Apache Crown Dance or Gaan Dance (also called Mountain Spirit, Crown Dance, Devil Dance) is an Apache ceremonial dance that is intended to protect the community from disease and enemies. Dancers became "the embodiment of the Mountain Spirits (the Gaan)"; they wear special masks and wands during the dance. The dance is performed by a group of five members, one of them a "clown", each having his specific role.

Each one is a tool, with a specific purpose in mind. Take the Perspective Control lenses of focal lengths 85mm, 45mm, 35mm, and 28mm. No other lens can do that. Or, the Nikon 16mm with its 180° Viewing Angle. Or, the Nikon AF Micro-Nikkor 105mm f/2.8D lens that has a minimum focusing distance of 1 foot 4.08 inches. While the Nikon 300mm f/2.8D costs about $10,000USD new, I paid about $2,000USD for my Nikon 300mm f/4.0D, that is one of the sharpest lenses I own . . . I paid 1/5th of the cost for the 2.8D, which is only 1EV faster or the difference between setting 400 ISO versus 200 ISO . . . So, there are very practical decisions made for each lens purchase. I usually study the various lenses before I make my purchase. Please bear in mind, these were acquired over many years. I could not afford them, if I had to purchase them all at once. You will note each lens is in mint condition. I store all of my camera equipment in 3 dehumidifying boxes, to reduce the chances for fungus.

Site specific interactive artwork in a public plaza. The artwork was designed and intended to allow people to climb up and down. Unfortunately four people jumped––to their death. It is now closed.

Yes! he was absolutely furious with great Carolus Linneus was José Antonio de Alzate y Ramírez (1737-1799). Alzate was a great partisan of everything New Spanish, that is in his case particularly Spanish Mexican. He'd been trained for the priesthood and turned into a mapmaker, geographer, naturalist, ethnographer, linguist of Mexico. And was also a great partisan of Nahuatl, an Aztec language.

He was entirely opposed to the 'new' classification system invented by Linnaeus. He claimed that it had no eye for the particulars and the unique individuality of Mexican nature. Moreover, he was utterly angry that Linnaeus and his followers used words derived from Latin and Greek to name plants thus suggesting the Mexican ones were mere variations of European plants. And finally he was livid because Linnaeus emphasised the sexuality of plants in his classification thereby 'demoralising' or even 'immoralising' nature.

Linnaeus did, however, give this Ipomoea the specific name 'quamoclit', which is said to derive from the Nahuatl, so much on Alzate's mind.

Our Bright Morning Glory is all over the Tropical World, and I've seen it in Southeast Asia, in Australia and in many other hot places. Now on a morning stroll in northern Paramaribo it was furiously wild along the Anton Dragtenweg.

Orava Peat Bogs, Lesser Poland, Poland

 

CAUTION! SIGNIFICANTLY THREATENED BY HABITAT LOSS!

 

Common Snipe is a very shy and inconspicuous species which breeds on wet meadows, marshes or peat bogs. It is rather rare in southern Poland, where agriculture destroyed natural marshy habitats. Fortunately there are some places where this wonderful bird can breed even today. Males perform aerial displays during which they use lateral tail feathers to produce specific sound called drumming. Other males sit on the ground and sing simple repeatable song while females watch this performance.

  

I invite you to check my album page where I prepared sections with photos from specific locations.

60's style gasser or B/FX class drag car. Flip-up front end as most of these cars had for ease of access to the powerplant. This is not based on any specific make, but would be something like a Chevy II Nova, Ford Falcon, or Plymouth Valiant. This is actually a redux of this car: flic.kr/s/aHskCMa75t

that I've modified. The biggest change was to move the rear wheels forward by one stud to provide more correct and pleasing placement. I also included some changes to the front end to take advantage of the newer angled slope piece. The chassis is the same one that I used on the yellow car just swapped over to this body.

As always, comments and constructive criticisms are welcome, and thanks for looking!!

From Wikipedia, the free encyclopedia

  

"Khajuraho"

UNESCO World Heritage Site

Location Madhya Pradesh, India Edit this at Wikidata

Coordinates 24°51′08″N 79°55′20″E

Criteria Cultural: (i), (iii) Edit this on Wikidata[1]

Reference 240

Inscription 1986 (10th Session)

Khajuraho Group of Monuments is located in India

Khajuraho Group of Monuments

Location of Khajuraho Group of Monuments

[edit on Wikidata]

 

The Khajuraho Group of Monuments is a group of Hindu and Jain temples in Madhya Pradesh, India, about 175 kilometres (109 mi) southeast of Jhansi. They are one of the UNESCO World Heritage Sites in India.[2][3] The temples are famous for their nagara-style architectural symbolism and their erotic sculptures.[4]

 

Most Khajuraho temples were built between 950 and 1050 by the Chandela dynasty.[5] Historical records note that the Khajuraho temple site had 85 temples by the 12th century, spread over 20 square kilometers Of these, only about 25 temples have survived, spread over 6 square kilometers.[3] Of the various surviving temples, the Kandariya Mahadeva Temple is decorated with a profusion of sculptures with intricate details, symbolism and expressiveness of ancient Indian art.[6]

 

The Khajuraho group of temples were built together but were dedicated to two religions, Hinduism and Jainism, suggesting a tradition of acceptance and respect for diverse religious views among Hindus and Jains in the region.[7]

 

Contents

 

1 Location

2 History

3 Description

3.1 Architecture of the temples

4 Construction

5 Chronology

6 Arts and sculpture

7 Tourism and cultural events

8 See also

9 References

10 Further reading

11 External links

 

Location

 

The Khajuraho monuments are located in the Indian state of Madhya Pradesh, in Chhatarpur district, about 620 kilometres (385 mi) southeast of New Delhi. The temples are near a small town also known as Khajuraho,[8] with a population of about 20,000 people (2001 Census).

 

Khajuraho is served by Civil Aerodrome Khajuraho (IATA Code: HJR), with services to Delhi, Agra, Varanasi and Mumbai.[9] The site is also linked by the Indian Railways service, with the railway station located approximately six kilometres from the entrance to the monuments .

 

The monuments are about 10 kilometres off the east-west National Highway 75, and about 50 kilometres from the city of Chhatarpur, which is connected to the state capital Bhopal by the SW-NE running National Highway 86.

 

The 10th century Bhand Deva Temple in Rajasthan was built in the style of the Khajuraho monuments and is often referred to as 'Little Khajuraho'.

History

 

The Khajuraho group of monuments was built during the rule of the Chandela dynasty. The building activity started almost immediately after the rise of their power, throughout their kingdom to be later known as Bundelkhand.[10] Most temples were built during the reigns of the Hindu kings Yashovarman and Dhanga. Yashovarman's legacy is best exhibited by The Lakshmana Temple. Vishvanatha temple best highlights King Dhanga's reign.[11]:22 The largest and currently most famous surviving temple is Kandariya Mahadeva built in the reign of King Vidyadhara.[12] The temple inscriptions suggest many of the currently surviving temples were complete between 970 and 1030 CE, with further temples completed during the following decades.[7]

 

The Khajuraho temples were built about 35 miles from the medieval city of Mahoba,[13] the capital of the Chandela dynasty, in the Kalinjar region. In ancient and medieval literature, their kingdom has been referred to as Jijhoti, Jejahoti, Chih-chi-to and Jejakabhukti.[14]

 

Khajuraho was mentioned by Abu Rihan-al-Biruni, the Persian historian who accompanied Mahmud of Ghazni in his raid of Kalinjar in 1022 CE; he mentions Khajuraho as the capital of Jajahuti.[15] The raid was unsuccessful, and a peace accord was reached when the Hindu king agreed to pay a ransom to Mahmud of Ghazni to end the attack and leave.[14]

 

Khajuraho temples were in active use through the end of 12th century. This changed in the 13th century; after the army of Delhi Sultanate, under the command of the Muslim Sultan Qutb-ud-din Aibak, attacked and seized the Chandela kingdom. About a century later, Ibn Battuta, the Moroccan traveller in his memoirs about his stay in India from 1335 to 1342 CE, mentioned visiting Khajuraho temples, calling them "Kajarra"[16][17] as follows:

Until the 12th century, Khajuraho was under Hindu kings and featured 85 temples. Central India was seized by Delhi Sultanate in 13th century. Under Muslim rule, some temples were destroyed and the rest left in neglect. Ruins of some old temples (Ghantai temple above) are still visible.

 

...near (Khajuraho) temples, which contain idols that have been mutilated by the Moslems, live a number of yogis whose matted locks have grown as long as their bodies. And on account of extreme asceticism they are all yellow in colour. Many Moslems attend these men in order to take lessons (yoga) from them.

— Ibn Battuta, about 1335 CE, Riḥlat Ibn Baṭūṭah, Translated by Arthur Cotterell[18]

 

Central Indian region, where Khajuraho temples are, remained in the control of many different Muslim dynasties from 13th century through the 18th century. In this period, some temples were desecrated, followed by a long period when they were left in neglect.[7][10] In 1495 CE, for example, Sikandar Lodi’s campaign of temple destruction included Khajuraho.[19] The remoteness and isolation of Khajuraho protected the Hindu and Jain temples from continued destruction by Muslims.[20][21] Over the centuries, vegetation and forests overgrew, took over the temples.

 

In the 1830s, local Hindus guided a British surveyor, T.S. Burt, to the temples and they were thus rediscovered by the global audience.[22] Alexander Cunningham later reported, few years after the rediscovery, that the temples were secretly in use by yogis and thousands of Hindus would arrive for pilgrimage during Shivaratri celebrated annually in February or March based on a lunar calendar. In 1852, Maisey prepared earliest drawings of the Khajuraho temples.[23]

 

Nomenclature

 

The name Khajuraho, or Kharjuravāhaka, is derived from ancient Sanskrit (kharjura, खर्जूर means date palm,[24] and vāhaka, वाहक means "one who carries" or bearer[25]). Local legends state that the temples had two golden date-palm trees as their gate (missing when they were rediscovered). Desai states that Kharjuravāhaka also means scorpion bearer, which is another symbolic name for deity Shiva (who wears snakes and scorpion garlands in his fierce form).[26]

 

Cunningham’s nomenclature and systematic documentation work in 1850s and 1860s have been widely adopted and continue to be in use.[23] He grouped the temples into the Western group around Lakshmana, Eastern group around Javeri, and Southern group around Duladeva.[27]

 

Khajuraho is one of the four holy sites linked to deity Shiva (the other three are Kedarnath, Kashi and Gaya). Its origin and design is a subject of scholarly studies. Shobita Punja[28] has proposed that the temple’s origin reflect the Hindu mythology in which Khajuraho is the place where Shiva got married; with Raghuvamsha verse 5.53, Matangeshvara honoring ‘’Matanga’’, or god of love.

