quatrefoil as well as the square and the cross.Cultural References

Native American: As in other cultures, ceremonies and ritual acts are repeated in fours. The Native Amercican cultures have used the number 4 most frequently as in the four cardinal directions. The four winds are depicted by the symbol of the cross and by the symbol of the swastika. The swastika as some misbelieve was not created by Hitler. It was instead borrowed from the Native American and occult beliefs of which Hitler had great interests. Hitler derived his “insanity” of power from his misdirected interpretation and use of metaphysical principles. He used knowledge that his human consciousness couldn’t possibly understand and the use of this knowledge for personal gain is part of the imbalance that creates the chaos and karma. Buddhism: The Damba Tree of Life has four limbs and from its roots four sacred streams of Paradise that represent the the four boundless wishes of compassion, affection, love impartiality. It also represents the four directions of the heart as well. Chinese Buddism: there are four celestial guardians of cardinal points are Mo-li Ch’ing, the East, with the jade ring and spear; Virupaksha, the West, the Far-gazer, with the four-stringed quitar; Virudhaka, the South, with the umbrella of choas and darkness and earthquakes; Vaisravenna, the North, with the whips, leopard-skin bag, snake and pearl. Chinese: Four is the number of the Earth, symbolized by square. There are four streams of immortality. Four is even an number. It is Yin in polarity.

Christian: Four is the number representing the body, with three representing the soul. Again we see the theme of the four rivers in Paradise. There are four Gospels, Evangelists, chef arch-angels, chef-devils, four Fathers of the Church, Great Prophets. There are four cardinal virtues—prudence, fortitude, justice, temperance. The are four winds from which the One Spirit is said to come. There are four horsemen of the Apocalypse. Revelation: There four angels standing at the four corners of the Earth, holding back the four winds of the earth (Rev 7:1). The great multitude from every nation, tribe, people and language (four-fold description) – Rev 5:9 11:9 13:7 14:6 the four-fold description indicates that these people come from all over the earth. Egyptian: Four is the sacred number of Time, measurement of the sun. Four pillars support the vault of heaven. There are four canopic jars placed around the dead at the four corners guarded by the four sons of Horus who are associated with the cardinal points. In the Hermetic it is the divine quaternity. It represents God. Gnostic: belief in Barbelo, the Four-ness of God. Greek: Four is the sacred number of Hermes Hebrew: Four represents measuring; beneficence; intelligence. In the Kabbalah four is memory; four represents the four worlds of the Kabbalah.It also represents the four directions of space and the four levels of the hierarchical organism of the Torah. Hindu: Four is Totality; plenitude; perfection. Brahma, the Creator is four faced. The temple is based on the four sides of the square, symbolizing order and finality. There are four tattvas the four bodies bodies of human and kingdoms of nature which are animal, vegetable, mineral, mind. There are four yugas. Four is the winning throw of the dice. There are four castes and pairs of opposites. Islamic: tradition the four terms of the quaternary are the Principle which is Creator; Universal Spirit; Universal Soul; and the primordial matter. These correspond to the four worlds of Kabbalism. There are four angelic beings and four houses of death. There are four levels to the Bardo. Mayan culture four giants support the celestial roof. Four is seen as the number of support .Pythagorean: Four is Perfection; harmonious proportion; justice; the earth. Four is the number of the Pythagorean oath. Four and ten are divinities. The Tetraktys 1+2+3+4=10. Scandinavian: there are four rivers of milk flowing in Asgard.Sumero-Semitic: Four astral gods are indentified with the four cardinal points. Teutonic: four dwarfs support the world. Taoist: There are four celestial guardians, Li, with the pagoda; Ma, with the sword; Cho with two swords; Wen with a spiked club. [mks_separator style=”dotted” height=”2″] Five (5)

Five is the symbol of human microcosm. The number of the human being. Human forms—-the pentagon when arms and legs are out stretched. The pentagon is endless —-sharing the symbolism of perfection and power of the circle. Five is a circular number as it produces itself in its last digit when raised to its own power. The pentacle, like the circle symbolizes whole, the quincunx being the number of its center and the meeting point of heaven, earth, and the four cardinal points plus the center point. Five is also representative of the Godhead – Central Creator of the four fours plus itself equalling five. Five is the marriage of the hieros gamos as combination of feminine and the masculine. Feminine being even, as 2, in frequency and masculine being odd as 3 in frequency = 5. The number five symbolizes meditation; religion; versatility. It represents the five senses (taste, touch, smell, sight, hearing) everywhere except in the East. In the East there are six—-the extra being Mind. We find meanings to five in the five petaled flower, five pointed leaves—especially the ROSE. The Rose has much symbolism, but also the lily, vine, all of which represent the microcosm.

The five pointed star depicts individuality and spiritual aspiration, and education when it points upward. The five pointed star pointing downward represents witchcraft, and it is used in black magic. Noted: There is a very broad difference between witchcraft and black magic. The number five formed the first counting process from which all else came. Cultural References Alchemy: The five petaled flower and five pointed star symbolizing the quintessence.

Buddhist: belief the heart has four directions— the heart center makes five, symbolizing, universality. This idea is also symbolized by the Sacred Mountains surrounded by the four islands. There are five Dhyani Buddhas: Vairocana, the Brillant, who is represented by the wheel, the witness; Akshobhya, the Imperturbable, with vajra, the East and blue; Ratnasambhava, the Jewel-born, jewel, south, yellow; Amitabha, Boundless Light, lotus, West, red; Amoghasiddhi, Infallible Success, sword, North, green. Chinese: There are five elements. Five atmospheres; conditions; planets; sacred mountains; grains, colors, tastes, poisons; powerful charms; cardinal virtues; blessings; eternal ideas; relations to human kind. Christian: Five depicts human beings after the Fall in the Garden of Eden. There are five senses; five points to the cross; wounds of Christ; fishes feeding five thousand; and books of Moses. Egyptian: There are five crocodiles of the Nile. Graeco-Roman: Five is the nuptial number of love and union.. It is the number of Venus. Venus years are completed in groups of five. Apollo as god of light has five qualities: omniscience, omnipresence; omnipotence, eternity, and unity.

Hebrew: Five represents strength and severity; radical intelligence. In kabbala five represence fear. Hindu: Five is the quinary groups of the world; the five elements of the subtle and coarse states; their primary colors; of senses; five faces of Siva and the twice-five incarnations of Vishnu. Islamic: There are five pillars of religion; five Devine Presences; five fundamental dogmas; five actions; and five daily times of prayer. Parsee: Five is a significant number in Parsee and Mandaean rites – possibly connected with the five sacred intercalary days of light. Pythagorean: Hieros, gamos, the marriage of heaven, earth. It represents Apollo as God of light and his five qualities. Crystalinks: The Pentagram Pentagrams often show up on palms – hands [mks_separator style=”dotted” height=”2″]

Six (6) Six represents equilibrium; harmony – balance. It is the perfect number within the decad: 1+2+3=6. It is the most productive of all numbers. It symbolizes union of polarity, the hermaphrodite being represented by the two interlaced triangles, the upward- pointing as male, fire and the heavens, and the downward-pointing as female, the waters and the earth. Six is the symbol of luck; love; health; beauty; chance. It is a winning number at the throw of the dice in the West. There are six rays of the solar wheel and there are six interlaced triangles. There are six pointed stars or Seal of Solomon – and Star of David – Merkabah Cultural References;Chinese: Six represents Universe, with its four cardinal points and the Above and Below – making it a total of six directions. Chinese culture there are six senses: tastse, touch, smell, sight, hearing, the sixth being mind. The day and night each have six periods. Christian: Six is perfection; completion because man was created on the sixth day. Six is man’s number The most obvious use of this number is in the notorious passage containing 666. (Rev 13:18 NIV) This calls for wisdom. If anyone has insight, let him calculate the number of the beast, for it is man’s number. His number is 666. Hebrew: There are six days of creation. It symbolizes meditation and intelligence. Kabbalism: Six is creation, and beauty. Pythagorean: Luck Sumerian: Six days of creation

[mks_separator style=”dotted” height=”2″]

Seven (7)

If 6 represents humanity then 7 – the center of the spiral is humanity’s connection to its source, god, Christ consciousness – or whatever name you prefer.

Seven is the number of the Universe. It is the three of the heavens (soul) combined with the four (body) of the earth; being the first number containing both the spiritual and the temporal. In looking over the list of meanings it doesn’t take long to figure out why the seven has become significant in metaphysical, religious and other spiritual doctrines – as seven represents the virginity of the Great Mother – feminine archetype – She who creates.

There are 7 ages of man ancient wonders of the world circles of Universe cosmic stages days of the week heavens hells

pillars of wisdom rays of the sun musical notes – sound as frequency plays a key roll in matters of Universe. There are over 80 octaves of frequency – each governing a specific manifestation in Universe. Cultural References In all cultures, myths and legends seven represents…completeness and totality macrocosm perfection plenty reintegration rest

security safety synthesis The writings about the seven-headed dragon appear throughout India, Persia, the Far East, especially Cambodia, but also Celtic and other Mediterranean myths. The seventh ray of the sun is the path by which the human beings pass from this world to the next. Seven days is the period for fasting and penitence. The seventh power of any number, both square and a cube and thus was given great importance. Alchemy – There are seven metals involved with the Work. Astrology: There are seven stars of the Great Bear which are indestructible. There are seven Pleiades— sometimes referred to as the, Seven Sisters. Buddhist: Seven is the number of ascent and of ascending to the higest; attaining the center. The seven steps of Buddha symbolize the ascent of the seven cosmic stages transcending time and space. The seven-storied prasada at Borobadur is a sacred mountain and axis mundi, culminating in the transcendent North, reaching the realm of Buddha. Chinese culture the meaning and symboligies are intertwined throughout in their myths and legends of fairies and animal spirits. Christian: Seven is idealogogy. God is represented by the seventh ray in the center of the six rays of creation. There are seven sacraments; gifts of spirit; the seven of 3+4 theological and cardinal virtues; deadly sins, tiers of Purgatory (in metaphysical belief this would be one of the lower astral planes – or in Buddhism, one of the Bardo planes). There are 7 councils of the early church – crystal spheres containing the planets – devils cast out by Christ – joys and sorrows of Mary the Blessed Virgin, mother of Jesus – liberal arts – major prophets – periods of fasting and penitence – seventh day after the six of creation In the Old Testament there are the seven altars of Baalam; oxen and rams for sacrifice; trumpets; circuits of Jericho; seven times Naaman bathed in the Jordan. Seven is the number of Samon’s bonds; the child raised by Elisha sneezed seven times. The Ark rested on the seventh month and the dove was sent out after seven days. The number seven is used 55 times in Revelation. It usually means fullness or completeness as in seven days of the week. God rested on the seventh day. Examples abound: seven churches, seven trumpets, seven seals, seven bowls, seven eyes etc etc. Egyptian mythology: There are seven Hathors as Fates and the priestesses of Hathor have seven jars in their seven tunics. Ra has seven hawks representing the seven Wise Ones. Six cows and a bull represent fertility. There are seven houses of the underworld, as depicted in Egyptian myths, with three times seven gates. Seven is the sacred number of Osiris. Graeco-Roman: Sacred to Apollo, whose lyre has seven strings, and to Athene/Minerva and Ares/Mars; Pan had seven pipes (again a reference to seven musical notes and frequency); there seven Wise Men of Greece. Hebrew tradition: Seven is the number of occult intelligence. There are seven Great Holy Days in the Jewish year; the Menorah has seven branches; the Temple took seven years to build; and there are seven pillars of wisdom. Hinduism there are Seven Jewels of the Brahmanas and seven gods before the floods and seven Wise Men saved from it. Islamic: The perfect number is seven. In Islamic tradition there are references to seven: heavens climates earths and seas

colors prophets (active powers) states or stations of the heart The Ka’aba is circumambulated seven times representing the seven attributes of God. Magic: There are seven knots in a cord for “spellbinding” and incantations are sevenfold. Certain orders of Brotherhood use theme of tying seven knots in their rope sash worn around their waist. Mithraic: The cave of Mithras has seven doors, seven altars, and a ladder with seven rungs depicting the seven grades of initiation into the mystery schools. Pythagorean: Seven is a cosmic number with three of heaven and four of the world. Sumero-Semitic: There are seven lunar divisions and days of the week. “Thou shalt shine with horns to determine six days and on the seventh with half a crown.”, the seventh thus becomes opposition to the sun and symbolizes darkness and balefulness and therefore is dangerous to undertake anything on the seventh day because that is the day of rest. We can see here the influence of this belief in other religious contexts. There are seven zones of earth; heavens, symbolized by the planes of ziggurat. There are seven branches to the Tree of Life each having seven leaves. Leaves are symbols of fertility, renewal and growth. There are seven gates of hell, seven demons of Tiamat and seven winds to destroy her—-interesting to note that in many belief systems it is said that the astral plane has seven levels to it—one sound on one of those levels is “wind”.

