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all containers empty. we would set the empty containers back on the corner of the driveway at each house as a courtesy to distinguish ourselves.
There is just something about photographing American Pika while they gather tundra wildflowers and vegetation that just warms my heart. These tiny mighty mights live at very high altitudes in the Rocky Mountains. They spend most of their days in the summer gathering their food to hide in their stashes under boulders to survive the harsh winter months. Without a doubt, one of my favorite wildlife species to photograph.
RBMN GP39RN 2534 sits conveniently placed under a nicely colored tree on the Carbon runaround just east of Haucks.
After a minor altercation in Oamaru on the 29th left bits of 925 stranded in town, it was up to 938 the next night to pick up the pieces.
One of its tasks was to lift the marooned locos and complete the shunts at Oamaru and for the freezing works at Pukeuri, the latter of which which is happening here.
I think this is the first time I've used a tripod since China - after balancing the camera on the roof of the car for a while, I remembered it was in the boot. 30 Dec 2017 5022 and 4726 with 5425, 5080 and 4559 and a string of wagons ex 925. Shunting Pukeuri, SIMT, NZ
My Chromascope Quilt pattern cover. 50" x 60" Play with scraps, experiment with color placements, and create precise points with this design, pieced with a single foundation template. Pattern in my Etsy shop (teaginnydesigns.etsy.com). Link from my blog, see profile page.
In the back of a local parking lot, I saw a spot of golden leaves. Never saw golden leaves before, so grabbed the ever present camera and went to investigate. It was a spotlight. Why anyone would want to light up a garden at night, is quite beyond my ability to understand. Doing so during the day, beyond that. I took the picture.
during this time all drivers would set the empty containers back on the corner of the driveway at each house as a courtesy to distinguish ourselves. here you can see recycling containers returned in that fashion, with trash still on the street awaiting collection.
Had some fun this last weekend in the Columbia River Gorge. One of the last weekends with color still lingering.
Toronto, ON, Matthew
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Beautiful lightning bolt from a huge thunderstorm while storm chasing in Oklahoma City. This strike was captured with the Sony a7riii by Skeeter Arnold. Copyright 2018
You know what? And I'm not kidding...
Cupcakes don't tempt me for a minute.
It's the treat bag and what's inside it that I'm really interested in! (+1 more comments)
More are com'n soon.
The spotlights will be black but this is where I'd like them to be. Of course lights in front of the door and fireplace would be hung horizontally.
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Juuichimen Kannon 十一面観音
Sk: Ekadasamukha. Eleven-headed Kannon; a form of *Kannon 観音 with eleven miniature faces around the top of his head. One of the Six Kannon *Roku Kannon 六観音 and responsible for the human realm. In painting and sculpture, Juuichimen Kannon may be shown seated or standing, but standing images are more common, especially in sculpture. The deity usually is shown with two arms, although sometimes with four. When two armed, he usually carries a water jar with a lotus in his left hand which makes a mudra of the absence of fear *semui-in 施無畏印, and with his right hand makes the mudra of the granting of wishes *yogan-in 与願印. The number of faces is usually eleven, though this number may or may not include the main face of the image (thus making the total number eleven or twelve). A form with nine faces, Kumen Kannon 九面観音 also exists (ex. 8c *danzou 檀像 in Houryuuji 法隆寺). The placement of the heads varies. Bodhisattva heads bosatsumen 菩薩面 are situated in either one or two tiers with the head of a Buddha butsumen 仏面 at the top. The faces of the bodhisattvas usually include three benign faces jihimen 慈悲面, three angry faces shinnumen 瞋怒面, three plain faces with fangs kugejoushutsumen 狗牙上出面; also known as gejoushutsumen 牙上出面 and, at the back, a laughing face daishoumen 大笑面; also known as bouaku daishoumen 暴悪大笑面, daibakushoumen 大爆笑面. A small standing image of *Amida 阿弥陀, referred to as a *kebutsu 化仏, may be added in front of his crown as well.
There are different theories to account for the meaning of Juuichimen's multiple heads. On a folk level, there is a story that his head split into many because of his worry over sentient beings. On a higher level, he removes the eleven impediments of sentient beings. The positioning of the heads clearly indicates, that the elevated head of the Buddha rises above the others and iconography evokes the ten stages of the bodhisattva path, with the Buddha as the final result. The encapsulation of these processes into one image shows the presence of all within the bodhisattva, and suggests the fully enlightened bodhisattva as the ideal.
The origin of the iconography is unclear, but in India, multi-headed, multi-armed figures were used by the 7c to express the complex religious truths and practices of Buddhism. Although few examples are extant in India, a sculpted 7-8c image of Juuichimen Kannon with four arms in the cave #41 at Kanheri is well-known. In China, Juuichimen was commonly portrayed from the early Tang dynasty (early 7c), and the extant examples are found in paintings in Dunhuang 敦煌 (Jp: Tonkou caves #321 and #334) as well as in bronze and stone sculptures. In Japan, belief in the power of Juuichimen Kannon is recorded from the mid 7c, and the deity was propitiated especially for aid in convalescense from illnesses. Sculptural and painted images were common in the Nara period (8c) and became extremely popular in the Heian period (9-12c). There are numerous extant examples, many of fine quality, such as a painted image on the walls of the *Kondou 金堂 (late 7c) in Houryuuji 法隆寺, Nara (burnt down in 1949). Devotion centered upon the practice of group confessions before an image of the deity, the most famous of which was the shuni-e 修二会 ceremony of the *Nigatsudou 二月堂 in Toudaiji 東大寺, Nara (commonly known as omizutori お水取り), which began in 752 and continues to the present day. In Esoteric Buddhism ｍikkyou 密教, Juuichimen appears in the *Taizoukai mandara 胎蔵界曼荼羅. In Shinto art *Shintou bijutsu 神道美術, Juuichimen Kannon is a common choice as the *honjibutsu 本地仏 (Buddhist counterpart) of female Shinto deities *kami 神 and is one of the two most common choices as honjibutsu of the Sun Goddess Amaterasu Oomikami 天照大神 (the other being *Dainichi 大日). Juuichimen Kannon may be painted; 1) alone, as in the large Kamakura period (14c) painting held by Shidoji 志度寺 in Kagawa prefecture; 2) in his paradise *Fudaraku 補陀洛 (on a rock in the ocean) often accompained by Zenzai Douji 善財童子; or 3) in a setting like that of the large panel painting in Kaijuusenji 海住山寺, Kyoto, in which the deity descends from his paradise across the sea to welcome the deceased, *raigou 来迎, accompanied by the 25 bodhisattvas. In addition, the fame of distinct sculptural images of Juuichimen Kannon also lead their being the subject of paintings. One such example is the principal image of Hasedera 長谷寺 in Nara, which as a special feature holds a pewter staff *shakujou 錫杖 in its right hand and a lotus in a vase in its left. This very large image stands on a smooth, flat stone uncovered in a landslide, (instead of the lotus pedestal *rengeza 蓮華座, on which the deity first appeared). The story of the making of the image appears in the illustrated history of the temple *shaji engi-e 社寺縁起絵.