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EXPLORED with best position of 150 on 27.12.2012
Shot during National Day Parade in Doha, Qatar
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Lingyin Temple (simplified Chinese: 灵隐寺; traditional Chinese: 靈隱寺; pinyin: Língyǐn Sì) is a Buddhist temple of the Chan sect located north-west of Hangzhou, Zhejiang Province, China. The temple's name is commonly translated into English as Temple of the Soul's Retreat, which is a literal translation of the Chinese. It is one of the largest and wealthiest Buddhist temples in China, and contains numerous pagodas and Buddhist grottoes.
The monastery is the largest of several temples in the Wulin Mountains (Chinese: 武林山; Pinyin: Wǔlínshān), which also features many grottos and religious rock carvings, the most famous of which is the Feilai Feng (Traditional Chinese: 飛來峰石窟; Simplified Chinese:飞来峰石窟; literally: "the peak that flew hither").
According to tradition, the monastery was founded in 328 AD during the Eastern Jin dynasty (266–420) by an Indian monk, named Huili in Chinese. From its inception, Lingyin was a famous monastery in the Jiangnan region.
During the Cultural Revolution, the temple and grounds suffered damage at the hands of red guards, but the students of Zhejiang University tried to protect the temple. The temple managed to avoid large scale destruction partly because of the instructions of Premier Zhou Enlai.
Today the temple is thriving as a destination for both pilgrims and tourists. It is regarded as one of the wealthiest monasteries in China, and regular pilgrims have included former paramount leader Deng Xiaoping.
The Wuling Mountains area is a major centre of Chan Buddhism in south-eastern China. A number of smaller temples are also located in the area. Today, Lingyin and the surrounding areas are marketed as the Lingyin-Feilai Feng Scenic Area, with ticketed admission.
en.wikipedia.org/wiki/Lingyin_Temple
www.viajeachina.com/atracciones-de-hangzhou/templo-lingyi...
www.thechinaguide.com/es/sight/lingyin-temple
El templo de Lingyin (chino simplificado: 灵隐寺; chino tradicional: 靈隱寺; pinyin: Língyǐn Sì) es un templo budista de la secta Chan situado al noroeste de Hangzhou, en la provincia china de Zhejiang. El nombre del templo se traduce comúnmente al inglés como Temple of the Soul's Retreat (Retiro del Templo del Alma), que es una traducción literal del chino. Es uno de los templos budistas más grandes y ricos de China, y contiene numerosas pagodas y grutas budistas.
El monasterio es el mayor de varios templos de las montañas Wulin (chino: 武林山; pinyin: Wǔlínshān), que también cuenta con numerosas grutas y tallas religiosas en la roca, la más famosa de las cuales es el Feilai Feng (chino tradicional: 飛來峰石窟; chino simplificado:飞来峰石窟; literalmente: "el pico que voló hasta aquí").
Según la tradición, el monasterio fue fundado en el año 328 d.C. durante la dinastía Jin Oriental (266-420) por un monje indio, llamado Huili en chino. Desde sus inicios, Lingyin fue un famoso monasterio de la región de Jiangnan.
Durante la Revolución Cultural, el templo y sus terrenos sufrieron daños a manos de los guardias rojos, pero los estudiantes de la Universidad de Zhejiang intentaron protegerlo. El templo logró evitar la destrucción a gran escala en parte gracias a las instrucciones del primer ministro Zhou Enlai.
En la actualidad, el templo prospera como destino tanto para peregrinos como para turistas. Está considerado uno de los monasterios más ricos de China, y entre sus peregrinos habituales se encuentra el antiguo líder supremo Deng Xiaoping.
La zona de las montañas Wuling es un importante centro del budismo Chan en el sureste de China. En la zona también hay varios templos más pequeños. En la actualidad, Lingyin y sus alrededores se comercializan como Zona Escénica de Lingyin-Feilai Feng, con entrada.