Seven is a mystic number traditionally associated with Venus and more recently with Neptune. It is the number of feelings and of instincts – of the Group Mind, of Love, whether that strange, indescribable but pervasive feeling of love is towards another person, a pet, oneself or one’s God. ‘Love’ embodies tremendous sexual energy, the emotions of which may be directed in various ways.

theawakenedstate.net/numerology/

Found this guy in the Karumba Point Tourist Park, Karumba, QLD.

Also known as the Green Oriole.

They are an inconspicuous inhabitant of lush tropical vegetation throughout New Guinea and northern Australia, including Cape York Peninsula, the Top End and the Kimberley.

Green orioles forage slowly and methodically through the mid and upper strata of dense forests, taking fruit in the main. They are often difficult to locate, as their yellow-green plumage blends with the foliage and only their deep bubbling musical calls can be heard (Wikipedia).

They are not related to the New World orioles, which are icterids (family Icteridae).

Migratory big white beautiful bird! They remain at White Rock Lake's Sunset Bay (Dallas, TX) until March or April.

Splash down! They are large and powerful and the two klutzy little coots barely visible mattered not!

Click on image for best view.

One of the largest North American birds, the American White Pelican is majestic in the air. The birds soar with incredible steadiness on broad, white-and-black wings. Their large heads and huge, heavy bills give them a prehistoric look. On the water they dip their pouched bills to scoop up fish, or tip-up like an oversized dabbling duck. Sometimes, groups of pelicans work together to herd fish into the shallows for easy feeding. Look for them on inland lakes in summer and near coastlines in winter.

Size & Shape

A huge waterbird with very broad wings, a long neck, and a massive bill that gives the head a unique, long shape. They have thick bodies, short legs, and short, square tails. During the breeding season, adults grow an unusual projection or horn on the upper mandible near the tip of the bill.

Color Pattern

Adult American White Pelicans are snowy white with black flight feathers visible only when the wings are spread. A small patch of ornamental feathers on the chest can become yellow in spring. The bill and legs are yellow-orange. Immatures are mostly white as well, but the head, neck, and back are variably dusky.

Behavior

American White Pelicans feed from the water’s surface, dipping their beaks into the water to catch fish and other aquatic organisms. They often upend, like a very large dabbling duck, in this process. They do not plunge-dive the way Brown Pelicans do. They are superb soarers (they are among the heaviest flying birds in the world) and often travel long distances in large flocks by soaring. When flapping, their wingbeats are slow and methodical.

Habitat

American White Pelicans typically breed on islands in shallow wetlands in the interior of the continent. They spend winters mainly on coastal waters, bays, and estuaries, or a little distance inland.

www.allaboutbirds.org

Self-portrait by Tsering Hannaford (born 1987), oil on board.

I'm interested in the history of self-portraiture, particularly women's self-portraits and the tension that arises when artist is both painter and subject.

I have always drawn or painted self-portraits during times of self-reflection, and also as a way to practise skills or chance to experiment compositionally. I find painting a meditative and methodical process, and with a self-portrait I can quietly shut myself away in the studio for a few days to paint and think uninterrupted. Normally, I paint under an angled natural light but I used a bright front-facing artificial light for this piece, which brought new challenges in representation of form, Tsering Hannaford.

2018 Archibald Prize, Art Gallery NSW, Sydney, Australia (Monday 23 July 2018)

This week for Crit My Pic I’m going to be looking at a street photo by Phil Barnard. This photo was sent into us by Phil during the time when Crit My Pic was on a break, so as such it doesn’t have a title. This is the penultimate photo submission we had when Crit My Pic was off-air, so I’m now at a stage where I’ve almost got up-to-date. Thanks for your patience everyone! As per usual, the street photo submitted by Phil will be analysed over the categories of point of view, focal point, composition, exposure, subject matter and mood. I’ll describe my reactions to the photo based on how it performs in these criteria, and I’ll make any suggestions I can for ways in which I think it can be improved. If you have a street photograph of your own that you’d like me to ‘Crit’, take a look at the submission rules at the bottom of the page and then get it touch with us!

Point Of View

Phil’s point of view for this photo is one we are quite familiar with. We’re looking across a street from a fairly standard height, over at a pavement and a flat wall. It’s a wide to medium viewpoint showing a man and also his wider surroundings. This point of view is very much archetypal of a street scene, and feels almost like something you’d see from a window across the street. A wide view allows lots of scope for creative use of composition, and opportunity to play with the relationship between the focal point and the background to achieve a pleasing composition. This type of side on shot is one which is very regularly seen in street photography, but that isn’t always a criticism – when combined creatively it can make for some pleasing effects.

Focal Point

Our focal point in this shot is incredibly clear, and Phil should be commended for that. He has used composition and in particular a strong awareness of the power of ‘less is more’ and the effectiveness of minimalism to emphasise his focal point. That focal point is of course, the man walking in front of the wall and across the frame from left to right. The man is the only figure in the entire frame, and quite clearly disrupts the monotony of the relatively featureless brick wall behind him. His position close to the first third of the ‘rule of thirds’ grid helps to emphasise this, and he is also close to the golden section area (marked by the circle). Phil has used his background and composition very effectively to clearly identify his focal point.

Composition

As I have mentioned above, Phil has demonstrated a good compositional awareness in setting up this shot. He clearly timed his release of the shutter to coincide with his subject’s relative position in the frame, placing him around the one third line as I have said. This served to unbalance the image and in turn make it more visually distinctive. It also plays on the movement theme we have going on in the photo. Our subject is moving from left to right, a direction which lends itself to being associated with movement in many people’s minds because of the direction of writing (in the Western hemisphere at least). So having the focal point of the image moving across the frame in this way helps to emphasise the feeling of movement in the shot, especially as there is a large area of negative space occupying two thirds of the right side of the frame for him to walk into. Another element of this shot which brought some nice dynamism to the photo was the movement of the man’s arm, which swings around in an arc from his right side to the left side of his head.

My alternative suggestion for treatment of composition in this shot would have been to play on the stark minimalism and graphical elements already present in the photo and take them a step further. We could have perhaps seen the windows used differently in their role in breaking up the wall as the background. They could have played a more active role in the photo if they were placed symmetrically in relation to the frame. Then we could have seen the man dead centre in the frame, mid stride and walking between the space between the two windows. This would have strengthened the minimalist and graphical themes in the shot. We may have lost an element of dynamism and movement, but we would have gained a triangular compositional element right at the centre of the frame with the interplay between the two windows higher up and the man between them walking along the pavement.

Exposure

Exposure plays a significant role in Phil’s photo, and I’m pleased say he has used it effectively. We have some nice strong direct sunlight coming from the top right of the frame and striking the man’s head. This illuminates his face brightly and really serves to emphasise him as a focal point. This effect is further enhanced by the fact that the man is raising his hand to shield his face from the sun (the sweeping motion I described above). The light and exposure choice by Phil also serves to play another role in the photo. Not only do we get some pleasing shadow tones falling across the brickwork, but we also get some great shadow shapes created too. On the right of the frame there is the weird rhomboid shadow cast by part of a building or something, but the most interesting shadow is that on the left of the shot. Underneath the window we have the shadow cast by the man. Because of the position of the sun, the direction of the light, and the wall behind, this shadow has become elongated and distorted to the point where it becomes just a weird deformation of the man himself. His shadow is then linked to him by the shadow from his leg which becomes just a thin strip across the pavement. In terms of improvements to this area of the shot I can think of only two things. The first would be to wait for an even more powerful and lower sun to cast lower, stronger shadows (though this may not of course have been possible where Phil shot his photo). I would also have liked to see this photo in colour I think. I think even with muted hues it could have been a very interesting photo with the strong sunlight, and very dramatic indeed if the man was wearing any brightly coloured clothing.

Subject Matter

I feel that Phil’s subject matter is something we see very often in street photography. A side on view of person walking in from of a wall is kind of de rigueur for a street photographer’s portfolio. That isn’t necessarily a bad thing, but I do feel Phil could do more here to make his shot memorable and stand out from the crowd. As I mentioned above when I talked about composition, I think this shot could do with some different framing in order to play on the graphical strengths of the elements in the photo. I think if we had some truly precise layout and framing – centralised and symmetrical window placement in the frame, and the man below them, we could have had a shot which was pleasingly balanced and had a more methodically crafted feel. This would have given it a clearer identity as a work of truly artfully and precisely composed minimalism.

Mood

I like the mood and emotions conveyed by this photo. The wideness of the shot and the use of graphical minimalism produces a sense of detachment. The fact that the man is the only person in the frame and that he appears quite small in relation to his background creates a feeling of solitude in the photo. The man seems very isolated and alone. When you add the effect of lighting and exposure into the mix, the mood of the photo develops further. The man’s weird distorted shadow appears almost sinister as it looms up behind him, like it’s crawling up from the cracks in the pavement. Alternatively, the shadow cast by the man’s leg that links him to the rest of his warped shadow is puts me in mind of Jekyll and Hyde – like the man and his monstrous alter ego. This adds a nice bit of subtext and extra drama to the image.

I like this shot, but I think Phil needs to build on this concept in order to make it more interesting and memorable. We see many side-on wide shots of people walking in front of walls. Producing a really distinctive photo like this requires even more effort in terms of composition and execution to make a photo like this stand out amongst the flood of similar shots. If Phil wanted to build on this theme and style of photography, he should perhaps take a look at some expert minimalist photographers like Harry Callahan, Hiroshi Sugimoto or Richard Misrach and study how they compose so precisely and set up their shots. Then he can wait for his street subject to enter the scene and he will have his own street photography take on minimalism! As things stand, I like the elements we have going on in this photo – especially the light, exposure, and mood created by the shadows – but I think it needs more development to become a memorable and great street photograph. Thanks for submitting Phil!

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

Some background:

The Char B1 was a French heavy tank manufactured before World War II. It was conceived as a specialized offensive vehicle, armed with a 75 mm howitzer in the hull. Later a 47 mm gun in a turret was added, to allow it to function also as a Char de Bataille, a ‘battle tank’ fighting enemy armour, equipping the armoured divisions of the Infantry Arm. Starting in the early twenties, its development and production were repeatedly delayed, resulting in a vehicle that was both technologically complex and expensive, and already obsolescent when real mass-production of a derived version, the Char B1 "bis", started in the late thirties.

The regular French divisions destroyed quite a few German tanks but lacked enough organic infantry and artillery to function as an effective mobile reserve. After the defeat of France, captured Char B1 of all variants would be used by Germany, with some rebuilt as flamethrowers, Munitionspanzer, or mechanized artillery.

Specifications:

Crew: Five (driver, radio operator/machine gunner, commander, gunner, loader)

Weight: 36 tonnes (40 short tons, 35 long tons)

Length: 6.98 m (22 ft 10½ in) overall with gun forward

6.37 m (20 ft 11 in) hull only

Width: 2.46 m (8 ft 1 in)

Height: 2.84 m (9 ft 3¾ in)

Ground clearance: 40 cm (1 ft 3¾ in)

Climbing: 93 cm (3 ft ½ in)

Trench crossing: 2,4 m (7 ft 10½ in)

Suspension: Bogies with a mixture of vertical coil and leaf springs

Steering: Double differential

Fuel capacity: 400 liters

Armour:

14 to 70 mm (0.55 to 2.75 in)

Performance:

28 km/h (17 mph) on road

21 km/h (13 mph) off-road

Operational range: 200 km (124 mi) on road

Power/weight: 9.7 hp/ton

Engine:

1× Renault inline 6 cylinder 16.5 litre petrol engine with 350 hp (260 kW)

Transmission:

5 forward and 1 rear gear

Armament:

1x 75 ARL 37 high-velocity cannon with 94 rounds

2x 7.5 mm (0.295 in) Reibel machine guns with a total of 5,250 rounds

The kit and its assembly:.

This fictional Char B1 variant was based on the question what the tank could have looked like if there had been a suitable 75 mm gun available that could replace both its howitzer in the hull and the rather light anti-tank gun in the turret? No such weapon existed in France, but I tried to extrapolate the concept based on the standard Char B1 hull.

Two big changes were made: the first concerned the hull howitzer, which was deleted, and its recessed opening faired over with 1 mm styrene sheet and putty. This sound easier as it turned out to be because the suspension for the front right idler wheel had to be retained, and the complex shape of the glacis plate and the opening called for patchwork. A fairing for the co-driver was added as well as a ball mount for the new hull machine gun. New shackles were added to the lower front and, finally, new rows of bolt heads (created with white glue).

The turret was completely replaced with a cast turret from a 1943 T-34/76 (Zvezda kit). While its shape and gun mantlet are quite characteristic, I still used it mostly OOB because its size and shape turned out to be a very good match to contemporary French tank turrets. However, the gun barrel was moved and a fairing for a hydro-pneumatic recoil damper was added, as well as a French commander cupola. And an adapter had to be scratched to attach the new turret to the hull, together with small fairings for the wider turret ring.

Painting and markings:

I wanted a rather unusual paint scheme for this Char B1 derivative, and found inspiration in an operational museum tank that depicts vehicle “311/Rhin”: it carries a three-tone livery in two greens and brown, instead of the more common sand, dark green and earth brown tones or just two-tone schemes.

