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A vingança dfa COTOCA continua sua saga!!!!!!!!!!!!! KKKKKKKKKK
Kátia recebeu mais três presentes especiais!!!
Adjunto una poderosa composición de David Arkenstone.
Pulsar CTRL
www.youtube.com/watch?v=b7dbXdoLsa4&playnext=1&li...
La Torre Santa o Peña Santa de Castilla , con sus 2.596 metros, es el pico más alto del Macizo Occidental de los Picos de Europa o Cornión, en la provincia de León en la cordillera cantábrica.
La primera ascensión conocida fue realizada por el francés Paul Labrouche, François Bernat Salles y Vicente Marcos el día 4 de agosto de 1892.
www.fluidr.com/photos/35196188@N03
www.youtube.com/user/25elgaucho
La Torre Santa or Peña Santa de Castilla, with its 2596 meters is the highest peak in the Western Massif of the Picos de Europa or Cornión, in the province of León in the Cantabrian Mountains.
The first known ascent was made by Frenchman Paul Labrouche, François Vincent Bernat Salles and Mark on August 4, 1892
...on my lucky day.
Ian took me on the back of his perfectly restored 'Pan-European' tourer to The Ponderosa. It's a famous meeting place for bikers on a Sunday, up the Horseshoe Pass. His bike is showroom class, and the enthusiasm amongst fellow riders bowled me over: I'd only just got off the back before a small gathering surrounded us.
The journey there and back... well there's my adrenaline hit for the year! Ian's rightly a super cautious rider, but opened the throttle whenever he could. And the lean round bends :-0
Fantastic, thrilling afternoon Ian. Thanks so much :-)
HORACIO PATRONE: NIKON D 500 LENS NIKOR AF-S 300/4 D IF ED + NIKON TC 1.4- CEIBAS - ENTRE RIOS ARGENTINA-
Cascada ubicada en el Pueblo Las Cascadas, Chile.
Poderosa sensación de fuerza y tranquilidad se siente cuando te acercas a la caída de agua, respirando un aire puro y húmedo proveniente del Río Blanco, que nace de los glaciares del Volcán Osorno.
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Waterfall located in the Pueblo Las Cascadas, Chile.
Powerful feeling of strength and tranquility is felt when you approach the waterfall and breathe pure and humid air from the place.
El poble de Castellbò, a l'Alt Urgell, fou prou important a l'edat mitjana, seu del Vescomptat de Castellbò, familia feudal molt poderosa del comtat d'Urgell. En relació al paper d'aquests senyors feudals durant la croada anticàtara, un bon nombre de catars s'establiren a Castellbò.
ca.wikipedia.org/wiki/Castellb%C3%B2
ca.wikipedia.org/wiki/Vescomtat_de_Castellb%C3%B2
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Castellbò is now a little and a bit ruined village in the Catalan Pyrenees. But in the Middle Ages it was quite important, being the see of the Castellbò viscount. The military role of these nobles in the crusade against the cathars in Languedoc made of Castellbò a refugee center for many Occitan cathars.
Castellbò means "good castle".
Olha o sapato lindo de uma amiga minha! Se eu fosse mulher eu só usaria sapato com salto alto, acho lindo!
Estávamos na rua coberta, nos despedindo da cidade,buááááááááá!
Faltou a Karla que resolveu ficar mais um dia.
Here’s What the Date 2/22/22 Means & Why Seeing 222 is a Powerful Sign
Esto es lo que significa la fecha 22/2/22 y por qué ver 222 es una señal poderosa
February is set to be nothing short of a prolific month! The month kicked off with a New Moon in Aquarius ushering in the energy of new beginnings and change, and just one day later, we got to experience what some called the first of the last three 222 days of the century, which occur on February 2, 2022, February 20, 2022 and February 22, 2022. Yep, you read that correctly. This is the end of a 222 sequence that started back in 2000, with other key years of 2002, 2020 and 2022. We won’t see this sequence again until 2/2/2222—but what’s the significance, anyway?
In numerology, the 222 sequence of numbers are often referred to as Angel Numbers. Also, the number 2 in numerology references the energy of duality, partnership, relationship and balance. The key lessons when dealing with the number 2 are generally centered around compromise, acceptance, compassion, cooperation and harmony.
When 2 is in sequence like it is in 222, this energy is super-charged. There is a call to approach life with more compassion, to seek better balance, to work cooperatively with others, to seek partnership when you can and strive for harmony.