When we first arrived at Cam Loch the sun was directly above Suilven. Some half an hour later it finally dipped below the hill to the right casting an intense warm glow onto the mountain which was rendered in almost full silhouette due to the high dynamic range.
Dragon dance (simplified Chinese: 舞龙; traditional Chinese: 舞龍; pinyin: wǔ lóng) is a form of traditional dance and performance in Chinese culture. Like the lion dance, it is most often seen during festive celebrations. The dance is performed by a team of experienced dancers who manipulate a long flexible giant puppet of a dragon using poles positioned at regular intervals along the length of the dragon. The dance team simulates the imagined movements of this river spirit in a sinuous, undulating manner.
The dragon dance is often performed during Chinese New Year. Chinese dragons are a symbol of China's culture, and they are believed to bring good luck to people, therefore the longer the dragon is in the dance, the more luck it will bring to the community. The dragons are believed to possess qualities that include great power, dignity, fertility, wisdom and auspiciousness. The appearance of a dragon is both fearsome and bold but it has a benevolent disposition, and it was an emblem to represent imperial authority. The movements in a performance traditionally symbolize the power and dignity of the dragon.
Chinese New Year is the festival that celebrates the beginning of a new year on the traditional lunisolar Chinese calendar. In Chinese, the festival is commonly referred to as the Spring Festival (traditional Chinese: 春節; simplified Chinese: 春节; pinyin: Chūnjié) as the spring season in the lunisolar calendar traditionally starts with lichun, the first of the twenty-four solar terms which the festival celebrates around the time of the Chinese New Year. Marking the end of winter and the beginning of the spring season, observances traditionally take place from New Year's Eve, the evening preceding the first day of the year to the Lantern Festival, held on the 15th day of the year. The first day of Chinese New Year begins on the new moon that appears between 21 January and 20 February. S20N_1334
The ability to simplify means to eliminate the unnecessary so that the necessary may speak.
Hans Hofmann
Please don't use my image's on websites, blogs or other media without my explicit permission. © All rights reserved
"Our life is frittered away with detail. Simplify, Simplify."
~ Henry David Thoreau ~
Thank you French Kiss, For the text brush.
I have written about how Marc's changing needs have dictated a need to simplify our garden. Greater attention is needed to care for his declining health, which means less time in the garden and sadly, less desire by Marc to access it.
I have reduced our borders and the number of plants I grow and returned planting beds to lawns. Over 90 rolls laid. I have raised the canopy of many remaining shrubs and trees so Marc can see through them more easily from his vantage point.
There is much more to do, but gradually.
Thank you for your visit, comment or fave. All are much appreciated. Thank you also to all who invite my photos to their groups.
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Complex simplification
Man I’ve struggled to write this text. It’s felt like digging a hole from England to Australia. The first few spades full were effortless as I enthusiastically threw them over my shoulder, but the hole quickly became very deep and then I hit ROCK. Now the task of finishing the job has become very daunting and if I’m to continue, it’s going to be slow and arduous. So…I’m going to start this with a paradoxical conclusion, then offer some alternative perspectives on digging …but first the conclusion, “simplicity turns out to be rather bloody complex!”
My messy mind
When photographing in a location, I’ve often observed how my ‘state of mind’ influences the way I see world and engage with it. Now this is a massive topic and I’d be foolish to attempt to cover it here, (man it looks very dark in the bottom of that hole). But more recently, I have observed whilst in the most peaceful locations, ‘self imposed artistic ideals’ creep into and distort my particular view of that reality. These thoughts can be very productive when wanted, but sometimes have become irritants when not, placing unattainable expectations of ‘perfection’ of light subject and composition over what is essentially reality.
To experience a ‘beautiful’ location in ‘perfect’ light is indeed, very special but, ‘the very act of photographing’ the location is further introducing complications on how one engage with any given scene. Often, (even without the camera), instead of enjoying the view, I have a sometimes (self diagnosed), irritating tendency to scout for locations, attempt to second-guess the weather, seek out detail, light and foreground interest. When I do have the camera (if I’m honest most of the time when in these locations) and feel inspired to take the tripod off my back, I’m often racing the fast moving conditions, setting up equipment and looking at the world through the viewfinder.