Description

Sections and orientation of Khajuraho temples.

 

The temple site is within Vindhya mountain range in central India. An ancient local legend held that Hindu deity Shiva and other gods enjoyed visiting the dramatic hill formation in Kalinjar area.[27] The center of this region is Khajuraho, set midst local hills and rivers. The temple complex reflects the ancient Hindu tradition of building temples where gods love to play.[27][29]

 

The temples are clustered near water, another typical feature of Hindu temples. The current water bodies include Sib Sagar, Khajur Sagar (also called Ninora Tal) and Khudar Nadi (river).[30] The local legends state that the temple complex had 64 water bodies, of which 56 have been physically identified by archeologists so far.[27][31]

 

All temples, except[27] one (Chaturbhuja) face sunrise - another symbolic feature that is predominant in Hindu temples. The relative layout of temples integrate masculine and feminine deities and symbols highlight the interdependence.[28] The art work symbolically highlight the four goals of life considered necessary and proper in Hinduism - dharma, kama, artha and moksha.

 

Of the surviving temples, 6 are dedicated to Shiva and his consorts, 8 to Vishnu and his affinities, 1 to Ganesha, 1 to Sun god, 3 to Jain Tirthankars.[27] For some ruins, there is insufficient evidence to assign the temple to specific deities with confidence.

 

An overall examination of site suggests that the Hindu symbolic mandala design principle of square and circles is present each temple plan and design.[32] Further, the territory is laid out in three triangles that converge to form a pentagon. Scholars suggest that this reflects the Hindu symbolism for three realms or trilokinatha, and five cosmic substances or panchbhuteshvara.[27] The temple site highlights Shiva, the one who destroys and recycles life, thereby controlling the cosmic dance of time, evolution and dissolution.[28]

 

The temples have a rich display of intricately carved statues. While they are famous for their erotic sculpture, sexual themes cover less than 10% of the temple sculpture.[33] Further, most erotic scene panels are neither prominent nor emphasized at the expense of the rest, rather they are in proportional balance with the non-sexual images.[34] The viewer has to look closely to find them, or be directed by a guide.[35] The arts cover numerous aspects of human life and values considered important in Hindu pantheon. Further, the images are arranged in a configuration to express central ideas of Hinduism. All three ideas from Āgamas are richly expressed in Khajuraho temples - Avyakta, Vyaktavyakta and Vyakta.[36]

 

The Beejamandal temple is under excavation. It has been identified with the Vaidyanath temple mentioned in the Grahpati Kokalla inscription.[37]

 

Of all temples, the Matangeshvara temple remains an active site of worship.[28] It is another square grid temple, with a large 2.5 metres (8.2 ft) high and 1.1 metres (3.6 ft) diameter lingam, placed on a 7.6 metres (25 ft) diameter platform.[27]

 

The most visited temple, Kandariya Mahadev, has an area of about 6,500 square feet and a shikhara (spire) that rises 116 feet.[10][27]

 

Jain temples

 

Main article: Jain temples of Khajuraho

 

The Jain temples are located on east-southeast region of Khajuraho monuments.[38] Chausath jogini temple features 64 jogini, while Ghantai temple features bells sculptured on its pillars.

Architecture of the temples

The layout plan of Kandariya Mahadeva Temple. It uses the 64 pada grid design. Smaller Khajuraho temples use the 9, 16, 36 or 49 grid mandala plan.[39]

 

Khajuraho temples, like almost all Hindu temple designs, follow a grid geometrical design called vastu-purusha-mandala.[40] This design plan has three important components - Mandala means circle, Purusha is universal essence at the core of Hindu tradition, while Vastu means the dwelling structure.[41]

 

The design lays out a Hindu temple in a symmetrical, concentrically layered, self-repeating structure around the core of the temple called garbhagriya, where the abstract principle Purusha and the primary deity of the temple dwell. The shikhara, or spire, of the temple rises above the garbhagriya. This symmetry and structure in design is derived from central beliefs, myths, cardinality and mathematical principles.[42]

 

The circle of mandala circumscribe the square. The square is considered divine for its perfection and as a symbolic product of knowledge and human thought, while circle is considered earthly, human and observed in everyday life (moon, sun, horizon, water drop, rainbow). Each supports the other.[29] The square is divided into perfect 64 sub-squares called padas.[40]

 

Most Khajuraho temples deploy the 8x8 (64) padas grid Manduka Vastupurushamandala, with pitha mandala the square grid incorporated in the design of the spires.[39] The primary deity or lingas are located in the grid’s Brahma padas.

Khajuraho temples use the 8x8 (64) Vastupurusamandala Manduka grid layout plan (left) found in Hindu temples. Above the temple’s brahma padas is a Shikhara (Vimana or Spire) that rises symmetrically above the central core, typically in a circles and turning-squares concentric layering design (right) that flows from one to the other as it rises towards the sky.[29][43]

 

The architecture is symbolic and reflects the central Hindu beliefs through its form, structure and arrangement of its parts.[44] The mandapas as well as the arts are arranged in the Khajuraho temples in a symmetric repeating patterns, even though each image or sculpture is distinctive in its own way. The relative placement of the images are not random but together they express ideas, just like connected words form sentences and paragraphs to compose ideas.[45] This fractal pattern that is common in Hindu temples.[46] Various statues and panels have inscriptions. Many of the inscriptions on the temple walls are poems with double meanings, something that the complex structure of Sanskrit allows in creative compositions.[26]

 

All Khajuraho temples, except one, face sunrise, and the entrance for the devotee is this east side.

An illustration of Khajuraho temple Spires (Shikhara, Vimana) built using concentric circle and rotating-squares principle. Four spires (left) are shown above, while the inside view of one Shikara ceiling (right) shows the symmetric layout.

 

Above the vastu-purusha-mandala of each temple is a superstructure with a dome called Shikhara (or Vimana, Spire).[41] Variations in spire design come from variation in degrees turned for the squares. The temple Shikhara, in some literature, is linked to mount Kailash or Meru, the mythical abode of the gods.[29]

 

In each temple, the central space typically is surrounded by an ambulatory for the pilgrim to walk around and ritually circumambulate the Purusa and the main deity.[29] The pillars, walls and ceilings around the space, as well as outside have highly ornate carvings or images of the four just and necessary pursuits of life - kama, artha, dharma and moksa. This clockwise walk around is called pradakshina.[41]

 

Larger Khajuraho temples also have pillared halls called mandapa. One near the entrance, on the east side, serves as the waiting room for pilgrims and devotees. The mandapas are also arranged by principles of symmetry, grids and mathematical precision. This use of same underlying architectural principle is common in Hindu temples found all over India.[47] Each Khajuraho temple is distinctly carved yet also repeating the central common principles in almost all Hindu temples, one which Susan Lewandowski refers to as "an organism of repeating cells".[48]

Construction

 

The temples are grouped into three geographical divisions: western, eastern and southern.

 

The Khajuraho temples are made of sandstone, with a granite foundation that is almost concealed from view.[49] The builders didn't use mortar: the stones were put together with mortise and tenon joints and they were held in place by gravity. This form of construction requires very precise joints. The columns and architraves were built with megaliths that weighed up to 20 tons.[50] Some repair work in the 19th Century was done with brick and mortar; however these have aged faster than original materials and darkened with time, thereby seeming out of place.

 

The Khajuraho and Kalinjar region is home to superior quality of sandstone, which can be precision carved. The surviving sculpture reflect fine details such as strands of hair, manicured nails and intricate jewelry.

 

While recording the television show Lost Worlds (History Channel) at Khajuraho, Alex Evans recreated a stone sculpture under 4 feet that took about 60 days to carve in an attempt to develop a rough idea how much work must have been involved.[51] Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone.[52] They concluded that these temples would have required hundreds of highly trained sculptors.

Chronology

 

The Khajuraho group of temples belong to Vaishnavism school of Hinduism, Saivism school of Hinduism and Jainism - nearly a third each. Archaeological studies suggest all three types of temples were under construction at about the same time in late 10th century, and in use simultaneously. Will Durant states that this aspect of Khajuraho temples illustrates the tolerance and respect for different religious viewpoints in the Hindu and Jain traditions.[53] In each group of Khajuraho temples, there were major temples surrounded by smaller temples - a grid style that is observed to varying degrees in Hindu temples in Angkor Wat, Parambaran and South India.

 

The largest surviving Saiva temple is Khandarya Mahadeva, while the largest surviving Vaishnava group includes Chaturbhuja and Ramachandra.

 

Kandariya Mahadeva Temple plan is 109 ft in length by 60 ft, and rises 116 ft above ground and 88 ft above its own floor. The central padas are surrounded by three rows of sculptured figures, with over 870 statues, most being half life size (2.5 to 3 feet). The spire is a self repeating fractal structure.