The colors were adapted to an irregular pattern, and the paints I used were Humbrol 120 (FS 34227, a rather pale interpretation of the tone), 10 (Gloss Dark Brown) and ModelMaster 1764 (FS 34092). As a personal twist, the colors were edged in black, enhancing the contrast.

The markings were puzzled together from various sources in an attempt to create suitable tactical codes of the early 1940 era. The “Ace of Spades” emblem on the turret is, for example, are a marking of the 1st section. The dot in front of the “K” probably indicated a command vehicle, but I am not certain.

Some post-shading was done as well as dry-brushing with light earth brown to emphasize edges and details. Then the model was sealed with matt acrylic varnish and received some dusting with grey-brown artist pigments, simulating dust around the running gear.

Well, not too much was changed, but the new, bigger turret changes the Char B1’s look considerably – it looks somewhat smaller now? Its new silhouette also reminds me of a duck? Weird, but the conversion worked out well – esp. the modified glacis plate without the howitzer’s recessed opening looks very natural.

iss055e076991 (May 24, 2018) --- The Orbital ATK space freighter is pictured as it slowly and methodically approaches the International Space Station to resupply the Expedition 55 crew.

The Reach, Lower Lawn at the Kennedy Center.

Gray winter days :( .

Nikon F80, Sigma 24-70 f2.8, Ilford Delta 400 35mm, Tiffen Yellow 15

Brushstroke, 1996-97, painted aluminum, 32’ high

Lent by the Hirshhorn Museum and Sculpture Garden

Roy Lichtenstein burst on the art scene in the early 1960s with paintings inspired by comic books; today they look disarming and playful, but when new, they seemed shockingly irreverent.

For three decades, Lichtenstein amusingly used an isolated brushstroke as the emblem of high art. Dozens of paintings neatly rendered the rapid stroke of a fully loaded brush with a methodical approach that spoofed the spontaneity of abstract expressionism. Then Lichtenstein created his first Brushstroke sculptures, giving fluid “paint” a free-standing physical presence.

The monumentality of this example evokes the heroism of the abstract expressionist painters, while its rapid calligraphic energy belies its static form.

Located on the Lower Lawn

kennedycenter.sched.com/exhibitor/roy_lichtensteins_quotb...

www.phaselis.org/en/about/about-project

Phaselis Research

Phaselis

When compared with the previous period of research on the history of the city over the past quarter century it has undergone radical changes. While modern scientists follow the path of their predecessors in collecting data through systematic processes and methodically analysing them, they change the route whereby they approach the city as a context- and a process-oriented structure, having economic, social, cultural, political and environmental dimensions which come together at different levels.

This considerably more inclusive definition expands the discipline concerning the city’s historical research, which consists of archaeology, epigraphy, ancient history and the other ancillary sciences and it encourages scientists from the natural and health sciences to participate within these studies. This is because in the course of the exploration of an ancient settlement the study of both the environment and the ecological setting which make human life possible; together with health issues, such as diet and epidemics, form the context within which human beings live, and which are thereby as important as the human actors.

Within the context of the planned Phaselis Research, even certain knowledge such as the settlement’s appearing on the stage of history as a favorite break-point with its three natural harbours, it being famous for its roses, the frequent seismic upheavals at sea and on its shores and its citizens leaving their homes because of a devastating malaria epidemic suggest the necessity of the application of this multi-dimensional research methodology in order to understand more fully the historical adventure of this city.

By presenting this research project, we aim to implement and realize this multi-dimensional research method, which as yet lacks widespread application in the field in our country, however conceptually and practically with a multi-disciplinary research team consisting of both national and international scientists, we intend to register systematically every kind of data/information regarding all contexts of the city employing modern methods and to present the results to the scientific world in the form of regular reports and monographic studies, thus forming a strong tie between past and future research.

Phaselis Territorium

The boundaries of the ancient city of Phaselis’ territorium are today within the administrative borders of the township of Tekirova, in Kemer District, determined from the archaeological, epigraphic and historical-geographical evidence, reaching the Gökdere valley to the north, continue on a line drawn from Üç Adalar to Mount Tahtalı to the south and extend along the Çandır valley to the west.

Phaselis was discovered in 1811-1812 by Captain F. Beaufort during his work of charting the southern coastline of Asia Minor for the British Royal Navy. Beaufort drew Phaselis’ plan and in the course of conducting his cartographic studies, he saw the word Φασηλίτης ethnikon on the inscriptions and consequently identified these ruins with Phaselis. C. R. Cockerell, the English architect, archaeologist and author came to Phaselis by ship and met Beaufort there. Then in 1838 C. Fellows, the English archaeologist visited the city. He found the fragments of the dedicatory inscription over the monumental gate built in honour of the Emperor Hadrianus and mistakenly thought the Imperial Period main street was the stadion due to the seats-steps on either side of the street. In 1842 Lt. T. A. B. Spratt, the English hydrographer and geographer, and the Rev. E. Forbes, the naturalist came to Phaselis via the Olympos and Khimaira routes. Due to the fact that they all came by sea and they only stayed for a short time, their descriptions of the topography inland are without detailed and there are serious errors in orientation.

PhaselisThose researchers who visited Phaselis between the late 19th and the early 20th centuries concentrated primarily upon the discovery of inscriptions. In 1881-1882 while the Austrian archaeologist and the epigraphist O. Benndorf, the founder of the Austrian Archaeological Institute, and his team were conducting research in southwestern Asia Minor, they examined Phaselis. In the winter of 1883 and 1884 F. von Luschan from the Austrian team took the first photographs which provide information concerning the regional features of Phaselis’ shoreline. In the same year the French scientist V. Bérard also visited Phaselis. In 1892 the members of the Austrian research team, O. Benndorf, E. Kalinka and their colleagues continued their architectural, archaeological and epigraphical studies in Phaselis. In 1904 they were followed by D. G. Hogarth, R. Norton and A. W. van Buren from the British research team. In 1908 the Austrian classical philologist E. Kalinka visited the settlement again, collected epigraphic documents and conducted research on the history of city (published in TAM II in 1944). The Italian researchers R. Paribeni and P. Romanelli visited Phaselis in1913 and C. Anti in 1921. Anti returned to Antalya overland and in consequence discovered several epigraphs and the ruins of structures within the territorium of Phaselis.

Further archaeological, epigraphical and historical-geographical studies of Phaselis were conducted by the English researchers F. M. Stark and G. Bean, who came to the region after World War II. In 1968 H. Schläger, the German architect and underwater archaeologist began exploring the topographical and architectural structures of Phaselis’s harbours. After Schläger’s death in 1969, the research was conducted under the leadership of the archaeologist J. Schäfer in 1970. H. Schläger, J. Schäfer and their colleagues obtained important data concerning the architecture and history of Phaselis through the surface exploration of the city and its periphery. Following the excavations conducted along the main axial street of the city, in 1980 under the direction of Kayhan Dörtlük, the then Director of the Antalya Museum and between 1981-1985 under the leadership of the archaeologist Cevdet Bayburtluoğlu; underwater exploration was carried out in the South Harbour under the direction of Metin Pehlivaner, the then Director of the Antalya Museum.

en.wikipedia.org/wiki/Phaselis

Hiding quietly in my blind, I could see the black-bellied plovers, greater yellowlegs and a smattering of smaller shorebirds slowly habituating to my presence across the mudflats. Slowly, they recuperated from my arrival and setup, and began methodically hunting for food, anew. Some slowly grew closer. Suddenly, all the winged creatures took to the air, as if I had thrown off the blind in reckless abandon. I hadn’t moved a muscle. A cacophony of alarm calls filled the air and within moments I was alone; surrounded by nothing but grass, mud, a few lonely fiddler crabs, and the sound of the wind whispering through the grass. One glance in the air provided a reason for the exodus. A red-tailed hawk was hunting overhead, and for one brief moment it stared at me inquisitively, perhaps just wondering if I taste like chicken! #RedTailedHawk

Reid Wiseman stood in the hard Kazakh light at Baikonur with the kind of calm that doesn’t announce itself. No performance to it. Just presence. The suit techs moved with practiced rhythm around him, hands checking seals, cables, pressure. The Soyuz waited out on the steppe, white and improbable, pointed at a sky that has seen a thousand departures. TMA-13M would carry him into a long arc of work and isolation, but in that moment it felt simple. A man, a machine, a trajectory already written in physics.

Reid Wiseman came to this through a path that favors discipline over spectacle. He grew up in Maryland, studied systems engineering, then flew with the U.S. Navy as a test pilot, the kind of work where curiosity is paired with restraint. In 2009, NASA selected him as part of a new class of astronauts, and he moved into the long apprenticeship that spaceflight still demands. Years of training in simulators, in water tanks, in classrooms that try to compress the complexity of orbit into something the body can remember.

Expedition 40 and 41 were his first real test. Once on the International Space Station, the days stretch and compress at the same time. Sixteen sunrises. Maintenance that never quite ends. Moments of stillness where Earth rolls beneath you in silence. Reid worked methodically. Spacewalks with Barry Wilmore, hands in bulky gloves, working outside the station where every movement is deliberate. Inside, he became known for something else too. He noticed things. He photographed the thin blue line of atmosphere, the geometry of cities at night, the soft gradients of storms. He wrote in short bursts that felt immediate and unfiltered. A human voice in a place that can easily become abstract.

Back on Earth, he moved into leadership, eventually serving as Chief of the Astronaut Office. That role is less visible but no less critical. It means shaping how crews train, how missions are approached, how risk is understood and carried forward. It means translating between engineers, flight directors, and the people who will actually ride the rocket. Reid did that with a kind of steadiness that people trust.

Now the work points outward again. Artemis II. The first crewed mission in this new chapter of lunar exploration. Reid will command the flight, leading a crew that will leave low Earth orbit, loop around the Moon, and come home. It is a mission that sits between eras. Not quite Apollo, not yet the sustained presence that Artemis promises, but a bridge that has to hold. The systems are new. The distances are old and unforgiving. There is no margin for theater.

When I photographed him at Baikonur, there was already a sense of that future in him, even if none of us named it yet. The same composure. The same attention to detail. You get the feeling that he understands the weight of what comes next, but doesn’t carry it as burden. More like alignment. The work in front of him, the people beside him, the trajectory ahead.

Spaceflight has a way of turning individuals into symbols, but standing there with Reid, it felt more grounded than that. He is not trying to be the face of anything. He is trying to do the job well, with clarity, with care for the crew, and with respect for the thin line between success and failure that every launch rides.

Artemis II will push humans farther from Earth than anyone has gone in half a century. Reid will be at the front of that return. Not as a figure of myth, but as a pilot, a commander, a person who has spent years preparing to sit atop a rocket and trust both the machine and the team behind it.

explorers.com/reid-wiseman/

Built in 1911 for the Counts of Wertheim.

"Karlstadt is a town in the Main-Spessart in the Regierungsbezirk of Lower Franconia (Unterfranken) in Bavaria, Germany. It is the administrative centre of Main-Spessart (Kreisstadt), and has a population of around 15,000.

Karlstadt lies on the River Main in the district (Landkreis) of Main-Spessart, roughly 25 km north of the city of Würzburg. It belongs to the Main-Franconian wine-growing region. The town itself is located on the right bank of the river, but the municipal territory extends to the left bank.

Since the amalgamations in 1978, Karlstadt's Stadtteile have been Gambach, Heßlar, Karlburg, Karlstadt, Laudenbach, Mühlbach, Rohrbach, Stadelhofen, Stetten, and Wiesenfeld.

From the late 6th to the mid-13th century, the settlement of Karlburg with its monastery and harbor was located on the west bank of the Main. It grew up around the Karlsburg, a castle perched high over the community, that was destroyed in the German Peasants' War in 1525.

In 1202, Karlstadt itself was founded by Konrad von Querfurt, Bishop of Würzburg. The town was methodically laid out with a nearly rectangular plan to defend Würzburg territory against the Counts of Rieneck. The plan is still well preserved today. The streets in the old town are laid out much like a chessboard, but for military reasons they are not quite straight.

In 1225, Karlstadt had its first documentary mention. In 1236, the castle and the village of Karlburg were destroyed in the Rieneck Feud. In 1244, winegrowing in Karlstadt was mentioned for the first time. From 1277 comes the earliest evidence of the town seal. In 1304, the town fortifications were finished. The parish of Karlstadt was first named in 1339. In 1369 a hospital was founded. Between 1370 and 1515, remodelling work was being done on the first, Romanesque parish church to turn it into a Gothic hall church. About 1400, Karlstadt became for a short time the seat of an episcopal mint. The former Oberamt of the Princely Electorate (Hochstift) of Würzburg was, after Secularization, in Bavaria's favour, passed in 1805 to Grand Duke Ferdinando III of Tuscany to form the Grand Duchy of Würzburg, and passed with this to the Kingdom of Bavaria.