When you think about the last almost 22 years, don’t so many of these themes ring true? This is especially profound when you think about 2020! There is no way we could have made it through the last two years without compassion and cooperation. So much of our world has changed, especially the ways in which we interact with others.
What’s more, the United States has it’s very first Pluto Return on 2/20/2022 coinciding with the second 222 day of the month. Since America is a relatively young country, it has never experienced the return of Pluto or the start of a new Pluto cycle. For your reference, when Pluto—the lord of destruction, transformation and power—makes a return (which takes approximately 247 years) that entity (in this case, the US) has an opportunity to let go of archaic systems and structures that no longer benefit the masses, so that every individual associated with that entity gets to maximize the potential of their soul.
¡Febrero está destinado a ser nada menos que un mes prolífico! El mes comenzó con una Luna Nueva en Acuario que introdujo la energía de nuevos comienzos y cambios, y solo un día después, pudimos experimentar lo que algunos llamaron el primero de los últimos tres 222 días del siglo, que ocurren el 2 de febrero. , 2022, 20 de febrero de 2022 y 22 de febrero de 2022. Sí, has leído bien. Este es el final de una secuencia 222 que comenzó en 2000, con otros años clave de 2002, 2020 y 2022. No volveremos a ver esta secuencia hasta el 2/2/2222, pero ¿cuál es el significado de todos modos?
En numerología, la secuencia de números 222 a menudo se conoce como números de ángeles. Además, el número 2 en numerología hace referencia a la energía de la dualidad, la asociación, la relación y el equilibrio. Las lecciones clave cuando se trata con el número 2 generalmente se centran en el compromiso, la aceptación, la compasión, la cooperación y la armonía.
Cuando 2 está en secuencia como lo está en 222, esta energía está sobrecargada. Hay un llamado a abordar la vida con más compasión, a buscar un mejor equilibrio, a trabajar en cooperación con los demás, a buscar la asociación cuando se pueda y luchar por la armonía.
Cuando piensas en los últimos casi 22 años, ¿no te parecen ciertos muchos de estos temas? ¡Esto es especialmente profundo cuando piensas en 2020! No hay forma de que hubiéramos podido superar los últimos dos años sin compasión y cooperación. Gran parte de nuestro mundo ha cambiado, especialmente las formas en que interactuamos con los demás.
Además, Estados Unidos tiene su primer retorno de Plutón el 20/02/2022 coincidiendo con el segundo día 222 del mes. Dado que Estados Unidos es un país relativamente joven, nunca ha experimentado el regreso de Plutón o el comienzo de un nuevo ciclo de Plutón. Para su referencia, cuando Plutón, el señor de la destrucción, la transformación y el poder, regrese (lo que demora aproximadamente 247 años), esa entidad
This '56 Poderosa comes with a stunning colorscheme and just enough horses under the hood to get it rolling. Those truly were the glory days of the automobile. The owner has lovingly named his car "Coraline". Figure that one out yourself.
This was a really fun build for me, having to make do with the limited repertoir of coral pieces. I even had to buy a bag of DOTS to get the hubcaps.
Free instructions available here
Templo comido por la naturaleza, se ve como el árbol ha atrapado el templo. Cuando Ankorg fue abandona, la selva la invadió.
Camaleón recogiendo su lengua sin presa, tiro fallido. No solo andan por los arboles, tambien caminan y cazan en el suelo, esta especie en particular, es más "rápida" caminando en el suelo que otras que he visto caminar en los arboles.Madagascar
Distrito de Taricá, Provincia de Huaraz, Departamento de Ancash, Perú.
Este distrito, cuenta con una larga tradición alfarera en la creación de utensilios y adornos con motivos Chavín y personajes de la zona.
Países Bajos - Delft - Royal Delft
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ENGLISH:
Delftware or Delft pottery, also known as Delft Blue (Dutch: Delfts blauw) or as delf, is a general term now used for Dutch tin-glazed earthenware, a form of faience. Most of it is blue and white pottery, and the city of Delft in the Netherlands was the major centre of production, but the term covers wares with other colours, and made elsewhere. It is also used for similar pottery, English delftware. Delftware is one of the types of tin-glazed earthenware or faience in which a white glaze is applied, usually decorated with metal oxides, in particular the cobalt oxide that gives the usual blue, and can withstand high firing temperatures, allowing it to be applied under the glaze. Delftware forms part of the worldwide family of blue and white pottery, using variations of the plant-based decoration first developed in 14th-century Chinese porcelain, and in great demand in Europe.