So why is this a problem you ask? Isn’t it your intention to seek out these locations and try to convey some of the feelings you have in a photographic representation? Well yes, but it’s those very ‘feelings’, that are being distorted by the process, that I want to experience as ‘pure’ in order to attempt to convey. I’ve noticed that often I actually ‘see’ and ‘feel’ more for a location when viewing the ‘image’ some time after its making, when I’ve have had time to reflect, things have slowed down and I’ve allowed my mind to dig deeper into the image and location. Unusually I see and feel things that I didn’t when I was making the image, which is bizarre, as you would think that being there in the flesh enables you to see more, but the opposite seems to be true. I would speculate that on location, our senses can become overloaded and the previously mentioned reasons, all influence the unique filtrated perception of the location.
I do believe that we in fact absorbed the overlooked information, somewhere deep in the subconscious mind, but it is only when reflecting on the imagery later that we begin to process the mechanical representations disentangling the thoughts, laden them with significance, and produce feelings. The photograph then seems not only to be historical record of the place we were. But actively catalyzing the emotions surrounding the experience, digging not only into the very place we were making the image, but deep into the recesses of our memory and dragging out past seemingly tenuously connected feelings.
Now all this mental clutter isn’t necessarily a problem, I suppose it depends on how you choose to look at why you were there in the first place. I do however wonder why we naturally filter out that information? I wonder if we simplify it because we cannot possibly process it all to satisfactory levels whilst there (it that just me?) maybe I need a few more slots of ram, or a better fan on my processor.
But seriously I feel analysis of the seemingly natural way our brains simplify any given experience into manageable chunks, offers us some incite as to a method of improving the ‘power’ in our photography.
A compositional tool that distills meaningful elements
The world is a complex place and the act of photographing it has a tendency to simplify our view on it. By choosing to narrow down the subjects, condensing the third and fourth dimension into two and directing the viewers attention onto a particular representation, is offering us an illusion on reality. A distorted view that has been manipulated by the photographer’s actions and thoughts, in a vague representation on a perceived, often overlooked reality. There is a common misinformed perception that photography is truth, but I digress.
If you use landscape painting as a convenient comparison and I’m thinking of artist such as (turner), the simplification of any given perception on reality, enables the artist an ability to distil the multitude of sensory data coming into the mind and focus on presenting only the ones that communicate the desired message/feelings they want to convey. The very act of rejecting elements is in fact paradoxically focusing deeper ones attention on the remaining.
When a shot is simplified, to clear compositional elements, the smallest details can possess greater power. A simple curve can become an overriding factor in the way your eye moves around the presented landscape. The shape and flow of that line, then has to be of impeccable clarity to retain its power. We as viewers linger longer on smaller elements, expecting and actually extracting more from them. The accomplished photographer, then, has primed the work for the viewer, without them even noticing. The ability for a photographer to expose us to the simplified view is then showing us that they are able to creatively distil the elements; it revels to us that we are looking at a skilled practitioner.
When looking at a successfully simplified photograph, I often get some sense of my eye moving over the scene in a controlled manor. It’s almost slowing the viewing process down and highlighting subtle nuances. The experience forces me to really LOOK at the image and draws my attention to normally overlooked elements. Playing with the juxtaposition of these simplified elements has in it hints of ambiguous purity, and when successfully accomplished it’s a powerful viewing experience.
It is also catalyzing a meditative state
We all seem to lead busy lives these days, attempting to squeeze multitudes of tasks and experiences in. Don’t get me wrong I’m the first to admit cramming my free time full of the things I want to do, places I want to photograph, (doesn’t the weekend wiz by), but are we not missing something along the way? It seems to me trying to reach out to wider and wider locations doesn’t necessarily mean greater rewards, as the essence of each place is being overpowered by its very complexity. Slowing down, concentrating on the elemental, gives the experience more depth. Letting your senses see, taste, smell, feel what it is that you’re doing enriches the experience. (For me that is).