The Jewish residents of the town had a synagogue as early as the Middle Ages. The town's synagogue was destroyed on Kristallnacht (the Night of Broken Glass, 9 November 1938) by Nazi SA men, SS, and Hitler Youth, as well as other local residents. Its destruction is recalled by a plaque at the synagogue's former site. The homes of Jewish residents were attacked as well, the possessions therein were looted or brought to the square in front of the town hall where they were burned, and the Jews living in the town were beaten.

Lower Franconia (German: Unterfranken) is one of seven districts of Bavaria, Germany. The districts of Lower, Middle and Upper Franconia make up the region of Franconia. It consists of nine districts and 308 municipalities (including three cities).

After the founding of the Kingdom of Bavaria the state was totally reorganised and, in 1808, divided into 15 administrative government regions (German: Regierungsbezirke, singular Regierungsbezirk), in Bavaria called Kreise (singular: Kreis). They were created in the fashion of the French departements, quite even in size and population, and named after their main rivers.

In the following years, due to territorial changes (e. g. loss of Tyrol, addition of the Palatinate), the number of Kreise was reduced to 8. One of these was the Untermainkreis (Lower Main District). In 1837 king Ludwig I of Bavaria renamed the Kreise after historical territorial names and tribes of the area. This also involved some border changes or territorial swaps. Thus the name Untermainkreis changed to Lower Franconia and Aschaffenburg, but the city name was dropped in the middle of the 20th century, leaving just Lower Franconia.

From 1933, the regional Nazi Gauleiter, Otto Hellmuth, (who had renamed his party Gau "Mainfranken") insisted on renaming the government district Mainfranken as well. He encountered resistance from Bavarian state authorities but finally succeeded in having the name of the district changed, effective 1 June 1938. After 1945 the name Unterfranken was restored.

Franconia (German: Franken, pronounced [ˈfʁaŋkŋ̍]; Franconian: Franggn [ˈfrɑŋɡŋ̍]; Bavarian: Frankn) is a region of Germany, characterised by its culture and Franconian dialect (German: Fränkisch).

Franconia is made up of the three Regierungsbezirke of Lower, Middle and Upper Franconia in Bavaria, the adjacent, Franconian-speaking, South Thuringia, south of the Thuringian Forest—which constitutes the language boundary between Franconian and Thuringian— and the eastern parts of Heilbronn-Franconia in Baden-Württemberg.

Those parts of the Vogtland lying in Saxony (largest city: Plauen) are sometimes regarded as Franconian as well, because the Vogtlandian dialects are mostly East Franconian. The inhabitants of Saxon Vogtland, however, mostly do not consider themselves as Franconian. On the other hand, the inhabitants of the Hessian-speaking parts of Lower Franconia west of the Spessart (largest city: Aschaffenburg) do consider themselves as Franconian, although not speaking the dialect. Heilbronn-Franconia's largest city of Heilbronn and its surrounding areas are South Franconian-speaking, and therefore only sometimes regarded as Franconian. In Hesse, the east of the Fulda District is Franconian-speaking, and parts of the Oden Forest District are sometimes regarded as Franconian for historical reasons, but a Franconian identity did not develop there.

Franconia's largest city and unofficial capital is Nuremberg, which is contiguous with Erlangen and Fürth, with which it forms the Franconian conurbation with around 1.3 million inhabitants. Other important Franconian cities are Würzburg, Bamberg, Bayreuth, Ansbach and Coburg in Bavaria, Suhl and Meiningen in Thuringia, and Schwäbisch Hall in Baden-Württemberg.

The German word Franken—Franconians—also refers to the ethnic group, which is mainly to be found in this region. They are to be distinguished from the Germanic people of the Franks, and historically formed their easternmost settlement area. The origins of Franconia lie in the settlement of the Franks from the 6th century in the area probably populated until then mainly by the Elbe Germanic people in the Main river area, known from the 9th century as East Francia (Francia Orientalis). In the Middle Ages the region formed much of the eastern part of the Duchy of Franconia and, from 1500, the Franconian Circle. The restructuring of the south German states by Napoleon, after the demise of the Holy Roman Empire, saw most of Franconia awarded to Bavaria." - info from Wikipedia.

Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.

Now on Instagram.

Become a patron to my photography on Patreon or donate.

... nothing pretentious here, just a simple, honest tribute to a doctor who methodically does a good job for his patients. You never think of your doctor, until you have a bad one and then you spend hours trying to think how to work around him. Hats off and a big ARRIBA ARRIBA for the good doctor.....long may he practice and then when he passes on to the great reward, may he forever receive the benefits of all that practice....and of course, don't forget....practice makes perfect.

The more I railfan, the more I've adopted a "catch and release" policy. Catch the train at an ideal location, get the shot, and let it go. I've saved my chases for trains that are worth following (contains a unique locomotive, special unit train, passenger special). I've found this policy makes me more methodical and careful with selecting locations to catch trains and for composing the image.

In this instance, UP 8339 leads the QFRNP through the Sierra Nevada Foothill community of Dutch Flat, CA. I had spotted this train while chasing a westbound containing an ex SP AC4400CW in DPU service. I had time to run to the Sacramento St crossing to see the 8339 pass. Although this train was beautiful, was struggling up the grade, and easy to chase, I got my shot here, let her go, and caught up with my SP DPU. It's all about catching and releasing. :-)

© 2013 Patrick Dirden Photography

All Rights Reserved

iss055e074856 (May 24, 2018) --- The Orbital ATK space freighter is pictured as it slowly and methodically approaches the International Space Station before its capture with the Canadarm2 robotic arm to resupply the Expedition 55 crew.

The Catholic Hospital Church is visible on the left.

"Karlstadt is a town in the Main-Spessart in the Regierungsbezirk of Lower Franconia (Unterfranken) in Bavaria, Germany. It is the administrative centre of Main-Spessart (Kreisstadt), and has a population of around 15,000.

Karlstadt lies on the River Main in the district (Landkreis) of Main-Spessart, roughly 25 km north of the city of Würzburg. It belongs to the Main-Franconian wine-growing region. The town itself is located on the right bank of the river, but the municipal territory extends to the left bank.

Since the amalgamations in 1978, Karlstadt's Stadtteile have been Gambach, Heßlar, Karlburg, Karlstadt, Laudenbach, Mühlbach, Rohrbach, Stadelhofen, Stetten, and Wiesenfeld.

From the late 6th to the mid-13th century, the settlement of Karlburg with its monastery and harbor was located on the west bank of the Main. It grew up around the Karlsburg, a castle perched high over the community, that was destroyed in the German Peasants' War in 1525.

In 1202, Karlstadt itself was founded by Konrad von Querfurt, Bishop of Würzburg. The town was methodically laid out with a nearly rectangular plan to defend Würzburg territory against the Counts of Rieneck. The plan is still well preserved today. The streets in the old town are laid out much like a chessboard, but for military reasons they are not quite straight.

In 1225, Karlstadt had its first documentary mention. In 1236, the castle and the village of Karlburg were destroyed in the Rieneck Feud. In 1244, winegrowing in Karlstadt was mentioned for the first time. From 1277 comes the earliest evidence of the town seal. In 1304, the town fortifications were finished. The parish of Karlstadt was first named in 1339. In 1369 a hospital was founded. Between 1370 and 1515, remodelling work was being done on the first, Romanesque parish church to turn it into a Gothic hall church. About 1400, Karlstadt became for a short time the seat of an episcopal mint. The former Oberamt of the Princely Electorate (Hochstift) of Würzburg was, after Secularization, in Bavaria's favour, passed in 1805 to Grand Duke Ferdinando III of Tuscany to form the Grand Duchy of Würzburg, and passed with this to the Kingdom of Bavaria.

The Jewish residents of the town had a synagogue as early as the Middle Ages. The town's synagogue was destroyed on Kristallnacht (the Night of Broken Glass, 9 November 1938) by Nazi SA men, SS, and Hitler Youth, as well as other local residents. Its destruction is recalled by a plaque at the synagogue's former site. The homes of Jewish residents were attacked as well, the possessions therein were looted or brought to the square in front of the town hall where they were burned, and the Jews living in the town were beaten.

Lower Franconia (German: Unterfranken) is one of seven districts of Bavaria, Germany. The districts of Lower, Middle and Upper Franconia make up the region of Franconia. It consists of nine districts and 308 municipalities (including three cities).

After the founding of the Kingdom of Bavaria the state was totally reorganised and, in 1808, divided into 15 administrative government regions (German: Regierungsbezirke, singular Regierungsbezirk), in Bavaria called Kreise (singular: Kreis). They were created in the fashion of the French departements, quite even in size and population, and named after their main rivers.

In the following years, due to territorial changes (e. g. loss of Tyrol, addition of the Palatinate), the number of Kreise was reduced to 8. One of these was the Untermainkreis (Lower Main District). In 1837 king Ludwig I of Bavaria renamed the Kreise after historical territorial names and tribes of the area. This also involved some border changes or territorial swaps. Thus the name Untermainkreis changed to Lower Franconia and Aschaffenburg, but the city name was dropped in the middle of the 20th century, leaving just Lower Franconia.

From 1933, the regional Nazi Gauleiter, Otto Hellmuth, (who had renamed his party Gau "Mainfranken") insisted on renaming the government district Mainfranken as well. He encountered resistance from Bavarian state authorities but finally succeeded in having the name of the district changed, effective 1 June 1938. After 1945 the name Unterfranken was restored.

Franconia (German: Franken, pronounced [ˈfʁaŋkŋ̍]; Franconian: Franggn [ˈfrɑŋɡŋ̍]; Bavarian: Frankn) is a region of Germany, characterised by its culture and Franconian dialect (German: Fränkisch).

Franconia is made up of the three Regierungsbezirke of Lower, Middle and Upper Franconia in Bavaria, the adjacent, Franconian-speaking, South Thuringia, south of the Thuringian Forest—which constitutes the language boundary between Franconian and Thuringian— and the eastern parts of Heilbronn-Franconia in Baden-Württemberg.

Those parts of the Vogtland lying in Saxony (largest city: Plauen) are sometimes regarded as Franconian as well, because the Vogtlandian dialects are mostly East Franconian. The inhabitants of Saxon Vogtland, however, mostly do not consider themselves as Franconian. On the other hand, the inhabitants of the Hessian-speaking parts of Lower Franconia west of the Spessart (largest city: Aschaffenburg) do consider themselves as Franconian, although not speaking the dialect. Heilbronn-Franconia's largest city of Heilbronn and its surrounding areas are South Franconian-speaking, and therefore only sometimes regarded as Franconian. In Hesse, the east of the Fulda District is Franconian-speaking, and parts of the Oden Forest District are sometimes regarded as Franconian for historical reasons, but a Franconian identity did not develop there.

Franconia's largest city and unofficial capital is Nuremberg, which is contiguous with Erlangen and Fürth, with which it forms the Franconian conurbation with around 1.3 million inhabitants. Other important Franconian cities are Würzburg, Bamberg, Bayreuth, Ansbach and Coburg in Bavaria, Suhl and Meiningen in Thuringia, and Schwäbisch Hall in Baden-Württemberg.

The German word Franken—Franconians—also refers to the ethnic group, which is mainly to be found in this region. They are to be distinguished from the Germanic people of the Franks, and historically formed their easternmost settlement area. The origins of Franconia lie in the settlement of the Franks from the 6th century in the area probably populated until then mainly by the Elbe Germanic people in the Main river area, known from the 9th century as East Francia (Francia Orientalis). In the Middle Ages the region formed much of the eastern part of the Duchy of Franconia and, from 1500, the Franconian Circle. The restructuring of the south German states by Napoleon, after the demise of the Holy Roman Empire, saw most of Franconia awarded to Bavaria." - info from Wikipedia.

Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.

Now on Instagram.

Become a patron to my photography on Patreon or donate.

Just how does an 85 year-old machine that has over 340,000 miles on it...since it was "retired"...survive to become the envy of the entire tourist railroad industry? It's Tender, Loving Care, pure and simple. To a man, the crews at Strasburg all speak fondly of Great Western #90 and they treat her like the grand old lady that she is...with great care and respect. Here, the fading sunlight highlights one of Strasburg's finest as he methodically checks the temperature of each axle and bearing the way a parent would check a child's temperature...with his bare hand. They all do it...at every stop...it is religion. It is because these folks care so much that we still have machines like #90 and will likely have them for generations to come. Thanks for all you do guys!

OK, there's a story behind this cute little one. See, we were in Waterton Lakes NP in southern Alberta, Canada. We had just eaten dinner and though I was totally exhausted, Tom talked me into taking a drive out into the park for more wildlife adventure. My body said no, but my spirit said yes. It was one of those evenings.

We came across a wildlife jam along the 2-lane road, but it was quite large and we were trying hard not to be "that person" ... you know, the one who wanders out, blocks the road, and has no idea of what was there. We waited for a bit, then the crowd began to disperse. I asked a guy heading back to his car what was going on and he said that it was a bear cub up in a tree. I figured all of the excitement must have been over, since everyone was heading home. But it wasn't ... seems like someone impersonated park officials and ordered everyone to leave! We know because we were later questioned by park officials to find out what we knew of the incident.