Delftware includes pottery objects of all descriptions - such as plates, vases, figurines and other ornamental forms and tiles. The style originated around 1600, and the most highly regarded period of production is about 1640–1740, but Delftware continues to be produced. In the 17th and 18th centuries the manufacture of Delftware was a major industry, with product exported all over Europe.
The earliest tin-glazed pottery in the Netherlands was made in Antwerp where the Italian potter Guido da Savino settled in 1500, and in the 16th century Italian maiolica was the main influence on decorative styles. The manufacture of painted pottery spread from Antwerp to the northern Netherlands, in particular because of the sack of Antwerp by the Spanish troops in 1576 (the Spanish Fury). Production developed in Middelburg and Haarlem in the 1570s and in Amsterdam in the 1580s. Much of the finer work was produced in Delft, but simple everyday tin-glazed pottery was made in places such as Gouda, Rotterdam, Haarlem, Amsterdam and Dordrecht.
The main period of tin-glaze pottery in the Netherlands was 1640–1740. From about 1640 Delft potters began using personal monograms and distinctive factory marks. The Guild of St Luke, to which painters in all media had to belong, admitted ten master potters in the thirty years between 1610 and 1640, and twenty in the nine years 1651 to 1660. In 1654 a gunpowder explosion in Delft destroyed many breweries and as the brewing industry was in decline, they became available to pottery makers looking for larger premises; some retained the old brewery names, e.g. The Double Tankard, The Young Moors' Head, and The Three Bells. The use of marl, a type of clay rich in calcium compounds, allowed the Dutch potters to refine their technique and to make finer items. The usual clay body of Delftware was a blend of three clays, one local, one from Tournai and one from the Rhineland.
From about 1615, the potters began to coat their pots completely in white tin glaze instead of covering only the painting surface and coating the rest with clear ceramic glaze. They then began to cover the tin-glaze with clear glaze, which gave depth to the fired surface and smoothness to cobalt blues, ultimately creating a good resemblance to porcelain.
During the Dutch Golden Age, the Dutch East India Company had a lively trade with the East and imported millions of pieces of Chinese porcelain in the early 17th century.[10] The Chinese workmanship and attention to detail impressed many. Only the richest could afford the early imports. Dutch potters did not immediately imitate Chinese porcelain; they began to do so after the death of the Wanli Emperor in 1620, when the supply to Europe was interrupted. "Potters now saw an opportunity to produce a cheap alternative for Chinese porcelain. After much experimenting they managed to make a thin type of earthenware which was covered with a white tin glaze. Although made of low-fired earthenware, it resembled porcelain amazingly well."
Delftware inspired by Chinese originals persisted from about 1630 to the mid-18th century alongside European patterns. Around 1700 several factories were using enamel colours and gilding over the tin-glaze, requiring a third kiln firing at a lower temperature. Later, after Japanese Imari ware had become popular in the late 1600s and early 1700s (when it too tried to fill the gap of the Chinese shortage), Delft began making their own 'Imari ware' copying the classic 'flower vase on a terrace surrounded by three panels with cranes and pine design'. Oriental styles in Delftware remained popular into the early 1700s but then declined when Chinese porcelain became available again.
Delftware ranged from simple household items – plain white earthenware with little or no decoration – to fancy artwork. Most of the Delft factories made sets of jars, the kast-stel set. Pictorial plates were made in abundance, illustrated with religious motifs, native Dutch scenes with windmills and fishing boats, hunting scenes, landscapes and seascapes. Sets of plates were made with the words and music of songs; dessert was served on them and when the plates were clear the company started singing. The Delft potters also made tiles in vast numbers (estimated at eight hundred million) over a period of two hundred years; many Dutch houses still have tiles that were fixed in the 17th and 18th centuries. Delftware became popular and was widely exported in Europe and even reached China and Japan. Chinese and Japanese potters made porcelain versions of Delftware for export to Europe.
Some regard Delftware from about 1750 onwards as artistically inferior. Caiger-Smith says that most of the later wares "were painted with clever, ephemeral decoration. Little trace of feeling or originality remained to be lamented when, at the end of the eighteenth century, the Delftware potteries began to go out of business." By this time Delftware potters had lost their market to British porcelain and the new white earthenware. One or two remain: the Tichelaar factory in Makkum, Friesland, founded in 1594 and De Koninklijke Porceleyne Fles ("The Royal Porcelain Bottle") founded in 1653.