 

Temples, religious affiliations and consecration years

 

Sequence Modern Temple name Religion Deity Completed by

(CE)[27][54] Image

1 Chausath Yogini Hinduism Devi, 64 Yoginis 885 Khajuraho,Chausath-Yogini-Tempel2.jpg

2 Brahma Hinduism Vishnu 925

3 Lalgun Mahadev Hinduism Shiva 900 India-5696 - Flickr - archer10 (Dennis).jpg

4 Matangeshwar Hinduism Shiva 1000 India-5772 - Flickr - archer10 (Dennis).jpg

5 Varaha Hinduism Vishnu 950 India-5595 - Flickr - archer10 (Dennis).jpg

6 Lakshmana Hinduism Vaikuntha Vishnu 939 India-5679 - Flickr - archer10 (Dennis).jpg

7 Parshvanatha Jainism Parshvanatha 954 Le temple de Parshvanath (Khajuraho) (8638423582).jpg

8 Vishvanatha Hinduism Shiva 999 India-5749 - Visvanatha Temple - Flickr - archer10 (Dennis).jpg

9 Devi Jagadambi Hinduism Devi, Parvati 1023 Khajuraho Devi Jagadambi Temple 2010.jpg

10 Chitragupta Hinduism Sun, Chitragupta 1023 India-5707 - Flickr - archer10 (Dennis).jpg

11 Kandariya Mahadeva (Largest temple) Hinduism Shiva 1029 Temple at Khajuraho, Madhya Pradesh, India.jpg

12 Vamana Hinduism Vamana 1062 Khajuraho Vaman Temple 2010.jpg

13 Adinath Jain Temple Jainism Adinatha 1027 Adinath Jain Temple Khajuraho 12.jpg

14 Javeri Hinduism Vishnu 1090 Javari Temple, Khajuraho.jpg

15 Chaturbhuja Hinduism Vishnu 1110 Khajuraho Chaturbhuja Temple.jpg

16 Duladeo (Duladeva) Hinduism Shiva 1125 Khajuraho Dulhadeo 2010.jpg

17 Ghantai Jainism Adinatha 960 A ruin, pillars at Khajuraho, India.jpg

18 Vishnu-Garuda Hinduism Vishnu 1000

19 Ganesha Hinduism Shiva 1000

20 Hanuman Hinduism Hanuman 922[55] Hanuman Inscription at Khajuraho.jpg

21 Mahishasuramardini Hinduism Mahishasuramardini 995 Khajuraho India, Lakshman Temple, Sculpture 10.JPG

22 Shantinatha temple Jainism Shantinatha 1027 Jain group of temples - Khajuraho 09.jpg

Arts and sculpture

Khajuraho temples are famous for their erotic arts. These constitute about 10% of total art displayed at the monuments.

Erotic sculptures

 

The Khajuraho temples feature a variety of art work, of which 10% is sexual or erotic art outside and inside the temples. Some of the temples that have two layers of walls have small erotic carvings on the outside of the inner wall. Some scholars suggest these to be tantric sexual practices.[56] Other scholars state that the erotic arts are part of Hindu tradition of treating kama as an essential and proper part of human life, and its symbolic or explicit display is common in Hindu temples.[6][57] James McConnachie, in his history of the Kamasutra, describes the sexual-themed Khajuraho sculptures as "the apogee of erotic art":

 

"Twisting, broad-hipped and high breasted nymphs display their generously contoured and bejewelled bodies on exquisitely worked exterior wall panels. These fleshy apsaras run riot across the surface of the stone, putting on make-up, washing their hair, playing games, dancing, and endlessly knotting and unknotting their girdles....Beside the heavenly nymphs are serried ranks of griffins, guardian deities and, most notoriously, extravagantly interlocked maithunas, or lovemaking couples."

 

Over 90% of the art work at the temple is about daily life and symbolic values in ancient Indian culture.

 

The temples have several thousand statues and art works, with Kandarya Mahadeva Temple alone decorated with over 870. Some 10% of these iconographic carvings contain sexual themes and various sexual poses. A common misconception is that, since the old structures with carvings in Khajuraho are temples, the carvings depict sex between deities;[58] however the kama arts represent diverse sexual expressions of different human beings.[59] The vast majority of arts depict various aspects the everyday life, mythical stories as well as symbolic display of various secular and spiritual values important in Hindu tradition.[3][6] For example, depictions show women putting on makeup, musicians making music, potters, farmers, and other folks in their daily life during the medieval era.[60] These scenes are in the outer padas as is typical in Hindu temples.

 

There is iconographic symbolism embedded in the arts displayed in Khajuraho temples.[6] Core Hindu values are expressed in multitude of ways. Even the Kama scenes, when seen in combination of sculptures that precede and follow, depict the spiritual themes such as moksha. In the words of Stella Kramrisch,

 

This state which is “like a man and woman in close embrace” is a symbol of moksa, final release or reunion of two principles, the essence (Purusha) and the nature (Prakriti).

— Stella Kramrisch, 1976[29]

 

The Khajuraho temples represent one expression of many forms of arts that flourished in Rajput kingdoms of India from 8th through 10th century CE. For example, contemporary with Khajuraho were the publications of poems and drama such as Prabodhacandrodaya, Karpuramanjari, Viddhasalabhanjika and Kavyamimansa.[61] Some of the themes expressed in these literary works are carved as sculpture in Khajuraho temples.[26][62] Some sculptures at the Khajuraho monuments dedicated to Vishnu include the Vyalas, which are hybrid imaginary animals with lions body, and are found in other Indian temples.[63] Some of these hybrid mythical art work include Vrik Vyala (hybrid of wolf and lion) and Gaja Vyala (hybrid of elephant and lion). These Vyalas may represent syncretic, creative combination of powers innate in the two.[64]

Tourism and cultural events

Temples layout map – Khajuraho Group of Monuments.

 

The temples in Khajuraho are broadly divided into three parts : the Eastern group, the Southern Group and the Western group of temples of which the Western group alone has the facility of an Audio guided tour wherein the tourists are guided through the seven eight temples. There is also an audio guided tour developed by the Archaeological Survey of India which includes a narration of the temple history and architecture.[65]

 

The Khajuraho Dance Festival is held every year in February.[66] It features various classical Indian dances set against the backdrop of the Chitragupta or Vishwanath Temples.

 

The Khajuraho temple complex offers a light and sound show every evening. The first show is in English language and the second one in Hindi. It is held in the open lawns in the temple complex, and has received mixed reviews.

 

The Madhya Pradesh Tourism Development has set up kiosks at the Khajuraho railway station, with tourist officers to provide information for Khajuraho visitors.

See also

 

List of megalithic sites

Jain temples of Khajuraho

Ajanta Caves

Badami Chalukya architecture

Western Chalukya architecture

Hindu temple

Madan Kamdev

Hemvati

Kama Sutra

Kamashastra

 

References

 

whc.unesco.org/en/list/240.

"World Heritage Day: Five must-visit sites in India".

Khajuraho Group of Monuments UNESCO World Heritage Site

Philip Wilkinson (2008), India: People, Place, Culture and History, ISBN 978-1405329040, pp 352-353

Gopal, Madan (1990). K.S. Gautam, ed. India through the ages. Publication Division, Ministry of Information and Broadcasting, Government of India. p. 179.

Devangana Desai (2005), Khajuraho, Oxford University Press, Sixth Print, ISBN 978-0-19-565643-5

James Fergusson, Norther or Indo-Aryan Style - Khajuraho History of Indian and Eastern Architecture, Updated by James Burgess and R. Phene Spiers (1910), Volume II, John Murray, London

"Census of India 2001: Data from the 2001 Census, including cities, villages and towns (Provisional)". Census Commission of India. Archived from the original on 2004-06-16. Retrieved 2008-11-01.

Khajuraho airport AAI, Govt of India

G.S. Ghurye, Rajput Architecture, ISBN 978-8171544462, Reprint Year: 2005, pp 19-24

Sen, Sailendra (2013). A Textbook of Medieval Indian History. Primus Books. ISBN 9789380607344.

Devangana Desai 2005, p. 10.

also called Erakana

Mitra (1977), The early rulers of Khajuraho, ISBN 978-8120819979

J. Banerjea (1960), Khajuraho, Journal of the Asiatic Society, Vol. 2-3, pp 43-47

phonetically translated from Arabic sometimes as "Kajwara"

Director General of Archaeology in India (1959), Archaeological Survey of India, Ancient India, Issues 15-19, pp 45-46 (Archived: University of Michigan)

Arthur Cotterell (2011), Asia: A Concise History, Wiley, ISBN 978-0470825044, pp 184-185

Michael D. Willis, An Introduction to the Historical Geography of Gopakṣetra, Daśārṇa, and Jejākadeśa, Bulletin of the School of Oriental and African Studies, University of London, Vol. 51, No. 2 (1988), pp. 271-278; See also K.R. Qanungo (1965), Sher Shah and his times, Orient Longmans, OCLC 175212, pp 423-427

Trudy King et al., Asia and Oceania: International Dictionary of Historic Places, ISBN 978-1884964046, Routledge, pp 468-470

Alain Daniélou (2011), A Brief History of India, ISBN 978-1594770296, pp 221-227

Louise Nicholson (2007), India, National Geographic Society, ISBN 978-1426201448, see Chapter on Khajuraho

Krishna Deva (1990), Temples of Khajuraho, 2 Volumes, Archaelogical Survey of India, New Delhi

kharjUra Sanskrit English Dictionary, Koeln University, Germany

vAhaka Sanskrit English Dictionary, Koeln University, Germany

Devangana Desai (1996), Chapter 7 - Puns and Enigmatic Language in Sculpture in The Religious Imagery of Khajuraho, Project for Indian Cultural Studies, Columbia University Archives

Rana Singh (2007), Landscape of sacred territory of Khajuraho, in City Society and Planning (Editors: Thakur, Pomeroy, et al), Volume 2, ISBN 978-8180694585, Chapter 18

Shobita Punja (1992), Divine Ecstasy - The Story of Khajuraho, Viking, New Delhi, ISBN 978-0670840274

Stella Kramrisch, The Hindu Temple, Vol 1, Motilal Banarsidass, ISBN 978-81-208-0222-3

Ibn Battuta in his 1335 CE memoirs on Delhi Sultanate mentioned the temples to be near a mile long lake, modern water bodies are much smaller and separate lagoons; Director General of Archaeology in India (1959), Archaeological Survey of India, Ancient India, Issues 15-19, pp 45-46 (Archived: University of Michigan)

The number 64 is considered sacred in Hindu temple design and very common design basis; it is symbolic as it is both a square of 8 and a cube of 4.

Brahma temple is 19 feet square; Kandariya Mahadev has a four fused square grid; Matangeshvara temple is a 64 grid square; etc. See G.S. Ghurye, Rajput Architecture, ISBN 978-8171544462, Reprint Year: 2005, pp 19-25; and V.A. Smith (1879), "Observations on some Chandel Antiquities", Asiatic Society of Bengal, Vol. 48, Part 1, pp 291-297

D Desai (1996), The religious imagery of Khajuraho, Project for Indian Cultural Studies, ISBN 978-8190018418

Desai states that Khajuraho and Orissa Hindu temples are distinctive in giving erotic kama images the same weight as others and by assigning important architectural position; in contrast, surviving sculpture from temples of Gujarat, Maharashtra and Mysore show that there kama and sexual images were assigned to insignificant parts of the temple; Meister suggests that this aspect of eroticism in temple design and equal weight reflects evolution of design ideas among Hindu artisans, with temples built in later medieval centuries placing equal weight and balance to kama; see Meister, Michael (1979). "Juncture and Conjunction: Punning and Temple Architecture". Artibus Asiae. 41 (2–3): 226–234. JSTOR 3249517. doi:10.2307/3249517.