Back to the image ... to my surprise this little black bear spring cub was up the tree, just hanging out. Before long, we noticed that there were actually 2 cubs! How fun ... but where was mama bear? By now, another jam was beginning to form. No one knew where the mama was, but they were still mingling about, within close range, while these two cubs were lounging in the tree. I became concerned as to where mom was, as I readied my camera for mayhem that might ensue if she returned ... ok, maybe I'm kidding a bit. Before too much longer, I started noticing them to get a bit more edgy and eventually they carefully and methodically began to descend the tree trunk. So much fun to watch. It wasn't until then that we saw mama bear waiting for them. She must have been concerned with the crowds and ordered her little ones up the tree for protection. One smart mama, I say.

What a thrilling experience for us to witness! Strange about the impersonator too. But we did win praise by the park personnel for conducting ourselves in a more respectful manner than the others (we were in car, 1/2 on road & 1/2 off road, and we were quietly observing), which made me feel good. Believe me, I was just as excited watching them as the rest, but I felt that I owed it to this family to treat them with the respect that they deserved. We were, after all, visitors to their home.

Thanks for stopping by to view and especially for sharing your thoughts and comments with us.

Because there were so many adventures to share from our Canadian Rockies & Glacier NP trip to share, another blog post will be published tomorrow night. Check it out if you're interested.

www.tnwaphotography.wordpress.com

© 2014 Debbie Tubridy / TNWA Photography

A local macaque at the Ubud Sacred Monkey Forest. He was tearing apart the shell of a coconut in a methodical manner. Maybe he liked the texture?

This grasshopper has just emerged from one of several convulsive molts she will undergo in her lifetime, shedding her skin cyclically in order to grow. She wastes no time, methodically devouring her former self, starting with the head.

It was a brilliantly sunny spring day here in Cleveland…a day that just begs one to get out and enjoy. I decided to take a long lunch break and go for a little photo walk downtown. I was mostly looking at architectural type shots and not necessarily searching for strangers because I prefer not to do portraits in the bright sun. However, when I passed Albert while crossing the street, my stranger senses immediately began to tingle.

In a perfect world I would always have a chance to methodically study and judge my stranger candidates before pulling the trigger, but that was not the case here. This was more of a reflex than a decision. Maybe it was his checkered jacket, maybe it was his cool dark sun glasses, maybe it was just the confident way he carried himself… I’m not sure, but whatever it was, it prompted me to make a split second call essentially free of deliberation.

I introduced myself, and at first I was anticipating that this was going to be a refusal. He just had a sense of purpose about him. I was correct about this hunch as he responded, “I’m headed to a meeting…”, but a moment later he added, “but why not, let’s do it.”

Once again, if I was in my perfect world I would at least have some semblance of a plan on how I wanted to compose the portrait, but frankly I was caught off guard almost as much as Albert. We were standing on the side of the street bathed in sunlight. This was entirely unacceptable. I told him we needed some shade, and it was he who suggested we walk across the street to the local sports arena. I was happy with this option. I’ve actually camped out here searching for strangers in the past, but I’ve been unsuccessful as I’ve discovered that there is not a lot of foot traffic around sports arenas when no game or concert is taking place. Now I suddenly and unexpectedly had my chance.

The main entrance of Quicken Loans Arena (home of Lebron James and the Cleveland Cavaliers) is a huge cavernous area constructed of a network of glass and steel. There are a multitude of ways to compose backgrounds in this concourse, but I did not feel I had the time to discover the perfect backdrop as I did not want to keep Albert waiting. Therefore I simply chose the first space we came to thinking I would just blur everything out behind him.

He was still wearing his sun glasses, and I told him I was going to want to photograph him with & without his shades. Although he looked cool with the shades, I almost always prefer to photograph a person’s eyes. The fact that I could see my reflection in the lenses as I shot made me that much more anxious to dispense with them. Once he did remove the shades and reveal his eyes, my instant reaction was, “Oh, you have blue eyes….That is perfect.”

Check out the rest of the stranger street portraits in my project at Paco's 100 Strangers Project and find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page.

Niccy and I just got back from a transatlantic cruise so I've finally got some shots to post!

Being a Nurse in the last few years has been extremely stressful to say the least which is one reason why Niccy enjoys cruising so much. It's a chance to escape the "real world" for a bit and have some really relaxing me time.

One of the things that Niccy has taught herself is called English Paper Piercing which is a method of hand sewing quilts:

www.allpeoplequilt.com/how-to-quilt/piecing/how-to-englis...

Since you do the sewing by hand you're forced to slow down and take your time with the pieces, something that you don't always have the luxury of when you're dealing with sick and ill folks.

Being on a ship in the middle of the ocean gives her a chance to work on her patience instead of working on patients!

Canadian postcard by Canadian Postcard, no. A-251. Daniel Day-Lewis in In the Name of the Father (Jim Sheridan, 1993).

Irish actor Daniel Day-Lewis (1957) won the Best Actor Oscar for My Left Foot (1990), There Will Be Blood (2007) and Lincoln (2013). Day-Lewis has also received more than 90 other acting awards fort these films and for his roles in My Beautiful Laundrette (1985), A Room with a View (1985), Gangs of New York (2002) and Nine (2009).

Sir Daniel Michael Blake Day-Lewis was born in Kensington, London, in 1957. His father was the British Poet Laureate Cecil Day-Lewis. His mother, actress Jill Bacon, came from a Jewish family and was the daughter of Sir Michael Balcon, former head of Ealing Studios. Cecil Day-Lewis was already 53 when his son was born, and it seemed that he had little interest in his children. Cecil died when Daniel was 15. Day-Lewis later said that he regretted never having had a good relationship with his father. At his school in Greenwich, Day-Lewis was often bullied by children, often because of his Jewish heritage and the luxurious way of life at home. Day-Lewis later said that he behaved badly in his younger years. He got into trouble several times for shoplifting and other illegal activities. In 1968, he went to a boarding school in Kent because his parents thought he was behaving too freely. Although he disliked the school, it was there that he was first introduced to two of his main interests, acting and woodworking. Day-Lewis made his debut in Sunday Bloody Sunday (John Schlesinger, 1971). He was 14 years old at the time and played a vandal. His role is not mentioned in the credits. According to Day-Lewis, he received two dollars for that role to wreck some expensive cars and he later said that this wrecking felt like "heaven". After two years at boarding school, he attended Bedalas School in Petersfield. He left the school in 1975. His behaviour had improved somewhat by then. Day-Lewis arrived at a time when he had to choose in which direction he wanted to go, acting or woodworking. He decided for acting, but he was not accepted because he had too little experience. That is why he chose acting. He followed a three-year course at the Bristol Old Vic theatre school. He then acted on stage with the Bristol Old Vic and Royal Shakespeare Companies. He made his West End stage debut in 1982, starring for several months in the play 'Another Country'.

In 1982, Daniel Day-Lewis had another small role in a major film, this time as the bully in Gandhi (Richard Attenborough, 1982). Later, he also starred in a 'Romeo and Juliet' play and had a supporting role in the film The Bounty (Roger Donaldson, 1984), starring Mel Gibson and Anthony Hopkins. His next theatre role was in 'The Count', a play about Dracula. In My Beautiful Laundrette (Stephen Frears,1985), he played a lower-class, gay ex-skinhead in love with an ambitious Pakistani businessman (Gordon Warnecke) in Margaret Thatcher's London. His next film A Room with a View (James Ivory, 1985) was again very well received. In that film, he played the fiancée of the main character played by Helena Bonham Carter. My Beautiful Laundrette and A Room With a View opened on the same day in New York. Day-Lewis astonished critics and audiences with his chameleon-like versatility. The New York Film Critics Circle took particular note of his talent, naming him the year's Best Supporting Actor for his work in both films. In 1987, Day-Lewis starred in Milan Kundera's The Unbearable Lightness of Being (Philip Kaufman, 1987), along with Lena Olin and Juliette Binoche. Day-Lewis played the role of a philandering surgeon from Prague, who gets an emotional relationship with a woman for the first time. In 1989, Day-Lewis did a brilliant performance as the disabled Irish writer Christy Brown in the film My Left Foot (Jim Sheridan, 1989). He won several awards for this role, including an Academy Award for Best Actor. During filming, Day-Lewis broke two ribs after an accident with the wheelchair in which his character always sat. After several films, Daniel Day-Lewis returned to the stage for Shakespeare's play 'Hamlet'. He collapsed on stage, however, when (supposedly) the ghost of Hamlet's father came on stage. Day-Lewis later said that he mistook him for his father's ghost. After this incident, Day-Lewis never returned to the stage. In 1992, three years after he won an Oscar, Day-Lewis starred in The Last of the Mohicans (Michael Mann, 1992), a film that met with mixed reviews but was a great success at the box office. He played a turn-of-the-century New York society man in Martin Scorsese's lavish adaptation of Edith Wharton's The Age of Innocence (Martin Scorsese, 1993) opposite Michelle Pfeiffer and Winona Ryder. Another success was In the Name of the Father (Jim Sheridan, 1993). For his role as an innocent convict of an IRA bombing, he lost a lot of weight and had to act with an Irish accent. According to Day-Lewis, he frequently urged crew members to throw cold water on him and use verbal abuse against him so that his anger, which his character must have in circumstances such as the film, would become more realistic. Day-Lewis was again nominated for an Oscar for Best Actor for his role. He was also nominated for a BAFTA for the third time and a Golden Globe for the second time. Next, he starred as the tragically adulterous John Proctor alongside Winona Ryder in The Crucible (Nicholas Hytner, 1996). The film was based on a script by Arthur Miller, who would become Day-Lewis' father-in-law. He then had a role in Jim Sheridan's The Boxer (1997), as a former boxer trying to make a new life for himself after being imprisoned for fourteen years for his work with the IRA. He had to prepare for that role as well, training for six months in boxing with former world boxing champion Barry McGuigan.

Daniel Day-Lewis took a break for several years. He decided to focus on his old passion: woodworking. He moved to Florence in Italy. It was not until 2002 that another of his films premiered, Gangs of New York (Martin Scorsese, 2002) with Leonardo DiCaprio and Cameron Diaz. Day-Lewis' decidedly methodic approach to creating convincing screen characters would ultimately pay off as many cited his Oscar nominated performance as one of the most convincing of the talented actor's career. Day-Lewis typically disappeared from sight yet again after Gangs, waiting two years before appearing again in a film. In 2005, The Ballad of Jack and Rose premiered. This film was directed by his own wife, Rebecca Miller. Day-Lewis played the role of an old man who is dying and reflects on his life. During filming, he lived apart from his wife to make his role as a lonely old man even more believable. His next film was based on Upton Sinclair's novel 'Oil!'. The film was renamed There Will Be Blood (Paul Thomas Anderson, 2007) and Day Lewis won the Best Actor Oscar for his role in that film. In 2009, Day-Lewis starred in Rob Marshall's musical adaptation Nine (2009) as film director Guido Contini. In 2013, he won his third Oscar for his portrayal of Abraham Lincoln in Lincoln (Steven Spielberg, 2013) with Sally Field. Daniel Day-Lewis is the only person in film history to have won the Oscar for best male lead three times. In 2014, he received a knighthood for his services to drama. Following the filming of Phantom Thread (Paul Thomas Anderson, 2017 ), for which he was again nominated for an Oscar for best male lead, Day-Lewis announced that he was quitting acting. Day-Lewis is very protective of his privacy. He rarely reveals his private life in public. Day-Lewis first had a relationship with the French actress Isabelle Adjani. They had a son together, Gabriel-Kane Day-Lewis (in 1995), but by then the relationship had already ended. In 1996, while working on the film The Crucible, he went to visit the writer of the script, Arthur Miller. During that visit, he fell in love with Miller's daughter, Rebecca Miller. They were married two weeks before the premiere of The Crucible. They have two sons together, Ronan (born in 1998) and Cashel (2002). They spend their time together in their homes in the United States and Ireland. Daniel Day Lewis was in a relationship with Isabelle Adjani from 1989 to 1994. They have one son together, Gabriel-Kane Day Lewis (born 1995). With Rebecca Miller, he has two sons, Ronan Cal Day-Lewis (born 1998) and Cashel Blake Day-Lewis (born 2002). Daniel Day-Lewis has dual citizenship between the United Kingdom and Ireland.

Sources: Rebecca Flint Marx (AllMovie), Pedro Borges (IMDb), Wikipedia (Dutch) and IMDb.

And, please check out our blog European Film Star Postcards.

Gandhara is the name given to an ancient region or province invaded in 326 B.C. by Alexander the Great, who took Charsadda (ancient Puskalavati) near present-day Peshawar (ancient Purusapura) and then marched eastward across the Indus into the Punjab as far as the Beas river (ancient Vipasa). Gandhara constituted the undulating plains, irrigated by the Kabul River from the Khyber Pass area, the contemporary boundary between Pakistan and Afganistan, down to the Indus River and southward towards the Murree hills and Taxila (ancient Taksasila), near Pakistan"s present capital, Islamabad. Its art, however, during the first centuries of the Christian era, had adopted a substantially larger area, together with the upper stretches of the Kabul River, the valley of Kabul itself, and ancient Kapisa, as well as Swat and Buner towards the north.