Today, Delfts Blauw (Delft Blue) is the brand name hand painted on the bottom of ceramic pieces identifying them as authentic and collectible. Although most Delft Blue borrows from the tin-glaze tradition, it is nearly all decorated in underglaze blue on a white clay body and very little uses tin glaze, a more expensive product. The Koninklijke Tichelaar Makkum factory in Makkum, Friesland continue the production of tin-glazed earthenware.
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ESPAÑOL:
La cerámica de Delft es una alfarería desarrollada desde finales del siglo XVI en la ciudad Delft en los Países Bajos. Se hizo muy popular por la calidad del esmalte cerámico y el refinamiento de sus decoraciones pintadas. El esmalte blanco de estaño utilizado permitió a los ceramistas neerlandeses acercarse a la calidad y el aspecto de la porcelana china, muy valorada en el país e introducida por la Compañía Neerlandesa de las Indias Orientales. La cerámica de Delft incluye piezas singulares, además de una importante producción de platos, jarrones y azulejería de paramentos y el típico azulejo figurativo holandés.
Alfareros italianos se instalaron en Amberes al inicio del siglo XVI. La destrucción de la ciudad por las tropas de Felipe II en 1576, conocida como la Furia Española, los llevó a abandonar la ciudad, y muchos de ellos se establecieron en Delft. A comienzos del siglo XVII, el siglo de oro de los Países Bajos permitió a la Compañía Neerlandesa de las Indias Orientales aumentar su comercio con China y la importación de la porcelana como artículo de lujo solo al alcance de las clases más adineradas neerlandesas. En busca de un producto más accesible, los ceramistas de Delft desarrollaron una floreciente industria de loza fina capaz de hacerle la competencia a los objetos importados. La variada producción de vajillas, jarrones, azulejos y baldosas, y la decoración de las piezas con figuras y ambientes típicos del paisaje holandés llegarían a rebasar la geografía flamenca e imponerse en otros países con importante cultura azulejera como Portugal.
La poderosa expansión comercial de la cerámica holandesa contribuyó a que productos originados en Italia, España o Portugal, trascendieran y evolucionasen como capítulos monográficos en la historia de la industria azulejera. Ello llevaría a conocerse como azulejo de tipo Delft series de losetas como el azulejo de tema único, el azulejo de oficios o el de figura suelta (también llamado azulejo figurativo holandés), con una importante repercusión en el uso del azulejo como recurso arquitectónico y decorativo entre los siglos XVII y XIX.
Las piezas modernas se identifican con la marca escrita: «Delfts Blauw» ('azul de Delft' en idioma neerlandés) que se suele observar en la parte inferior de las piezas.
reconozco que soy torpe
reconozco que estoy un tanto loca
reconozco que él me atrae, en realidad no sé
reconozco que a veces hago bulling
reconozco que a veces me río demasiado de la desgracia ajena
reconozco que soy floja
reconozco que no tengo ideologia política
reconozco que amo la publicidad, pero no sé si estudiarla
reconozco que como mucho, y por eso estoy gorda
reconozco que nunca he probado un cigarrillo
El poder de una de las cascadas mas impresionantes de Islandia, la poderosa Gullfoss, parte del circuito dorado de Islandia.
Uma das poderosas árvores do Dique. Ali estão as mais belas árvores da cidade. Powerful tree from Dique do Tororó where are the most beautiful trees in Salvador.
Situada en el puerto de Constanza, la poderosa estatua de Imperia, una escultura de 9 metros muestra a una mujer con poca ropa que sostiene a dos hombres más pequeños, los cuales representan el poder secular y eclesiástico. La esta poderosa estatua gira sobre su pedestal cada 4 minutos (Expedia)
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Apesar da péssima luz (estava garoando), é possível sentir o poder dessas incríveis quedas de água, em Puerto Iguazú, Argentina, no conjunto das Cataratas do Iguaçu.
Esse paredão de rocha basáltica que aparece no centro da foto, com os turistas na passarela a beira das grandes quedas d'água, fica na Ilha San Martin, no meio das Cataratas do Iguaçu, na fronteira do Brasil com a Argentina. Nessa ilha existe uma interessante e incomum fenda na rocha é conhecida como La Ventana.
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Despite the bad light (it was drizzling), you can feel the power of these amazing waterfalls in Puerto Iguazú, Argentina, in the Iguazu Falls.
This wall of basalt rock that appears in center of photo, with tourists on the catwalk on the verge of big waterfalls, is located in San Martin Island, in the middle of the Iguazu Falls, on the border of Brazil and Argentina. On this island is an interesting and unusual crack in the rock, known as La Ventana