Edmund Leach, The Harvey Lecture Series. The Gatekeepers of Heaven: Anthropological Aspects of Grandiose Architecture, Journal of Anthropological Research, Vol. 39, No. 3 (Autumn, 1983), pp 243-264

Bettina Bäumer, A review, Artibus Asiae, Vol. 59, No. 1/2 (1999), pp. 138-140

Cunningham, Alexander (1880). Report of Tours in Bundelkhand and Malwa in 1874-75 and 1876-77. 8 Hastings Street, Calcutta: Office of the Superintendent of Government Printing. p. 22. Retrieved 8 May 2017.

James Fergusson, Jaina Architecture - Khajuraho History of Indian and Eastern Architecture, Updated by James Burgess and R. Phene Spiers (1910), Volume II, John Murray, London

Meister, Michael W. (April–June 1979). "Maṇḍala and Practice in Nāgara Architecture in North India". Journal of the American Oriental Society. 99 (2): 204–219. JSTOR 602657. doi:10.2307/602657.

Meister, Michael (1983). "Geometry and Measure in Indian Temple Plans: Rectangular Temples". Artibus Asiae. 44 (4): 266–296. JSTOR 3249613. doi:10.2307/3249613.

Susan Lewandowski, The Hindu Temple in South India, in Buildings and Society: Essays on the Social Development of the Built Environment, Anthony D. King (Editor), ISBN 978-0710202345, Routledge, pp 68-69

Stella Kramrisch (1976), The Hindu Temple Volume 1, ISBN 81-208-0223-3

Meister, Michael W. (March 2006). "Mountain Temples and Temple-Mountains: Masrur". Journal of the Society of Architectural Historians. 65 (1): 26–49. JSTOR 25068237. doi:10.2307/25068237.

Meister, Michael W. (Autumn 1986). "On the Development of a Morphology for a Symbolic Architecture: India". RES: Anthropology and Aesthetics. Peabody Museum of Archaeology and Ethnology (12): 33–50. JSTOR 20166752.

Devangana Desai, Khajuraho, Oxford University Press Paperback (Sixth impression 2005) ISBN 978-0-19-565643-5

Rian et al (2007), Fractal geometry as the synthesis of Hindu cosmology in Kandariya Mahadev Temple, Khajuraho, Building and Environment, Vol 42, Issue 12, pp 4093-4107, doi:10.1016/j.buildenv.2007.01.028

Trivedi, K. (1989). Hindu temples: models of a fractal universe. The Visual Computer, 5(4), 243-258

Susan Lewandowski, The Hindu Temple in South India, in Buildings and Society: Essays on the Social Development of the Built Environment, Anthony D. King (Editor), ISBN 978-0710202345, Routledge, Chapter 4

V.A. Smith, "Observations on some Chandel Antiquities", Journal of the Asiatic Society of Bengal, Volume 48, pp 290-291

"Lost Worlds of the Kama Sutra" History channel

"Lost Worlds of the Kama Sutra," History Channel

Lehner, Mark (1997) The Complete Pyramids, London: Thames and Hudson. ISBN 0-500-05084-8. pp. 202–225

Will Durant (1976), Our Oriental Heritage - The Story of Civilization, ISBN 978-0671548001, Simon & Schuster

From inscription or estimated from other evidence

Cunningham in Archaeological Survey Reports noted that one of two Hanuman statues bears an inscription of 868 CE

Rabe (2000), Secret Yantras and Erotic Display for Hindu Temples, Tantra in Practice (Editor: David White), ISBN 978-8120817784, Chapter 25, pp 434-446

See:

 

Heather Elgood (2000), Hinduism and the Religious Arts, ISBN 978-0304707393, Bloomsbury;

Stella Kramrisch, The Hindu Temple, Volume 1, ISBN 81-208-0223-3, pp 92-96;

Alain Danielou (2001), The Hindu Temple: Deification of Eroticism, ISBN 978-0892818549, pp 101-119

 

"Khajuraho". Liveindia.com. Retrieved on 2014-07-14.

Alain Danielou (2001), The Hindu Temple: Deification of Eroticism, ISBN 978-0892818549

George Michell, The Hindu Temple: An Introduction to Its Meaning and Forms, University of Chicago Press, ISBN 978-0226532301, pp 117-123 and pp 56-58

L. H. Gray, Journal of American Society, Vol. 27

H.M. Woodward (1989), The Lakṣmaṇa Temple, Khajuraho, and Its Meanings, Ars Orientalis, Vol. 19, pp. 27-48

Smith, David (1 January 2013). "Monstrous Animals on Hindu Temples, with Special Reference to Khajuraho": 27–43. doi:10.1558/rosa.v7i1-3.27. Retrieved 9 February 2015.

The Lakṣmaṇa Temple, Khajuraho, and Its Meanings, Hiram W. Woodward, Jr., Ars Orientalis, Vol. 19, (1989), pp. 27-48

Tourists to Khajuraho will now have an audio compass The Times of India (25 August 2011)

Khajuraho Festival of Dances

Imposing edifice

Material segregation

Impending advent

 

Specific stone cone roofs in the city of Alberobello

Credits to Maelven for the plane design!

Every year around this time, the so-called "meninas" are placed in specific places in Madrid.

 

These, let's say, colorful sculptures are dedicated to various themes that change every year.

 

This year, in addition, a menina has been placed in the Plaza de Colón that is decorated with the official flag of the Valencian region, and that the people of Madrid are dedicating to all the victims of the flood that unfortunately occurred on October 29, 2024, and not only in the Valencian region but in other regions as well.

 

At the moment, a total of 230 dead and 4 missing have been recorded, as well as tens of thousands of people affected with thousands of ruined houses.

 

The photo also shows the so-called "Columbus Towers", which have changed their name and exterior design several times since they were built between 1967 and 1976.

 

Also visible in the photo is the monument dedicated to Christopher Columbus, which was erected between 1881 and 1885, and which gives its name to this square.

 

And just behind the head of the "Valencian" menina, you can see an angel that is part of the night lighting in Madrid at Christmas time.

 

Originally, the "meninas" (or meninos) were "young women (or men) from noble families who entered the court to serve the queen or her children."

 

In fact, "las meninas" is an expression that became famous as a result of the nickname given to a painting by the famous painter Diego de Veázquez, which is actually called: "The Family of Philip IV" in reference to the family of that king of the dynasty of the House of Austria (Habsburg Spain dinasty), which was completed in 1656 and is considered a masterpiece for various reasons. (Source: Wikipedia)

 

DEDICADO A LAS VICTIMAS DE LA RIADA, 2024

 

Todos los años por estas fechas, se colocan en lugares determinados de Madrid las llamadas "meninas".

 

Estas, digamos, coloridas esculturas, están dedicadas a temas variados que van cambiando cada año.

 

Este año, además, en la plaza de Colón se ha colocado una menina que está adornada con la bandera oficial de la región valenciana, y que los madrileños está dedicamos a todas las víctimas de la riada que desgraciadamente ocurrió el pasado 29 de octubre de 2024, y no sólo en la región valenciana sino en otras regiones también.

 

De momento se contabilizan un total de 230 fallecidos y 4 desaparecidos, amén de decenas de miles de personas afectadas con miles de casas arruinadas.

 

En la foto, además, se ven las llamadas "Torres de Colón", que han cambiado de nombre y de diseño exterior varias veces desde que se construyeron entre 1967 y 1976.

 

También se ve en la foto el monumento dedicado a Cristóbal Colón, que fue erigido entre 1881 y 1885, y que da nombre a esta plaza.

 

Y asímismo, justo detrás de la cabeza de la menina "valenciana" se ve un ángel que es parte de la iluminación nocturna de Madrid en fechas navideñas.

 

En origen, las "meninas" (o meninos) eran "jóvenes de familia noble que entraban en la corte para servir a la reina o a sus hijos".

 

En realidad "las meninas" es una expresión que se hizo famosa a raíz del sobrenombre que se dio a un cuadro del famoso pintor Diego de Veázquez, que en realidad se llama: "La familia de Felipe IV" en referencia a la familia de ese rey de la dinastía de la Casa de Austria, que fue terminada en 1656 y es considerada una obra maestra por diversos motivos. (Fuente: Wikipedia)

This artwork represents a depiction “based on” an accumulation of known facts but is not factual in its entirety. However, references to; a specific U-boat, the U-boat commander, times and dates and events (unless where noted by [ see below ] ) are based on actual facts and events provided by reliable sources. Assuming these sources are true and accurate, most of the information provided here can be concluded as historically factual.

 

This artwork represents a depiction of the World War II German U-boat, U-995 Type VIIC/41 departing the sub pens at [ 1 ] Saint Nazaire on what will be its final patrol. The date is 13 March 1945. In command is Oberleutnant zur See der Reserve, Hans Georg Hess. Although just shy of his 22 birthday, Hess has considerable experience serving in the Kreigsmarine. He joined the Kriegsmarine in April of 1940 at the young age of 16. He spent two years serving on various mine- sweepers before transferring to the U-boat force. Hess made five patrols on U-466, mostly in the North Atlantic. In September 1944 Hess took over command of U-995 and made five patrols in the Arctic Ocean. This artwork is based loosely on the fifth and final patrol of U-995.

 

At 09.10 hours on 20 March 1945, about 25 miles east of North Kilden Light U-995 fired torpedoes at convoy JW-65 and reported one ship sunk and two others damaged. In fact, only the Horace Bushnell was seriously damaged. The ship was hit by one torpedo on the port side in the engine room. The blast created a hole 33 feet by 26 feet, cracked the main deck, completely destroyed the engines and killed the second engineer and three men on watch below. The explosion also blew the engine room skylight over the side, cut off the power, destroyed one lifeboat and filled another with oil. The vessel settled with a slight list by the stern until water reached 34 feet and then steadied. The survivors among the eight officers, 34 crewmen and 27 armed guards on board prepared themselves to abandon ship. * (The Merchant Steamer, Horace Bushnell was armed with one 5in, one 3in and eight 20mm guns)

 

Although considered a total loss and a credit of 7,176 GRT tons for the U-995 and Commander Hans Georg Hess, the merchant ship did not sink completely. In 1947 most its cargo was salvaged. Six crew members were killed in the incident.