A great deal of Gandhara sculptures has survived dating from the first to probably as late as the sixth or even the seventh century but in a remarkably homogeneous style. Most of the arts were almost always in a blue-gray mica schist, though sometimes in a green phyllite or in stucco, or very rarely in terracotta. Because of the appeal of its Western classical aesthetic for the British rulers of India, schooled to admire all things Greek and Roman, a great deal found its way into private hands or the shelter of museums.

Gandhara sculpture primarily comprised Buddhist monastic establishments. These monasteries provided a never-ending gallery for sculptured reliefs of the Buddha and Bodhisattvas. The Gandhara stupas were comparatively magnified and more intricate, but the most remarkable feature, which distinguished the Gandhara stupas from the pervious styles were hugely tiered umbrellas at its peak, almost soaring over the total structure. The abundance of Gandharan sculpture was an art, which originated with foreign artisans.

In the excavation among the varied miscellany of small bronze figures, though not often like Alexandrian imports, four or five Buddhist bronzes are very late in date. These further illustrate the aura of the Gandhara art. Relics of mural paintings though have been discovered, yet the only substantial body of painting, in Bamiyan, is moderately late, and much of it belongs to an Iranian or central Asian rather than an Indian context. Non-narrative themes and architectural ornament were omnipresent at that time. Mythical figures and animals such as atlantes, tritons, dragons, and sea serpents derive from the same source, although there is the occasional high-backed, stylized creature associated with the Central Asian animal style. Moldings and cornices are decorated mostly with acanthus, laurel, and vine, though sometimes with motifs of Indian, and occasionally ultimately western Asian, origin: stepped merlons, lion heads, vedikas, and lotus petals. It is worth noting that architectural elements such as pillars, gable ends, and domes as represented in the reliefs tend to follow the Indian forms

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Gandhara became roughly a Holy Land of Buddhism and excluding a handful of Hindu images, sculpture took the form either of Buddhist sect objects, Buddha and Bodhisattvas, or of architectural embellishment for Buddhist monasteries. The more metaphorical kinds are demonstrated by small votive stupas, and bases teeming with stucco images and figurines that have lasted at Jaulian and Mora Moradu, outpost monasteries in the hills around Taxila. Hadda, near the present town of Jalalabad, has created some groups in stucco of an almost rococo while more latest works of art in baked clay, with strong Hellenistic influence, have been revealed there, in what sums up as tiny chapels. It is not known exactly why stucco, an imported Alexandrian modus operandi, was used. It is true that grey schist is not found near Taxila, however other stones are available, and in opposition to the ease of operating with stucco, predominantly the artistic effects which can be achieved, must be set with its impermanence- fresh deposits frequently had to be applied. Excluding possibly at Taxila, its use emerges to have been a late expansion.

Architectural fundamentals of the Gandhara art, like pillars, gable ends and domes as showcased in the reliefs, were inclined to follow Indian outlines, but the pilaster with capital of Corinthian type, abounds and in one-palace scene Persepolitan columns go along with Roman coffered ceilings. The so-called Shrine of the Double-Headed Eagle at Sirkap, in actuality a stupa pedestal, well demonstrates this enlightening eclecticism- the double-headed bird on top of the chaitya arch is an insignia of Scythian origin, which appears as a Byzantine motif and materialises much later in South India as the ga1J.qa-bheru1J.qa in addition to atop European armorial bearings.

In Gandhara art the descriptive friezes were all but invariably Buddhist, and hence Indian in substance- one depicted a horse on wheels nearing a doorway, which might have represented the Trojan horse affair, but this is under scan. The Dioscuri, Castor and Pollux, familiar from the previous Greek-based coinage of the region, appeared once or twice as standing figurines, presumably because as a pair, they tallied an Indian mithuna couple. There were also female statuettes, corresponding to city goddesses. Though figures from Butkara, near Saidan Sharif in Swat, were noticeably more Indian in physical type, and Indian motifs were in abundance there. Sculpture was, in the main, Hellenistic or Roman, and the art of Gandhara was indeed "the easternmost appearance of the art of the Roman Empire, especially in its late and provincial manifestations". Furthermore, naturalistic portrait heads, one of the high-points of Roman sculpture, were all but missing in Gandhara, in spite of the episodic separated head, probably that of a donor, with a discernible feeling of uniqueness. Some constitutions and poses matched those from western Asia and the Roman world; like the manner in which a figure in a recurrently instanced scene from the Dipankara jataka had prostrated himself before the future Buddha, is reverberated in the pose of the defeated before the defeater on a Trojanic frieze on the Arch of Constantine and in later illustrations of the admiration of the divinised emperor. One singular recurrently occurring muscular male figure, hand on sword, witnessed in three-quarters view from the backside, has been adopted from western classical sculpture. On occasions standing figures, even the Buddha, deceived the elusive stylistic actions of the Roman sculptor, seeking to express majestas. The drapery was fundamentally Western- the folds and volume of dangling garments were carved with realness and gusto- but it was mainly the persistent endeavours at illusionism, though frequently obscured by unrefined carving, which earmarked the Gandhara sculpture as based on a western classical visual impact.

The distinguishing Gandhara sculpture, of which hundreds if not thousands of instances have outlived, is the standing or seated Buddha. This flawlessly reproduces the necessary nature of Gandhara art, in which a religious and an artistic constituent, drawn from widely varied cultures have been bonded. The iconography is purely Indian. The seated Buddha is mostly cross-legged in the established Indian manner. However, forthcoming generations, habituated to think of the Buddha as a monk, and unable to picture him ever possessing long hair or donning a turban, came to deduce the chigon as a "cranial protuberance", singular to Buddha. But Buddha is never depicted with a shaved head, as are the Sangha, the monks; his short hair is clothed either in waves or in taut curls over his whole head. The extended ears are merely due to the downward thrust of the heavy ear-rings worn by a prince or magnate; the distortion of the ear-lobes is especially visible in Buddha, who, in Gandhara, never wore ear-rings or ornaments of any kind. As Foucher puts it, the Gandhara Buddha is at a time a monk without shaving and a prince stripped off jewellery.

The western classical factor rests in the style, in the handling of the robe, and in the physiognomy of Buddha. The cloak, which covers all but the appendages (though the right shoulder is often bared), is dealt like in Greek and Roman sculptures; the heavy folds are given a plastic flair of their own, and only in poorer or later works do they deteriorate into indented lines, fairly a return to standard Indian practice. The "western" treatment has caused Buddha"s garment to be misidentified for a toga; but a toga is semicircular, while, Buddha wore a basic, rectangular piece of cloth, i.e., the samghiifi, a monk"s upper garment. The head gradually swerves towards a hieratic stylisation, but at its best, it is naturalistic and almost positively based on the Greek Apollo, undoubtedly in Hellenistic or Roman copies.

Gandhara art also had developed at least two species of image, i.e. not part of the frieze, in which Buddha is the fundamental figure of an event in his life, distinguished by accompanying figures and a detailed mise-en-scene. Perhaps the most remarkable amongst these is the Visit to the Indrasala Cave, of which the supreme example is dated in the year 89, almost unquestionably of the Kanishka period. Indra and his harpist are depicted on their visit in it. The small statuettes of the visitors emerge below, an elephant describing Indra. The more general among these detailed images, of which approximately 30 instances are known, is presumably related with the Great Miracle of Sravasti. In one such example, one of the adjoining Bodhisattvas is distinguished as Avalokiteshwara by the tiny seated Buddha in his headgear. Other features of these images include the unreal species of tree above Buddha, the spiky lotus upon which he sits, and the effortlessly identifiable figurines of Indra and Brahma on both sides.

Another important aspect of the Gandhara art was the coins of the Graeco-Bactrians. The coins of the Graeco-Bactrians - on the Greek metrological standard, equals the finest Attic examples and of the Indo-Greek kings, which have until lately served as the only instances of Greek art found in the subcontinent. The legendary silver double decadrachmas of Amyntas, possibly a remembrance issue, are the biggest "Greek" coins ever minted, the largest cast in gold, is the exceptional decadrachma of the same king in the Bibliotheque Nationale, with the Dioscuri on the inverse. Otherwise, there was scanty evidence until recently of Greek or Hellenistic influences in Gandhara. A manifestation of Greek metropolitan planning is furnished by the rectilinear layouts of two cities of the 1st centuries B.C./A.D.--Sirkap at Taxila and Shaikhan Pheri at Charsadda. Remains of the temple at Jandial, also at Taxila and presumably dating back to 1st century B.C., also includes Greek characteristics- remarkably the huge base mouldings and the Ionic capitals of the colossal portico and antechamber columns. In contrast, the columns or pilasters on the immeasurable Gandhara friezes (when they are not in a Indian style), are consistently coronated by Indo-Corinthian capitals, the local version of the Corinthian capital- a certain sign of a comparatively later date.

The notable Begram hoard confirms articulately to the number and multiplicity of origin of the foreign artefacts imported into Gandhara. This further illustrates the foreign influence in the Gandhara art. Parallel hoards have been found in peninsular India, especially in Kolhapur in Maharashtra, but the imported wares are sternly from the Roman world. At Begram the ancient Kapisa, near Kabul, there are bronzes, possibly of Alexandrian manufacture, in close proximity with emblemata (plaster discs, certainly meant as moulds for local silversmiths), bearing reliefs in the purest classical vein, Chinese lacquers and Roman glass. The hoard was possibly sealed in mid-3rd century, when some of the subjects may have been approximately 200 years old "antiques", frequently themselves replicates of classical Greek objects. The plentiful ivories, consisting in the central of chest and throne facings, engraved in a number of varied relief techniques, were credibly developed somewhere between Mathura and coastal Andhra. Some are of unrivalled beauty. Even though a few secluded instances of early Indian ivory carving have outlived, including the legendary mirror handle from Pompeii, the Begram ivories are the only substantial collection known until moderately in present times of what must always have been a widespread craft. Other sites, particularly Taxila, have generated great many instances of such imports, some from India, some, like the appealing tiny bronze figure of Harpocrates, undoubtedly from Alexandria. Further cultural influences are authenticated by the Scytho Sarmatian jewellery, with its characteristic high-backed carnivores, and by a statue of St. Peter. But all this should not cloud the all-important truth that the immediately identifiable Gandhara style was the prevailing form of artistic manifestation throughout the expanse for several centuries, and the magnitude of its influence on the art of central Asia and China and as far as Japan, allows no doubt about its integrity and vitality.

In the Gandhara art early Buddhist iconography drew heavily on traditional sources, incorporating Hindu gods and goddesses into a Buddhist pantheon and adapting old folk tales to Buddhist religious purposes. Kubera and Harm are probably the best-known examples of this process.

Five dated idols from Gandhara art though exist, however the hitch remains that the era is never distinguished. The dates are in figures under 100 or else in 300s. Moreover one of the higher numbers are debatable, besides, the image upon which it is engraved is not in the conventional Andhra style. The two low-number-dated idols are the most sophisticated and the least injured. Their pattern is classical Gandhara. The most undemanding rendition of their dates relates them to Kanishka and 78 A.D. is assumed as the commencement of his era. They both fall in the second half of the 2nd century A.D. and equally later, if a later date is necessitated for the beginning of Kanishka`s time. This calculation nearly parallels numismatics and archaeological evidences. The application of other eras, like the Vikrama (base date- 58 B.C.) and the Saka (base date- 78 A.D.), would place them much later. The badly battered figurines portray standing Buddhas, without a head of its own, but both on original figured plinths. They come to view as depicting the classical Gandhara style; decision regarding where to place these two dated Buddhas, both standing, must remain knotty till more evidence comes out as to how late the classical Gandhara panache had continued.

Methodical study of the Gandhara art, and specifically about its origins and expansion, is befuddled with numerous problems, not at least of which is the inordinately complex history and culture of the province. It is one of the great ethnical crossroads of the world simultaneously being in the path of all the intrusions of India for over three millennia. Bussagli has rightly remarked, `More than any other Indian region, Gandhara was a participant in the political and cultural events that concerned the rest of the Asian continent`.

However, Systematic study of the art of Gandhara, and particularly of its origins and development, is bedeviled by many problems, not the least of which is the extraordinarily complex history and culture of the region.

In spite of the labours of many scholars over the past hundred and fifty years, the answers to some of the most important questions, such as the number of centuries spanned by the art of Gandhara, still await, fresh archaeological, inscriptional, or numismatic evidence.

en.wikipedia.org/wiki/Gandhara

This is a puzzle I've always wanted to do. It's a nice classic painting, and it didn't look too hard. But all the dark areas made it harder than I thought. Not as difficult as many of the puzzles I see posted here, but it just took a long time for me to slog through the dark areas. I moved to sorting the pieces by shape and doing a methodical search fairly early in this puzzle. I did the edge, the people part of the shell, then my progress dropped off dramatically till I went systematic. I did the green, the blue, then all the 'dark'. Took a while to get through it all, but I prevailed! All in all, an enjoyable experience, if somewhat slow..