Please don’t make the assumption that I’m arrogantly stating this is the only way to enjoy photography, because extracting pleasure in whatever form, is a respectable goal. But it is my intention, no, ‘need’ to dig deep, push my mind into new and uncharted territory, because I thrive on the unpredictable, and looking into oneself through the implementation and reflection of my photography, it’s definitely not simple but incredibly rewarding.
Sunrise on the Laratinga trail. A willow tree in a small creek. A touch of Color Efex glow and Topaz Simplify added in post.
Willows are not a native tree species to Australia but do often make a great .photo.
Like a great poet, Nature knows how to produce
the greatest effects with the most limited means.
~ Heinrich Heine
Our life is frittered away
by detail.
Simplify ,Simplify
Im pretty flattered i just found this in my emails ,my second image beeing published .
Hi Valeria
Congratulations, your picture was published in our “Wall of Fame” section of the magazine.
"Le persone dovrebbero mettere altrettanto ardore nel semplificare la loro vita quanto ce ne mettono a complicarla." Henri Louis Bergson
Saremmo tutti molto più felici se mettessimo in pratica questa idea... :)
Nella foto, dal mio archivio, una composizione minimal, con un cielo screziato di bianco ed un ramo. Che altro? :)
Buona giornata
Made with a Ondu 6x6 pinhole camera.
Pinhole diameter: 0.15mm Aperture: f/167
Exposure: >20 minutes!
Film: Fuji 400H Pro
Developed with Cinestill C-41 Color Simplified powder kit
Te Aute, Hawke's Bay, New Zealand
I was watching a video today by a well know photographer showing how mist and fog can simplify an image by blocking out the distractions, and it reminded me that I have a whole lot of photos that I took in the mist one mid-winters morning that I have never shown, or even finished processing. So I thought I would finish one
This was taken from one of the trails in Killarney Park, I can't remember the trail name, but it was the one focused on Georgian Bay. This is the sun's last light hitting the landscape from a nice viewpoint on the trail. I was a bit late to do the entire trail before sunset, and the rocks on the trail were a bit hazardous and, added to that, it would be easy to get lost on this trail in the dark, so I headed back to the car after the sun went down. 75 second exposure.
Richmond Beach Park in Shoreline, Washington. Joining a lot of area's in using Goat's for getting rid of BlackBerry vine's and overgrowth.
I have been studying the rocks at Hele Bay and have found their sheer detail is overwhelming. Not matter how faithfully I try to reproduce them, it doesn't transfer well into a drawing; so I have decided to abstract and simplify things down with smudgy pastels in my sketchbook.
Hele Bay rocks looking toward Ilfracombe.
Pastels in sketchbook
Set off on foot yesterday late afternoon with just 45 minutes or so remaining on the daylight clock. Wanted to be outside as the sky began the transition from daytime to nightfall. We're a couple weeks past the winter solstice, and the sun is now setting noticeably (though not significantly) later. The twilight phase is still dramatically short in comparison to summer. Even after all these years, it is still exhilarating to witness the process unfolding, to literally watch as night descends upon the village. In those moments, everything changes, light, shadow, backlighting, color...and it all feels simultaneous and continuous. Familiar scenes can take on weird appearances. A dramatic scene pops up right before you then vanishes within seconds, all because the lighting changed. I love the energy of these moments and find it a great time to shoot. It's a very impulsive time for me; I'm looking here, suddenly I'm distracted and looking over there. I seldom remain in one spot for more than a minute or so. I prefer to keep moving and adapting. What attracted me to this scene was the sense of silhouetting. Put me in mind of a cutout, like paper dolls. My visual sense of depth perception seems to fade with the daylight. Space is compressed as the foreground texture is lost. There's a sense of simplification as all that remains is light and dark.