 

At war’s end in Europe the U-995 was back in port at Trondheim, Norway and on 9 May 1945 Commander Hans Georg Hess surrendered his boat and crew to the British who, in turn turned the boat over to the Norwegians. Hess was imprisoned by the Norwegians, eventually spending a year in captivity.

 

The U-995 was then transferred to Norwegian ownership in October 1948. In December 1952 U-995 became the Norwegian submarine Kaura (Norwegian K class) and in 1965 she was stricken from service by the Royal Norwegian Navy. She was then offered to the West German government for the ceremonial price of one Deutsche Mark. The offer was refused; however, the boat was saved by the German Navy League, DMB. U-995 became a museum ship at Laboe Naval Memorial in October 1971.

 

After his release Hans Georg Hess returned to Germany, eventually becoming a lawyer in Hannover. He died on 20 March 2008 in Wunstorf-Idensen at the age of 84, and is buried at the village cemetery.

 

[ 1 ] Actually Narvik, Norway

  

Credits

1 - Picture of U-Boat used as model for artwork - commons.wikimedia.org/wiki/File:U_995_Laboe.JPG

 

2 - Picture of Saint Nazaire sub pens - worldwar2revisited.com/

 

3 - Pictures of images from “Das Boot” hulu TV Series - www.hulu.com/series/das-boot-ceda3546-5a3b-4e8d-b6a4-50d0...

  

Bibliography

•  Walk through German submarine U-995

 

• German submarine U-995 (Wikipedia)

 

•  www.uboat.net/

 

•  World War 2 Revisited

 

•  MuseumShipes

 

•  German U-Boat / The Laconia Incident

 

•  Wikipedia/Laconia incident

 

•  Military.com

 

•  NOVA Online-Hitler’s Lost Sub

 

•  NOAA Ocean Exploration / U-576: Life and Death On a World  War II German U-boat

  

Suggested reading:

The Laconia incident

en.wikipedia.org/wiki/Laconia_incident

 

The Last World War II U-Boat Commander Has Died at 105

www.military.com/daily-news/2018/06/24/last-world-war-ii-...

  

I put the and in the title for a specific reason. There comes a point in time that a person must downsize and there is no time like the present. I am spending far too much time parked in the chair in front of my computer and I regret to say that I am not going to be commenting on as many photos as I have been doing in the past. I hope that some will not be too upset with me, but I will no longer be stopping by for a peek at some photostreams that I followed over the past few years. I still plan to comment on some photos, but some contacts will be dropped and the number of comments will be limited. Sorry for any issues, but there is a certain part of me that pays the price for sitting here in front of my computer for FAR TOO LONG.

 

_______________________________________________

I guess that my narrative was a bit confusing and I failed to make my point. I’m not leaving completely, but just reducing my footprint here on Flickr. I just spend far too much time here and it’s become a sort of pain in the…well…you know what. I’ll not be commenting on all photos in the future and some contacts will be dropped. Sorry, but I just have an inexhaustible amount of time on my hands.

_______________________________________________

 

I took some liberties with today’s photo because there was not much color left in the sky over Armand Bayou after my late arrival. This is sunrise on the bayou just as the sun is breaking over the horizon. A bit underexposed to intensify the colors a bit. Long day today as well and will try to catch up with everyone as well. Wishing everyone a wonderful weekend. Hope it is a truly rewarding one.

  

DSC00371uls

Four Seasons—Autumn at the Sculpture Garden.

At Duke Farms, the sculptures in the gardens are mostly 19th-century Italian works brought by Doris Duke’s family. In many 19th-century European and American gardens, these figures were placed as decorative statues, not always tied to a specific mythological name but rather to symbolic personifications. They often represent allegorical figures (Seasons, Muses, Nymphs)

 

  

A specific, creative struggle is going on at the moment.

 

It's true. I admit. It is a panging question.

 

What's next?

 

How does artistic progression occur without redundancy?

 

Does this happen to you?

 

Creating images is so very important to me. It feeds both my wants and needs of expression and communication. I believe that when you are shy or introverted, in particular, photography offers a voice; a presence with proof that all, sometimes socially awkward, inconveniently timid, and the often meek can be not only heard but expressive. Photography gifts this not only to myself but to many others.

 

Without the use of words, an image can resonate with another human like nothing spoken. Images gift the viewer an opportunity to interpret a soulful message specific to their needs. A communicative conduit through which the viewer receives precisely the emotion that at he/she needs or wants. Be it sadness, peacefulness, happiness, positivity, negativity, love, etc ... Isn't that amazing?

 

Think about it.

 

I do.

 

It's huge.

 

As 2019 begins, I wish to transform my photography fetish and move forward into sharing a more stimulating and creative forum. I am not a goal-oriented human, but perhaps it is time to structure a few things. I am struggling to make headway in the creative direction that my heart wishes to travel. It is frustrating.

 

I want to try something new; such as, write a novel and or a book of poetry, teach a class, offer online workshops, hold a photography retreat, open a studio, and more.

 

I even start a 365 on January 1st, eyes rolling, knowing I have much more important, challenging photography things to accomplish. I have done a 365 previously, four years ago. Why revisit it? Do I find ways to procrastinate creating obstacles to reaching my true wants? Hmmm.

 

What is the "thing" you are struggling to uncover or explore? As we move into another year of our lives, in which we so very much want to be productive not only for ourselves but for others, what is yours?

 

For me, the first step is going to be clearing away the fog, the obstacles that are requiring my time which is inhibiting my ability to do the things of creative choice. Prioritize I suppose, would be most specific. Seems like a great place in which to begin.

 

xo

 

_________

Panging by Angie Lambert

 

There is a want

and a need

to be inspirational.

Stealthy,

a blur reveals.

Teasing with clarity

and snippets of precision,

it feeds.

 

What is next?

I do hear you.

Mind and body hungry,

needing less of the blur

rather than more,

the pang continues.

Bows and flows of angel hair, and feathered canyons everywhere. (Neil Diamond) The Cone Nebula is located 2,700 light years away in the constellation Monoceros. The cone's shape comes from a dark absorption nebula consisting of cold molecular hydrogen and dust in front of a faint emission nebula containing hydrogen ionized by S Monocerotis, the brightest star of NGC 2264. The faint nebula is approximately seven light-years long.

The horizontal Christmas Tree cluster lies left of the cone; the bright star immediately left of the cone is the tree topper and the very bright star near the center of the image is the center of the tree trunk. The Fox Fur Nebula is at the top center.

The Christmas Tree star formation consists of young stars obscured by heavy layers of dust clouds. These dust clouds, along with hydrogen and helium are producing luminous new stars. The combination of dense clouds and an array of colors creates a color map filled with varying wavelengths. The red regions are ionized hydrogen, while the bluish clouds are ionized oxygen.

Scope: Skywatcher MN190; Camera QSI 683; Mount MYT

This is a false color HOO image (though approximately correct) composed of Ha 9 hours, Oiii 9 hours

Reprocessed December 2023

In V4 I tried to improve the stars, the overall color balance, and to bring up the brightness in the dimmer areas.

Reprocessed Feb 2025

In V5 I shrank the star size and did some better detail enhancements with the high pass filter. I also tried to confine the Oiii to specific regions so it doesn't look like fog over the whole image.

SN/NC: Ochna Serrulata Syn Ochna Atropurpurea, Ochnaceae Family

 

It is commonly known as the small-leaved plane, carnival ochna, bird's eye bush, Mickey mouse plant or Mickey Mouse bush due to the plant's ripe blackfruit, which upside down resembles the ears of Mickey Mouse, and bright-red sepals, which resembles his trousers) is an ornamental garden plant in the family Ochnaceae which is indigenous to South Africa. It is planted in southern African gardens and is an invasive species in Australia and New Zealand. Ochna serrulata was first described by the German naturalist Christian Ferdinand Friedrich Hochstetter, and given its current binomial name by Wilhelm Gerhard Walpers. Its specific epithet is derived from the Latin serrula "little saw", and refers to its fine-toothed leaf margins.

 

Ochna serrulata (comumente conhecido como avião de folhas pequenas, carnaval ochna, arbusto olho de pássaro, planta do Mickey Mouse ou arbusto do Mickey Mouse devido à fruta preta madura da planta, que de cabeça para baixo lembra as orelhas do Mickey Mouse, e sépalas vermelhas brilhantes, que lembra suas calças) é uma planta ornamental de jardim da família Ochnaceae, indígena da África do Sul. É plantada em jardins da África Austral e é uma espécie invasora na Austrália e na Nova Zelândia. Ochna serrulata foi descrita pela primeira vez pelo naturalista alemão Christian Ferdinand Friedrich Hochstetter, e recebeu seu nome binomial atual por Wilhelm Gerhard Walpers. Seu epíteto específico é derivado do latim serrula "pequena serra" e refere-se às margens dentadas das folhas.

 

Ochna serrulata (comúnmente conocida como avión de hoja pequeña, ochna de carnaval, arbusto ojo de pájaro, planta de Mickey Mouse o arbusto de Mickey Mouse debido a los frutos negros maduros de la planta, que al revés se asemejan a las orejas de Mickey Mouse, y a sus sépalos de color rojo brillante, que se parece a sus pantalones) es una planta de jardín ornamental de la familia Ochnaceae que es autóctona de Sudáfrica. Se planta en jardines del sur de África y es una especie invasora en Australia y Nueva Zelanda. Ochna serrulata fue descrita por primera vez por el naturalista alemán Christian Ferdinand Friedrich Hochstetter, y Wilhelm Gerhard Walpers le dio su nombre binomial actual. Su epíteto específico se deriva del latín serrula "pequeña sierra" y se refiere a los márgenes de sus hojas de dientes finos.

 

Ochna serrulata (communément appelé avion à petites feuilles, ochna du carnaval, buisson à œil d'oiseau, plante de Mickey Mouse ou buisson de Mickey Mouse en raison du fruit noir mûr de la plante, qui à l'envers ressemble aux oreilles de Mickey Mouse, et des sépales rouge vif, qui ressemble à son pantalon) est une plante ornementale de jardin de la famille des Ochnacées, originaire d'Afrique du Sud. Il est planté dans les jardins d'Afrique australe et constitue une espèce envahissante en Australie et en Nouvelle-Zélande. Ochna serrulata a été décrite pour la première fois par le naturaliste allemand Christian Ferdinand Friedrich Hochstetter, et son nom binomial actuel a été donné par Wilhelm Gerhard Walpers. Son épithète spécifique est dérivée du latin serrula « petite scie » et fait référence à ses bords de feuilles finement dentés.