I remembered hearing a talk a few years ago from Indiana bee expert Robert Jean, and was fortunate to find his business card that I picked up at that meeting. I sent him photos and asked if he knew this bee. He says it is "a fairly recent addition to the Indiana bee fauna." It is native to Japan and China. I did not ask if he knew anything about how it got to the U.S.

This bee is quite large, being every bit as large as an average bumblebee. However, compared to a bumblebee, its shape is less compactly stout, and more elongate. The head appears large compared to the thorax and abdomen when compared to most typical hymenoptera.

In my prairie/meadow planting right now, the available flowering plants are mostly Culver’s root (Veronicastrum virginicum), yellow coneflower (Ratibida pinnata) and rattlesnake master (Eryngium yuccifolium). This bee was working over only the Culver’s root. Although I don’t remember seeing this bee in previous years, there were quite a few of them. Their behavior was quite interesting in that they very slowly and methodically worked their way around the entire flowering head of the Culver’s root, seeming to be in no hurry at all related to the duty at hand. I noticed that many other species of bees and bumblebees visiting the flowers had noticeably full pollen baskets, but this bee was carrying no visible pollen.

thegoldensieve.com

A good thing continues

Some six months ago, I posted almost 100 images and a few thoughts I felt were missing from the many existing RX1 reviews. The outpouring of support and interest in that article was very gratifying. When I published, I had used the camera for six full months, enough time to come to a view of its strengths and weaknesses and to produce a small portfolio of good images, but not enough time to see the full picture (pun intended). In the following six months, I have used the camera at least as frequently as in the first six and have produced another small set of good images. It should be noted that my usage of the RX1 in the last six (and especially in the last 3) months has involved less travel and more time with the family and around the house; I will share relatively few of these images but will spend some time sharing my impressions of its functionality for family snapshots as I am sure there is some interest. And let it be said here: one of the primary motivations to purchase the camera was to take more photos with the family, and after one full year I can confidently say: money well spent.

The A7/r game-changer?

In the past six months, Sony have announced and released two full-frame, interchangeable lens cameras that clearly take design cues from the RX1: the A7 and the A7r. These cameras are innovative and highly capable and, as such, are in the midst of taking the photography world by storm. I think they are compelling enough cameras that I wonder whether Sony is wasting its energy continuing to develop further A-mount cameras. Sony deserve credit for a bold strategy—many companies would have been content to allow the success of the the RX1 (and RX1R) generate further sales before pushing further into the white space left unexplored by camera makers with less ambition.This is not the place to detail the relative advantages and disadvantages of the RX1 versus the A7/r except to make the following point. I currently use a Nikon D800 and an RX1: were I to sell both and purchase the A7r + 35mm f/2.8 I would in many ways lose nothing by way of imaging capability or lens compatibility but would pocket the surplus $1250-1750. Indeed this loyal Nikon owner thought long and hard about doing so, which speaks to the strategic importance of these cameras for a company trying to make inroads into a highly concentrated market.Ultimately, I opted to hang onto the two cameras I have (although this decision is one that I revisit time and time again) and continue to use them as I have for the past year. Let me give you a quick flavor of why.

The RX1 is smaller and more discrete

This is a small a point, but my gut reaction to the A7/r was: much smaller than the D800, not as small as the RX1. The EVF atop the A7/r and the larger profile of interchangeable mount lenses means that I would not be able to slip the A7/r into a pocket the way I can the RX1. Further, by virtue of using the EVF and its loud mechanical shutter, the A7/r just isn’t as stealthy as the RX1. Finally, f/2 beats the pants off of f/2.8 at the same or smaller size.At this point, some of you may be saying, “Future Sony releases will allow you to get a body without an EVF and get an f/2 lens that has a slimmer profile, etc, etc.” And that’s just the point: to oversimplify things, the reason I am keeping my RX1 is that Sony currently offers something close to an A7 body without a built-in EVF and with a slimmer profile 35mm f/2.

The D800 has important functional advantages

On the other side of the spectrum, the AF speed of the A7/r just isn’t going to match the D800, especially when the former is equipped with a Nikon lens and F-mount adapter. EVFs cannot yet match the experience of looking through the prism and the lens (I expect they will match soon, but aren’t there yet). What’s more, I have made such an investment in Nikon glass that I can’t yet justify purchasing an adapter for a Sony mount or selling them all for Sony’s offerings (many of which aren’t to market yet).Now, all of these are minor points and I think all of them disappear with an A8r, but they add up to something major: I have two cameras very well suited to two different types of shooting, and I ask myself if I gain or lose by getting something in between—something that wasn’t quite a pocket shooter and something that was quite a DSLR? You can imagine, however, that if I were coming to the market without a D800 and an RX1, that my decision would be far different: dollar for dollar, the A7/r would be a no-brainer.During the moments when I consider selling to grab an A7r, I keep coming back to a thought I had a month or so before the RX1 was announced. At that time I was considering something like the NEX cameras with a ZM 21mm f/2.8 and I said in my head, “I wish someone would make a carry-around camera with a full frame sensor and a fixed 35mm f/2.8 or f/2.” Now you understand how attractive the RX1 is to me and what a ridiculously high bar exists for another camera system to reach.

Okay, so what is different from the last review?

For one, I had an issue with the camera’s AF motor failing to engage and giving me an E61:00 error. I had to send it out to Sony for repairs (via extended warranty and service plan). I detailed my experience with Sony Service here [insert link] and I write to you as a very satisfied customer. That is to say, I have 3 years left on a 4 year + accidental damage warranty and I feel confident enough in that coverage to say that I will have this beauty in working order for at least another 3 years.For two, I’ve spent significantly less time thinking of this camera as a DSLR replacement and have instead started to develop a very different way of shooting with it. The activation barrier to taking a shot with my D800 is quite high. Beyond having to bring a large camera wherever you go and have it in hand, a proper camera takes two hands and full attention to produce an image. I shoot slowly and methodically and often from a tripod with the D800. In contrast, I can pull the RX1 out, pop off the lens cap, line up and take a shot with one hand (often with a toddler in the other). This fosters a totally different type of photography.

My “be-there” camera

The have-everywhere camera that gives DSLR type controls to one-handed shooting lets me pursue images that happen very quickly or images that might not normally meet the standards of “drag-the-DSLR-out-of-the-bag.” Many of those images you’ll see on this post. A full year of shooting and I can say this with great confidence: the RX1 is a terrific mash-up of point-and-shoot and DSLR not just in image quality and features, but primarily in the product it helps me create. To take this thinking a bit further: I find myself even processing images from the RX1 differently than I would from my DSLR. So much so that I have strongly considered starting a tumblr and posting JPEGs directly from the RX1 via my phone or an iPad rather than running the bulk of them through Lightroom, onto Flickr and then on the blog (really this is just a matter of time, stay tuned, and those readers who have experience with tumblr, cloud image storage and editing, etc, etc, please contact me, I want to pick your brain).Put simply, I capture more spontaneous and beautiful “moments” than I might have otherwise. Photography is very much an exercise in “f/8 and be there,” and the RX1 is my go-to “be there” camera.

The family camera

I mentioned earlier that I justified the purchase of the RX1 partly as a camera to be used to document the family moments into which a DSLR doesn’t neatly fit. Over the past year I’ve collected thousands and thousands of family images with the RX1. The cold hard truth is that many of those photos could be better if I’d taken a full DSLR kit with me to the park or the beach or the grocery store each time. The RX1 is a difficult camera to use on a toddler (or any moving subject for that matter); autofocus isn’t as fast as a professional DSLR, it’s difficult to perfectly compose via an LCD (especially in bright sunlight), but despite these shortcomings, it’s been an incredibly useful family camera. There are simply so many beautiful moments where I had the RX1 over my shoulder, ready to go that whatever difficulties exist relative to a DSLR, those pale in comparison to the power of it’s convenience. The best camera is the one in your hand.

Where to go from here.

So what is the value of these RX1 going forward, especially in a world of the A7/r and it’s yet-to-be-born siblings without an EVF and a pancake lens? Frankly, at its current price (which is quite fair when you consider the value of the the body and the lens) I see precious little room for an independent offering versus a mirrorless, interchangeable lens system with the same image quality in a package just as small. That doesn’t mean Sony won’t make an RX2 or an RX1 Mark II (have a look at it’s other product lines to see how many SKUs are maintained despite low demand). Instead, I see the RX1 as a bridge that needed to exist for engineers, managers, and the market to make it to the A7/r and it’s descendants.A Facebook friend recently paid me a great compliment; he said something like, “Justin, via your blog, you’ve sold a ton of RX1 cameras.” Indeed, despite my efforts not to be a salesman, I think he’s right: I have and would continue to recommend this camera.The true value of the RX1 going forward is for those of us who have the thing on our shoulders; and yes, if you have an investment in and a love for a DSLR system, there’s still tremendous value in getting one, slinging it over your shoulder, and heading out into the wide, bright world; A7/r or no, this is just an unbelievably capable camera.

Gandhara is the name given to an ancient region or province invaded in 326 B.C. by Alexander the Great, who took Charsadda (ancient Puskalavati) near present-day Peshawar (ancient Purusapura) and then marched eastward across the Indus into the Punjab as far as the Beas river (ancient Vipasa). Gandhara constituted the undulating plains, irrigated by the Kabul River from the Khyber Pass area, the contemporary boundary between Pakistan and Afganistan, down to the Indus River and southward towards the Murree hills and Taxila (ancient Taksasila), near Pakistan"s present capital, Islamabad. Its art, however, during the first centuries of the Christian era, had adopted a substantially larger area, together with the upper stretches of the Kabul River, the valley of Kabul itself, and ancient Kapisa, as well as Swat and Buner towards the north.

A great deal of Gandhara sculptures has survived dating from the first to probably as late as the sixth or even the seventh century but in a remarkably homogeneous style. Most of the arts were almost always in a blue-gray mica schist, though sometimes in a green phyllite or in stucco, or very rarely in terracotta. Because of the appeal of its Western classical aesthetic for the British rulers of India, schooled to admire all things Greek and Roman, a great deal found its way into private hands or the shelter of museums.

Gandhara sculpture primarily comprised Buddhist monastic establishments. These monasteries provided a never-ending gallery for sculptured reliefs of the Buddha and Bodhisattvas. The Gandhara stupas were comparatively magnified and more intricate, but the most remarkable feature, which distinguished the Gandhara stupas from the pervious styles were hugely tiered umbrellas at its peak, almost soaring over the total structure. The abundance of Gandharan sculpture was an art, which originated with foreign artisans.

In the excavation among the varied miscellany of small bronze figures, though not often like Alexandrian imports, four or five Buddhist bronzes are very late in date. These further illustrate the aura of the Gandhara art. Relics of mural paintings though have been discovered, yet the only substantial body of painting, in Bamiyan, is moderately late, and much of it belongs to an Iranian or central Asian rather than an Indian context. Non-narrative themes and architectural ornament were omnipresent at that time. Mythical figures and animals such as atlantes, tritons, dragons, and sea serpents derive from the same source, although there is the occasional high-backed, stylized creature associated with the Central Asian animal style. Moldings and cornices are decorated mostly with acanthus, laurel, and vine, though sometimes with motifs of Indian, and occasionally ultimately western Asian, origin: stepped merlons, lion heads, vedikas, and lotus petals. It is worth noting that architectural elements such as pillars, gable ends, and domes as represented in the reliefs tend to follow the Indian forms

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Gandhara became roughly a Holy Land of Buddhism and excluding a handful of Hindu images, sculpture took the form either of Buddhist sect objects, Buddha and Bodhisattvas, or of architectural embellishment for Buddhist monasteries. The more metaphorical kinds are demonstrated by small votive stupas, and bases teeming with stucco images and figurines that have lasted at Jaulian and Mora Moradu, outpost monasteries in the hills around Taxila. Hadda, near the present town of Jalalabad, has created some groups in stucco of an almost rococo while more latest works of art in baked clay, with strong Hellenistic influence, have been revealed there, in what sums up as tiny chapels. It is not known exactly why stucco, an imported Alexandrian modus operandi, was used. It is true that grey schist is not found near Taxila, however other stones are available, and in opposition to the ease of operating with stucco, predominantly the artistic effects which can be achieved, must be set with its impermanence- fresh deposits frequently had to be applied. Excluding possibly at Taxila, its use emerges to have been a late expansion.

Architectural fundamentals of the Gandhara art, like pillars, gable ends and domes as showcased in the reliefs, were inclined to follow Indian outlines, but the pilaster with capital of Corinthian type, abounds and in one-palace scene Persepolitan columns go along with Roman coffered ceilings. The so-called Shrine of the Double-Headed Eagle at Sirkap, in actuality a stupa pedestal, well demonstrates this enlightening eclecticism- the double-headed bird on top of the chaitya arch is an insignia of Scythian origin, which appears as a Byzantine motif and materialises much later in South India as the ga1J.qa-bheru1J.qa in addition to atop European armorial bearings.