 

Ochna serrulata (allgemein bekannt als Kleinblättrige Platane, Karnevals-Ochna, Vogelaugenstrauch, Micky-Maus-Pflanze oder Micky-Maus-Strauch wegen der reifen schwarzen Früchte der Pflanze, die auf den Kopf gestellt den Ohren von Mickey Mouse ähneln, und leuchtend roten Kelchblättern, die... ähnelt seiner Hose) ist eine Ziergartenpflanze aus der Familie der Ochnaceae, die in Südafrika beheimatet ist. Sie wird in südafrikanischen Gärten gepflanzt und ist in Australien und Neuseeland eine invasive Art. Ochna serrulata wurde erstmals vom deutschen Naturforscher Christian Ferdinand Friedrich Hochstetter beschrieben und erhielt ihren heutigen Binomialnamen von Wilhelm Gerhard Walpers. Sein spezifischer Beiname leitet sich vom lateinischen serrula „kleine Säge" ab und bezieht sich auf die fein gezähnten Blattränder.

 

Ochna serrulata (comunemente conosciuta come platano dalle foglie piccole, ochna di carnevale, cespuglio a volo d'uccello, pianta di Topolino o cespuglio di Topolino a causa del frutto nero maturo della pianta, che capovolto ricorda le orecchie di Topolino, e dei sepali rosso vivo, che assomiglia ai suoi pantaloni) è una pianta ornamentale da giardino della famiglia delle Ochnaceae, originaria del Sud Africa. È piantato nei giardini dell'Africa meridionale ed è una specie invasiva in Australia e Nuova Zelanda. Ochna serrulata fu descritta per la prima volta dal naturalista tedesco Christian Ferdinand Friedrich Hochstetter e le venne dato l'attuale nome binomiale da Wilhelm Gerhard Walpers. Il suo epiteto specifico deriva dal latino serrula "piccola sega", e si riferisce ai margini della foglia finemente dentati.

 

Ochna serrulata (algemeen bekend als de kleinbladige plataan, carnaval ochna, vogeloogstruik, Mickey Mouse-plant of Mickey Mouse-struik vanwege het rijpe zwarte fruit van de plant, dat ondersteboven lijkt op de oren van Mickey Mouse, en de felrode kelkblaadjes, die lijkt op zijn broek) is een siertuinplant uit de familie Ochnaceae die inheems is in Zuid-Afrika. Het wordt geplant in Zuid-Afrikaanse tuinen en is een invasieve soort in Australië en Nieuw-Zeeland. Ochna serrulata werd voor het eerst beschreven door de Duitse natuuronderzoeker Christian Ferdinand Friedrich Hochstetter, en kreeg zijn huidigebinomiale naam door Wilhelm Gerhard Walpers. De soortnaam is afgeleid van het Latijnse serrula "kleine zaag", en verwijst naar de fijn getande bladranden.

 

オクナ・セルラータ（逆さまにするとミッキーマウスの耳に似た熟した黒い果実と、真っ赤ながく片から、小葉の飛行機、カーニバルオクナ、バーズアイブッシュ、ミッキーマウスプラントまたはミッキーマウスブッシュとして一般に知られています）彼のズボンに似ています）は、南アフリカ原産のオクナセ科の観賞用園芸植物です。アフリカ南部の庭園に植えられており、オーストラリアとニュージーランドでは外来種です。オクナ・セルラータはドイツの博物学者クリスチャン・フェルディナント・フリードリヒ・ホッホシュテッターによって最初に記載され、ヴィルヘルム・ゲルハルト・ヴァルパースによって現在の二項名が与えられました。種小名はラテン語のセルラ「小さなのこぎり」に由来しており、細かい歯のある葉の縁を指します。

 

Ochna serrulata (المعروفة باسم الطائرة صغيرة الأوراق، أوكنا الكرنفال، أو شجيرة عين الطير، أو نبات ميكي ماوس أو شجيرة ميكي ماوس بسبب الفاكهة السوداء الناضجة للنبات، والتي تشبه آذان ميكي ماوس رأسًا على عقب، والكؤوس الحمراء الزاهية، والتي يشبه بنطاله) هو نبات زينة من فصيلة Ochnaceae وموطنه الأصلي جنوب أفريقيا. يتم زراعته في حدائق الجنوب الأفريقي وهو من الأنواع الغازية في أستراليا ونيوزيلندا. تم وصف Ochna serrulata لأول مرة من قبل عالم الطبيعة الألماني كريستيان فرديناند فريدريش هوتشستيتر، وأعطي اسمها الحالي ذو الحدين بواسطة فيلهلم جيرهارد فالبرز. لقبها المحدد مشتق من اللاتينية serrula ("المنشار الصغير")، ويشير إلى هوامش أوراقها ذات الأسنان الدقيقة.

Yep it’s another bee. I don’t have a specific interest in bees, well I have a specific interest in all insects and nature, but bees seem to be the first things to show up in spring. That probably makes bees harder than most other insects. It’s weird how you only really notice things when you start looking for them. Before I was interested in macro and photography, I never really noticed what insects appeared first.

 

This bee is a miner bee, collected from near it’s nest nearby to where I live. It kind of freaked me out a little bit when I saw the bees crawling into holes in the floor – I didn’t realise there were any bees that could do that kind of thing. As a size comparison, this bee is less than a ¼ the size of the previously posted bumble bee. My El-Nikkor 50mm f2.8 turned up in the post and this is the first stack I have made with it. It’s definitely better than the 50mm prime lens I was using before. Significantly less CA, and what’s more important for me …. Any out of focus bits of dust that glow white under the strobing don’t produce any big smudgy areas.

 

I got a little bit giddy with the stacking resolution, stacked from 90 images when realistically half that amount would have covered everything nice and sharp. It can’t hurt to have too much though, it’s definitely better than not enough.

 

Camera: Zeiss Ikon Super Ikonta III (531/16)

Lens: Carl Zeiss Tessar f/3.5 75 mm

Film: Fomapan Action 400 @ ISO 200

Exposure: 1/250 sec and f/5.6, hand-held

Film developed and scanned by Foto Brell, Bonn

Edited under Adobe Lightroom

 

Here, I used Fomapan 400, which has a quite different look and seems to be an alternative for specific intensions and photographic subjects. This classic film emulsion delivers more distinct grain (e.g., compared to HP5), more sooty dark tones and some blooming of the highlights, which can emphasize the mood of a picture favorably. However, the sensitivity of this film emulsion seems to be lower than box speed, because the shadows tend to lose detail. Meanwhile, I expose Fomapan 400 at ISO 200 rather than exposing the film at box speed.

 

In comparison with Ilford HP5 Plus and Kodak Tri-X, the first scans of Fomapan Action 400 came from the film lab with higher contrast and a more distinct grain. Regarding its contrast, this contradicts with many statements that the film has a comparatively low contrast, with overexposure being even lower. Nevertheless, this film definitely has a unique look, which is appreciated by many photographers. This film and a vintage folding camera seem to be a good combo and I decide to investigate this furthermore.

 

Fomapan Action 400 has much more sensitivity to the red end of the spectrum than it has in the blue and green region, so to speak a built-in orange or red filter. As a result, blue skies, green leaves and the shadow areas in general come darker in tonality. The darkening of the foliage and the shadows seems to pretend the higher contrast. The softening effect by overexposure is said to result from a poor anti-halation layer. The light bouncing around causes halos and glowing highlights, creeping into the darker areas and tending to wash the highlights out.

 

The more distinct grain results from the cubic grain structure of the emulsion. In contrast to the softer grain pattern of the tabular grain of modern films like the Ilford Delta or the Kodak TMax film series, cubic grain is more apparent. Together with its deep black and the glowing highlights, Fomapan Action 400 can produce the beautiful and timeless look of classic film emulsions, different from other b&w films and quite different from digital rendering.

 

The overall contrast and the graininess can both be reduced by overexposure. Rating Fomapan 400 @ ISO 200 seems to be a good idea to open up the shadows for showing more shadow detail.

 

Many thanks to G. Gallone (www.flickr.com/photos/blacknile/) for his valuable hint regarding the sensitivity of Fomapan 400 to red light!

 

For more information see the very interesting film reviews of Blue Moon Camera & Machine: bluemooncameracodex.com/film-fridays/fffomapan400

There's no specific story for this picture other than I'm sick of cold and ready for summer. But here, it isn't riding weather until mid-May.

 

I hope you like it.

 

~~~~~~~~~~~~~~~~

This is an A.I. image generated using my SL avatar.

 

I hope my pictures make you smile ♥

 

If you like what you see, please toss me a fav and follow me. I love seeing your comments. They make my day and keep me motivated!

 

I love my followers. You guys totally ROCK! ♥♥

 

And if you're taking time to read this you are SO awesome!!! Thank you!!!! ♥♥♥

 

Here's a link to my other Flickr photos/ images:

 

www.flickr.com/photos/199076397@N02/

Błędów Desert Ecological Park, Lesser Poland, Poland

  

Great songster in humble dress. Its melancholic song can be heard during cold March nights and evenings. This lark prefers open pine woodland or heath. Błędów Desert provides great habitat for this species.

  

I invite you to check my album page where I prepared sections with photos from specific locations.

Lc-a | Fujicolor Superia 400 | redscale

 

www.leatherheart.net

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liverwurst/pate spread onto a buttered cream cracker and sprinkled with fresh thyme next to butter sealed jars of liverwurst/pate. made yesterday, first attempt, spooned into jars this morning

 

i cobbled together various liverwurst/pate recipes for my recipe en.wikipedia.org/wiki/Liverwurst i couldn't find one specific recipe that suited me. either i didn't have all the equipment eg canning equipment or all the ingredients eg dried milk powder and bread. i found all recipes had certain basic ingredients. other ingredients were personal preference or great if you have them but the liverwurst/pate would still be ok without them

 

this is one of the liverwurst/pate recipes/video that i found helpful mail.google.com/mail/u/0/#inbox/FMfcgzGqQwCCTZGpkzGPdJhqQ...

my liverwurst/pate recipe below, not recommending, but was ok for me

 

ingredients

1/3 chicken liver (i didn't have any pork liver)

1/3 lean pork

1/3 pork fat (removed from a joint i cooked the other day)

herbs/spices (personal choice) cardamon, whole black peppers, cayenne pepper, sage, thyme and rosemary

1 large onion diced

salt

 

equipment

*meat grinder to mince the meat and fat (or buy already minced)

food processor to blend the raw meat, fat, onion, herbs, spices

nutribullet millet blade to mill the spices (or pestle and mortar)

meat thermometer www.amazon.co.uk/KitchenCraft-Stainless-Steel-Meat-Thermo...

**meat pouch of square muslin, folded in half as a triangle, i stitched down one side to look like a pointed pouch. the stitching should be small enough so as no meat will get out from the side when pushed into the pouch (ready made pouches can be bought, but i didn't have one so used the muslin that i did have)

 

*i bought an old fashioned meat grinder 'spong 25' for £7 from an antique and collectables shop. www.ebay.co.uk/itm/334464667774?chn=ps&norover=1&... i happened to see the red handle sticking out from a box, took a look and knew it was exactly what i needed for the next recipe. once home i took it apart, cleaned it up, put it back together and attached it to my work surface ready for mincing

 

method

i put the lean pork and pork fat through the meat grinder*

 

i put the minced lean pork in a food processor with salt

blended until smooth (see video recipe above)

chicken liver added (this had not been minced)

blended until smooth (see video recipe above)

minced pork fat added

lean pork, pork fat and chicken liver all blended until smooth (see video recipe above)

added the diced uncooked onion

(add uncooked onion and the liverwurst/pate will be light in colour add cooked onion and the liverwurst/pate will be dark in colour)

added the herbs and spices

all blended until smooth (see video recipe above)

placed the bowl of blended meat, fat, onion, herbs and spices in the fridge to rest and become more flavoursome

 

removed the blended ingredients from the fridge and spooned into the **muslin pouch, pushing down towards the point of the pouch leaving no air pockets.

when all the blended ingredients were in the pouch i tied it tightly at the top

 

i placed the full pouch in the slow cooker and covered with water

(i used cold water but to save on cooking time i should have begun with hot water)

'low' setting

cooked for 6 hours

 

i used the meat thermometer to make sure the meat was cooked - very important www.amazon.co.uk/KitchenCraft-Stainless-Steel-Meat-Thermo...

i removed the pouch of cooked meat from the slowcooker and

allowed the cooked meat to rest overnight

 

this morning i spooned the liverwurst/pate into jars, pressing down using a teaspoon to make sure there were no air pockets

warm butter poured over the top to seal

when the butter had cooled and set the jars were closed and placed in the fridge

 

ps i'm not recommending any of these cookery adventures. they suit my personal taste. photographing to encourage myself to eat more healthily

 

www.flickr.com/groups/cooking_is_my_hobby/ helps to gather ideas and encourages me to continue with healthy eating by learning from others if you're interested in cooking, sometimes or a lot, or enjoy the cooking of others, you're always welcome ...

 

"100 x: The 2022 Edition","100x:2022","Image 74/100"

www.flickr.com/groups/100x2022/pool/with/51929317732/

       

Owner:Ajman Stud, HH Sheikh Ammar Bin Humaid Al Nuaimi/ UAE

  

Sire:A.S. Sinans Pacha

Dam:Navarrone "P"

  

His Major Show Records:

 

2001Junior Champion ColtAll Nations Cup Show, Aachen/ DE (Title show)

2001TOP TEN - Junior MalesWorld Championships Paris (Title show)

2002European Res.Champion ColtEuropean Championships Moorsele/ BE (Title show )

2002TOP TEN - Junior MalesWorld Championships Paris (Title show)

2003"Top Five" StallionAll Nations Cup Show, Aachen/ DE (Title show)

2004Reserve Champion StallionSharjah International Arabian Horse Show/ UAE (B)

2004Champion StallionDubai International Arabian Horse Show (B)

2005Champion StallionQatar International Arabian Horse Show (A)

2005Reserve Champion StallionDubai International Arabian Horse Show (B)

2005 Champion StallionUKIAHS International Show Towerlands/ GB (A)

2005 Champion StallionAll Nations Cup Show, Aachen/ DE (Title show)

2005World Champion StallionWorld Championships Paris (Title show)

2005Winner ECAHO Cup 'Stallions'(ECAHO award for the most successful stallion of specific year)

2006Senior Champion StallionDubai International Arabian Horse Show (B)

2007Senior Champion StallionMiddle East Championships, Jordan (Title show)

2007World Champion Stallion res.World Championships Paris (Title show)

2009Champion StallionThe 1st Abu Dhabi International Show/ UAE (B)

2009Reserve Champion StallionDubai International Arabian Horse Show/ UAE (A)

20102.pl. Stallions 7 years & olderAbu Dhabi International Arabian Horse Show/ UAE (B)

2010 1.pl. Stallion 9-11 yearsLas Vegas Arabian Breeders World Cup/ USA

2010Supreme Champion StallionLas Vegas Arabian Breeders World Cup/ USA

Highball through Starnes-1974

I'm not sure what specific day this was, but the slide was processed in June 1974. I failed to note the actual date. I do remember being aware Clinchfield No. 1 was leading a southbound excursion that started at Elkhorn City, Ky on that day. I might have called someone with the railroad to get a general idea when the train might pass Starnes, Va.

I arrived in time and waited....and waited...and waited. Did I miss it? Eventually I could hear the distant and distinctive sound of a steam whistle. I had an inexpensive 200mm tele lens on my Yashica camera, which was mounted on a flimsy tripod (so flimsy, in fact, it wasn't much better than a hand-held shot).

A headlight appeared in the distance at the north end of the siding at Starnes, and I rechecked my settings and fiddled with the focus--waiting until the train filled the frame at the desired spot. I then turned around and got the going-away shot.

There's a lot to soak up in these images. For beginners, there's the audacity of a small Ten-Wheeler built in 1882 "pulling" a train of a dozen heavyweight passenger cars (plus two F7B units) at 45 MPH. In reality, No. 1 did well to handle just two cars! I doubt the "One Spot" could have even started this train had it been stopped--on level track.

It was fairly warm that day, so there's just a hint of steam as engineer Ed Hatcher blows No. 1's whistle for the only grade crossing in "downtown" Starnes. Brother George was keeping the steam pressure up basically to blow the whistle and keep enough in the boiler so Ed could work a light throttle to keep lubrication going to the cylinders. No. 1's ancient boiler was only rated for 125 psi, and anything over that would raise the first safety valve.

In the second shot, take a look at all the arms, heads, and other body parts sticking out from the open car windows. These people are having more fun than the proverbial barrel of monkeys---more like a trainload of dogs sticking their heads out to catch the sights and scents of the passing countryside.

The observation deck of the former Wabash parlor car on the rear holds no less than a dozen people, most with cameras poised to photograph anything---other trains, cows, each other, or just the scenery of Scott County, Va. If anyone was interested in getting a shot of me, you can't tell it. The lettering on the drumhead isn't sharp enough to read clearly, but it says "Spring Steam Special" in the middle, while the outside says something like "American Association" of something. Maybe it was Funeral Directors, Proctologists, Butchers, Tattoo Artists, or Animal Control Specialists. Not sure...

I was able to get ahead of the train for a second shot as it roared across the big bridge at Copper Creek. That was it, though, as it then burrowed beneath Clinch Mountain, and was gone. About a week later I had a few Ektachrome slides to account for my day along the Clinchfield. It was worth my time.

Link video: youtu.be/Xwq5eDFSUvU

Bird cages moving on the street

You'll be VERY surprised what you can get on the back on a tricycle: The loads so wide they defy the laws of physics.

 

When vehicle manufacturers make their vehicles, they make them with a specific load limit. However, this has never stopped some people from overloading their vehicles beyond the wildest imagination of the vehicle manufacturers.

 

They show vehicles carrying loads that science says they shouldn’t be able to carry.

 

But Overloaded vehicles are a serious problem in Viet Nam as they threaten road safety and often cause accidents.

SN/NC: Larus Glaucescens, Laridae Family

 