In Gandhara art the descriptive friezes were all but invariably Buddhist, and hence Indian in substance- one depicted a horse on wheels nearing a doorway, which might have represented the Trojan horse affair, but this is under scan. The Dioscuri, Castor and Pollux, familiar from the previous Greek-based coinage of the region, appeared once or twice as standing figurines, presumably because as a pair, they tallied an Indian mithuna couple. There were also female statuettes, corresponding to city goddesses. Though figures from Butkara, near Saidan Sharif in Swat, were noticeably more Indian in physical type, and Indian motifs were in abundance there. Sculpture was, in the main, Hellenistic or Roman, and the art of Gandhara was indeed "the easternmost appearance of the art of the Roman Empire, especially in its late and provincial manifestations". Furthermore, naturalistic portrait heads, one of the high-points of Roman sculpture, were all but missing in Gandhara, in spite of the episodic separated head, probably that of a donor, with a discernible feeling of uniqueness. Some constitutions and poses matched those from western Asia and the Roman world; like the manner in which a figure in a recurrently instanced scene from the Dipankara jataka had prostrated himself before the future Buddha, is reverberated in the pose of the defeated before the defeater on a Trojanic frieze on the Arch of Constantine and in later illustrations of the admiration of the divinised emperor. One singular recurrently occurring muscular male figure, hand on sword, witnessed in three-quarters view from the backside, has been adopted from western classical sculpture. On occasions standing figures, even the Buddha, deceived the elusive stylistic actions of the Roman sculptor, seeking to express majestas. The drapery was fundamentally Western- the folds and volume of dangling garments were carved with realness and gusto- but it was mainly the persistent endeavours at illusionism, though frequently obscured by unrefined carving, which earmarked the Gandhara sculpture as based on a western classical visual impact.

The distinguishing Gandhara sculpture, of which hundreds if not thousands of instances have outlived, is the standing or seated Buddha. This flawlessly reproduces the necessary nature of Gandhara art, in which a religious and an artistic constituent, drawn from widely varied cultures have been bonded. The iconography is purely Indian. The seated Buddha is mostly cross-legged in the established Indian manner. However, forthcoming generations, habituated to think of the Buddha as a monk, and unable to picture him ever possessing long hair or donning a turban, came to deduce the chigon as a "cranial protuberance", singular to Buddha. But Buddha is never depicted with a shaved head, as are the Sangha, the monks; his short hair is clothed either in waves or in taut curls over his whole head. The extended ears are merely due to the downward thrust of the heavy ear-rings worn by a prince or magnate; the distortion of the ear-lobes is especially visible in Buddha, who, in Gandhara, never wore ear-rings or ornaments of any kind. As Foucher puts it, the Gandhara Buddha is at a time a monk without shaving and a prince stripped off jewellery.

The western classical factor rests in the style, in the handling of the robe, and in the physiognomy of Buddha. The cloak, which covers all but the appendages (though the right shoulder is often bared), is dealt like in Greek and Roman sculptures; the heavy folds are given a plastic flair of their own, and only in poorer or later works do they deteriorate into indented lines, fairly a return to standard Indian practice. The "western" treatment has caused Buddha"s garment to be misidentified for a toga; but a toga is semicircular, while, Buddha wore a basic, rectangular piece of cloth, i.e., the samghiifi, a monk"s upper garment. The head gradually swerves towards a hieratic stylisation, but at its best, it is naturalistic and almost positively based on the Greek Apollo, undoubtedly in Hellenistic or Roman copies.

Gandhara art also had developed at least two species of image, i.e. not part of the frieze, in which Buddha is the fundamental figure of an event in his life, distinguished by accompanying figures and a detailed mise-en-scene. Perhaps the most remarkable amongst these is the Visit to the Indrasala Cave, of which the supreme example is dated in the year 89, almost unquestionably of the Kanishka period. Indra and his harpist are depicted on their visit in it. The small statuettes of the visitors emerge below, an elephant describing Indra. The more general among these detailed images, of which approximately 30 instances are known, is presumably related with the Great Miracle of Sravasti. In one such example, one of the adjoining Bodhisattvas is distinguished as Avalokiteshwara by the tiny seated Buddha in his headgear. Other features of these images include the unreal species of tree above Buddha, the spiky lotus upon which he sits, and the effortlessly identifiable figurines of Indra and Brahma on both sides.

Another important aspect of the Gandhara art was the coins of the Graeco-Bactrians. The coins of the Graeco-Bactrians - on the Greek metrological standard, equals the finest Attic examples and of the Indo-Greek kings, which have until lately served as the only instances of Greek art found in the subcontinent. The legendary silver double decadrachmas of Amyntas, possibly a remembrance issue, are the biggest "Greek" coins ever minted, the largest cast in gold, is the exceptional decadrachma of the same king in the Bibliotheque Nationale, with the Dioscuri on the inverse. Otherwise, there was scanty evidence until recently of Greek or Hellenistic influences in Gandhara. A manifestation of Greek metropolitan planning is furnished by the rectilinear layouts of two cities of the 1st centuries B.C./A.D.--Sirkap at Taxila and Shaikhan Pheri at Charsadda. Remains of the temple at Jandial, also at Taxila and presumably dating back to 1st century B.C., also includes Greek characteristics- remarkably the huge base mouldings and the Ionic capitals of the colossal portico and antechamber columns. In contrast, the columns or pilasters on the immeasurable Gandhara friezes (when they are not in a Indian style), are consistently coronated by Indo-Corinthian capitals, the local version of the Corinthian capital- a certain sign of a comparatively later date.

The notable Begram hoard confirms articulately to the number and multiplicity of origin of the foreign artefacts imported into Gandhara. This further illustrates the foreign influence in the Gandhara art. Parallel hoards have been found in peninsular India, especially in Kolhapur in Maharashtra, but the imported wares are sternly from the Roman world. At Begram the ancient Kapisa, near Kabul, there are bronzes, possibly of Alexandrian manufacture, in close proximity with emblemata (plaster discs, certainly meant as moulds for local silversmiths), bearing reliefs in the purest classical vein, Chinese lacquers and Roman glass. The hoard was possibly sealed in mid-3rd century, when some of the subjects may have been approximately 200 years old "antiques", frequently themselves replicates of classical Greek objects. The plentiful ivories, consisting in the central of chest and throne facings, engraved in a number of varied relief techniques, were credibly developed somewhere between Mathura and coastal Andhra. Some are of unrivalled beauty. Even though a few secluded instances of early Indian ivory carving have outlived, including the legendary mirror handle from Pompeii, the Begram ivories are the only substantial collection known until moderately in present times of what must always have been a widespread craft. Other sites, particularly Taxila, have generated great many instances of such imports, some from India, some, like the appealing tiny bronze figure of Harpocrates, undoubtedly from Alexandria. Further cultural influences are authenticated by the Scytho Sarmatian jewellery, with its characteristic high-backed carnivores, and by a statue of St. Peter. But all this should not cloud the all-important truth that the immediately identifiable Gandhara style was the prevailing form of artistic manifestation throughout the expanse for several centuries, and the magnitude of its influence on the art of central Asia and China and as far as Japan, allows no doubt about its integrity and vitality.

In the Gandhara art early Buddhist iconography drew heavily on traditional sources, incorporating Hindu gods and goddesses into a Buddhist pantheon and adapting old folk tales to Buddhist religious purposes. Kubera and Harm are probably the best-known examples of this process.

Five dated idols from Gandhara art though exist, however the hitch remains that the era is never distinguished. The dates are in figures under 100 or else in 300s. Moreover one of the higher numbers are debatable, besides, the image upon which it is engraved is not in the conventional Andhra style. The two low-number-dated idols are the most sophisticated and the least injured. Their pattern is classical Gandhara. The most undemanding rendition of their dates relates them to Kanishka and 78 A.D. is assumed as the commencement of his era. They both fall in the second half of the 2nd century A.D. and equally later, if a later date is necessitated for the beginning of Kanishka`s time. This calculation nearly parallels numismatics and archaeological evidences. The application of other eras, like the Vikrama (base date- 58 B.C.) and the Saka (base date- 78 A.D.), would place them much later. The badly battered figurines portray standing Buddhas, without a head of its own, but both on original figured plinths. They come to view as depicting the classical Gandhara style; decision regarding where to place these two dated Buddhas, both standing, must remain knotty till more evidence comes out as to how late the classical Gandhara panache had continued.

Methodical study of the Gandhara art, and specifically about its origins and expansion, is befuddled with numerous problems, not at least of which is the inordinately complex history and culture of the province. It is one of the great ethnical crossroads of the world simultaneously being in the path of all the intrusions of India for over three millennia. Bussagli has rightly remarked, `More than any other Indian region, Gandhara was a participant in the political and cultural events that concerned the rest of the Asian continent`.

However, Systematic study of the art of Gandhara, and particularly of its origins and development, is bedeviled by many problems, not the least of which is the extraordinarily complex history and culture of the region.

In spite of the labours of many scholars over the past hundred and fifty years, the answers to some of the most important questions, such as the number of centuries spanned by the art of Gandhara, still await, fresh archaeological, inscriptional, or numismatic evidence.

en.wikipedia.org/wiki/Gandhara

en.wikipedia.org/wiki/Gautama_Buddha

and a casual poo

femalejudo.gumroad.com/l/qgfczu

One of Munn’s decisive contributions to Canadian art was her fervent fusion od Christian symbolism in Cubist form. In the late 1920s she began a methodical practice of drawing scenes from the Passion of Christ, resulting in a fresh and radical update to one of European art history’s most traditional themes – an unusual subject for a Canadian modernist. This is one of the final drawings in the series, which included more than a thousand works on paper.

To see more about the 2012 Albuquerque Balloon Fiesta excitement, check out my latest Blog post at

www.tnwaphotography.wordpress.com

Well, this weekend I was able to get out for 1-1/2 days of shooting around central Florida. Had to get away from the Saturday rains and heavy overcast skies, but of course some followed us periodically along the way. Mostly though it was a wonderful weekend. Still processing those images, so thought I would share another from the summer.

The 2012 Albuquerque Balloon Fiesta was a definite destination on our early fall road trip. Over 500 hot air balloonists come together in a giant festival of activities, colors, competition, and of course, fun. It was absolutely amazing to see the volumes of balloons, all lined up in rows and ready to launch in such an orderly fashion. So much going on! First of all, when we arrived before 5 am, it was obviously still very dark and very cold. Spectators, vendors, balloonists, and their crews were everywhere! In the darkness, we would walk about in the field - being very careful not to step on any of the balloons which were methodically laid out on the grassy surface, ready for their signal that it was time to initiate their sequence of activities needed to successfully get their balloon ultimately inflated and ready to launch. If anyone has ever attended the Albuquerque Balloon Fiesta, or probably any other major balloon festival, I'm sure that you can relate to the hustle and bustle of feverish activities of the balloonist crews going on. As I meandered around the balloons, I also found myself being careful not to get in their way, all the while trying desperately to get the shots I wanted. I have to admit, I found it both exciting and frustrating, but all in a good way, if that makes sense. Like a kid in a candy shop. Where to look? What angle to shoot? On the ground or as they launched? Bright colorful balloons or themed balloons? And how did all of these amazing shaped balloons even get made? I was stunned the entire time I was there. From the dawn patrol - the honored select crews that got to go up first to "test" the skies - to the mass ascension and finally them safe arrival of the balloons as they kissed the earth once again - what a sight to see!

Hot air balloons have always fascinated me. The first time we flew in one, I was so nervous (deathly afraid of heights) ... I could barely sleep the night before. When I got in the basket, I was cringing and grasping the sides with a death grip. It was outside of Lake Tahoe and it was freezing cold. I remember that when we readied to launch, the burners ignited to allow us to gently rise from the ground. I wasn't thrilled about leaving the safety of the earth, but I was however, very thrilled about the heat that was generated from the flame. I was FREEZING! After about 3 burner ignitions, I became 100% comfortable in the whole experience and I was amazed at how peaceful the whole experience was. I think I could actually hear the sound of silence that day, as we happily floated through the sky. then I saw it, the view of Lake Tahoe and the surrounding mountains, all covered in snow. It was breathtaking to say the least. As we began to descent, I distinctly remember not wanting to go down, for I was lulled into the quiet, the fresh air, the views. But alas, all had to end and we began our descent. As we landed, after some jostling around trying to find the "right landing" spot, we stopped to enjoy our celebratory champagne.

If you haven't ever had the opportunity to ride in a hot air balloon, I encourage everyone to do so if the opportunity presents itself. And as for the Albuquerque Balloon Fiesta, the largest international balloon festival of it's kind, add it to your list of things to experience - you won't be sorry.

Thanks for all of your views, comments, and thoughts. Can't believe that it's already Tuesday!

© Debbie Tubridy / © TNWA Photography - All of my images are protected by copyright and may not be used on any site, blog, or forum without my permission.