The glaucous-winged gull (Larus glaucescens) is a large, white-headed gull. The genus name is from Latin Larus which appears to have referred to a gull or other large seabird. The specific glaucescens is New Latin for "glaucous" from the Ancient Greek, glaukos, denoting the grey color of its wings. The glaucous-winged gull is rarely found far from the ocean. It is a resident from the western coast of Alaska to the coast of Washington. These glaucous winged gulls can also be found in the Puget Sound region. It also breeds on the northwest coast of Alaska, in the summertime and in the Russian Far East. During winter, they can be found along the coast of California, Oregon, Baja California, Baja California Sur, and Sonora. Glaucous-winged gulls are thought to live about 15 years, but some live much longer; a bird in British Columbia, for example, lived for more than 21 years, while one in the US state of Washington lived for at least 22 years, 9 months. The longevity record though, is more than 37 years, for a bird banded as a chick in British Columbia.

The glaucous-winged gull nests in the summer, and each pair produces two or three chicks which fledge at six weeks. Young birds are brown or gray with black beaks, and take four years to reach adult plumage.

It feeds along the coast, scavenging for dead or weak animals, fish, mussels and scraps. In urban areas it is well known for its tendency to accept food from people and peck open unprotected garbage bags in search of edibles.

Its call is a low-pitched "kak-kak-kak" or "wow", or a more high-pitched wailing.

 

A gaivota de asa glaucosa (Larus glaucescens) é uma grande gaivota de cabeça branca também conhecida como Gaivota-de-Bering. O nome do gênero é do latim Larus, que parece ter se referido a uma gaivota ou outra grande ave marinha. O glaucescens específico é o novo latim para "glaucous" do grego antigo, glaukos, denotando a cor cinza de suas asas. A gaivota de asas glaucosa raramente é encontrada longe do oceano. É um residente da costa oeste do Alasca até a costa de Washington. Essas gaivotas aladas glaucosas também podem ser encontradas na região de Puget Sound. Também se reproduz na costa noroeste do Alasca, no verão e no Extremo Oriente russo. Durante o inverno, eles podem ser encontrados ao longo da costa da Califórnia, Oregon, Baja California, Baja California Sur e Sonora. Acredita-se que as gaivotas de asas-glaucas vivam cerca de 15 anos, mas algumas vivem muito mais; um pássaro na Colúmbia Britânica, por exemplo, viveu por mais de 21 anos, enquanto um no estado americano de Washington viveu por pelo menos 22 anos e 9 meses. O recorde de longevidade, porém, é de mais de 37 anos, para um pássaro anilhado como filhote na Colúmbia Britânica. Se alimenta de mexilhão e peixes e os restosdo lixo humano, ao lado da costa.

 

De witkopmeeuw (Larus glaucescens) is een grote witkopmeeuw. De geslachtsnaam komt uit het Latijn Larus, die lijkt te hebben verwezen naar een meeuw of andere grote zeevogel. De specifieke glaucescens is Nieuw Latijn voor "glaucous" van het oude Grieks, glaukos, wat de grijze kleur van zijn vleugels aanduidt. De blauwvleugelmeeuw wordt zelden ver van de oceaan gevonden. Het is een inwoner van de westkust van Alaska tot de kust van Washington. Deze grote gevleugelde meeuwen zijn ook te vinden in de regio Puget Sound. Hij broedt ook aan de noordwestkust van Alaska, in de zomer en in het Russische Verre Oosten. In de winter zijn ze te vinden langs de kust van Californië, Oregon, Baja California, Baja California Sur en Sonora. Groot-gevleugelde meeuwen worden verondersteld ongeveer 15 jaar te leven, maar sommige leven veel langer; een vogel in British Columbia bijvoorbeeld, leefde meer dan 21 jaar, terwijl een vogel in de Amerikaanse staat Washington minstens 22 jaar, 9 maanden leefde. Het levensduurrecord is echter meer dan 37 jaar, voor een vogel met een band als een kuiken in British Columbia.

 

Il gabbiano dalle ali glauche (Larus glaucescens) è un grande gabbiano dalla testa bianca. Il nome generico deriva dal latino Larus che sembra si riferisse ad un gabbiano o ad un altro grande uccello marino. Lo specifico glaucescens è il nuovo latino per "glaucous" dal greco antico, glaukos, che denota il colore grigio delle sue ali. Il gabbiano dalle ali glauche si trova raramente lontano dall'oceano. È residente dalla costa occidentale dell'Alaska alla costa di Washington. Questi gabbiani alati glauchi si trovano anche nella regione del Puget Sound. Si riproduce anche sulla costa nord-occidentale dell'Alaska, in estate e nell'Estremo Oriente russo. Durante l'inverno, possono essere trovati lungo la costa della California, dell'Oregon, della Baja California, della Baja California Sur e di Sonora. Si pensa che i gabbiani dalle ali glauche vivano circa 15 anni, ma alcuni vivono molto più a lungo; un uccello nella Columbia Britannica, ad esempio, ha vissuto per più di 21 anni, mentre uno nello stato americano di Washington ha vissuto per almeno 22 anni e 9 mesi. Il record di longevità, tuttavia, è di oltre 37 anni, per un uccello fasciato come un pulcino nella Columbia Britannica.

 

La gaviota de alas glaucas (Larus glaucescens) es una gaviota grande de cabeza blanca. El nombre del género proviene del latín Larus, que parece haberse referido a una gaviota u otra ave marina grande. El glaucescens específico es el latín nuevo para "glauco" del griego antiguo, glaukos, que denota el color gris de sus alas. La gaviota de alas glaucas rara vez se encuentra lejos del océano. Es residente desde la costa occidental de Alaska hasta la costa de Washington. Estas gaviotas de alas glaucas también se pueden encontrar en la región de Puget Sound. También se reproduce en la costa noroeste de Alaska, en verano y en el Lejano Oriente ruso. Durante el invierno, se pueden encontrar a lo largo de la costa de California, Oregón, Baja California, Baja California Sur y Sonora. Se cree que las gaviotas de alas glaucas viven unos 15 años, pero algunas viven mucho más; un pájaro en la Columbia Británica, por ejemplo, vivió durante más de 21 años, mientras que uno en el estado de Washington, EE. UU., vivió durante al menos 22 años y 9 meses. Sin embargo, el récord de longevidad es de más de 37 años, para un ave anillada como polluelo en la Columbia Británica.

 

Le goéland à ailes grises (Larus glaucescens) est un grand goéland à tête blanche. Le nom du genre vient du latin Larus qui semble avoir fait référence à une mouette ou à un autre grand oiseau marin. Le glaucescens spécifique est le nouveau latin pour "glaucous" du grec ancien, glaukos, désignant la couleur grise de ses ailes. Le goéland à ailes grises se trouve rarement loin de l'océan. C'est un résident de la côte ouest de l'Alaska à la côte de Washington. Ces goélands ailés glauques peuvent également être trouvés dans la région de Puget Sound. Il se reproduit également sur la côte nord-ouest de l'Alaska, en été et dans l'Extrême-Orient russe. En hiver, ils peuvent être trouvés le long des côtes de la Californie, de l'Oregon, de la Basse-Californie, de la Basse-Californie du Sud et de Sonora. On pense que les goélands à ailes grises vivent environ 15 ans, mais certains vivent beaucoup plus longtemps; un oiseau en Colombie-Britannique, par exemple, a vécu plus de 21 ans, tandis qu'un autre dans l'État américain de Washington a vécu au moins 22 ans et 9 mois. Le record de longévité est cependant de plus de 37 ans pour un oiseau bagué au stade de poussin en Colombie-Britannique.

 

Die Blauflügelmöwe (Larus glaucescens) ist eine große Weißkopfmöwe. Der Gattungsname stammt vom lateinischen Larus, der sich anscheinend auf eine Möwe oder einen anderen großen Seevogel bezog. Das spezifische glaucescens ist neulateinisch für „glaucous" aus dem Altgriechischen, glaukos, was die graue Farbe seiner Flügel bezeichnet. Die Blauflügelmöwe wird selten weit vom Ozean entfernt gefunden. Es ist ein Bewohner von der Westküste Alaskas bis zur Küste Washingtons. Diese Blauflügelmöwen sind auch in der Region Puget Sound zu finden. Es brütet auch an der Nordwestküste Alaskas, im Sommer und im russischen Fernen Osten. Im Winter sind sie entlang der Küste von Kalifornien, Oregon, Baja California, Baja California Sur und Sonora zu finden. Es wird angenommen, dass Eismöwen etwa 15 Jahre alt werden, aber einige leben viel länger; Ein Vogel in British Columbia zum Beispiel lebte mehr als 21 Jahre, während einer im US-Bundesstaat Washington mindestens 22 Jahre und 9 Monate lebte. Der Langlebigkeitsrekord liegt jedoch bei mehr als 37 Jahren für einen als Küken gebänderten Vogel in British Columbia.

 

النورس ذو الأجنحة الزرقاء (Larus glaucescens) هو نورس كبير أبيض الرأس. اسم الجنس مأخوذ من اللاتينية Larus التي يبدو أنها أشارت إلى نورس أو طائر بحري كبير آخر. كلمة glaucescens المحددة هي اللاتينية الجديدة لكلمة "glaucous" من اليونانية القديمة ، glaukos ، للدلالة على اللون الرمادي لأجنحتها. نادرًا ما توجد النورس ذات الأجنحة الزرقاء بعيدًا عن المحيط. وهي مقيمة من الساحل الغربي لألاسكا إلى ساحل واشنطن. يمكن أيضًا العثور على هذه النوارس المجنحة اللامعة في منطقة بوجيه ساوند. تتكاثر أيضًا على الساحل الشمالي الغربي لألاسكا ، في الصيف وفي الشرق الأقصى الروسي. خلال فصل الشتاء ، يمكن العثور عليها على طول ساحل كاليفورنيا وأوريجون وباجا كاليفورنيا وباجا كاليفورنيا سور وسونورا. يُعتقد أن النوارس ذات الأجنحة اللامعة تعيش حوالي 15 عامًا ، لكن بعضها يعيش لفترة أطول ؛ على سبيل المثال ، عاش طائر في كولومبيا البريطانية لأكثر من 21 عامًا ، بينما عاش طائر في ولاية واشنطن الأمريكية 22 عامًا على الأقل و 9 أشهر. ومع ذلك ، فإن الرقم القياسي لطول العمر هو أكثر من 37 عامًا ، بالنسبة لطائر مرتب على شكل كتكوت في كولومبيا البريطانية.

 

シロカモメ (Larus glaucescens) は、大きな白い頭のカモメです。属名はラテン語の Larus に由来し、カモメや他の大きな海鳥を指しているようです。特定の glaucescens は、翼の灰色を表す古代ギリシャ語 glaukos からの「青々とした」の新ラテン語です。シロカモメが海から遠く離れた場所で見られることはめったにありません。アラスカの西海岸からワシントンの海岸までの居住者です。これらの白く翼のあるカモメは、ピュージェット サウンド地域でも見られます。また、アラスカの北西海岸、夏の間、ロシア極東でも繁殖します。冬の間、カリフォルニア州、オレゴン州、バハ カリフォルニア州、バハ カリフォルニア スル州、ソノラ州の海岸沿いで見られます。シロカモメは約 15 年生きると考えられていますが、それよりも長く生きるカモメもいます。たとえば、ブリティッシュ コロンビア州の鳥は 21 年以上生きましたが、米国ワシントン州の鳥は少なくとも 22 年 9 か月生きました。しかし、寿命の記録は、ブリティッシュ コロンビア州でひよことして結ばれた鳥の 37 年以上です。

I don't have a specific style, my style is beauty, my style is elegance, my style is "to marry" styles and make ONE. For these villas I wanted a modern, elegant decor with touches that would remind you in which country you were but still made you feel "at home".

Becoming Marni is a site-specific installation conceived as the concluding act of the whole Marni Prisma program. It consists of one hundred wooden sculptures created by Brazilian self-taught artist Véio, distributed around the cloister and inside the rooms of the Abbey, drawing an ideal landscape of organic forms. The sculptures are installed in different groups, indoors and outdoors, their presence marked by a tactile path, the color of Venice’s water, drawn on the floor: an irregular surface with translucent spots, creating continuity between the outside and the inside. A small cabinet in the cloister housed Véio’s workshop, enabling him to create artworks on site. Furthermore, as the San Gregorio Abbey is usually closed to the public, this exhibition presented an opportunity to enjoy a unique space.

Consuelo and Carolina Castiglioni discovered Véio at a collective exhibition in Paris. Through Galeria Estação, which exclusively represents him, they entered in contact with him and Carolina tracked him down to Nossa Senhora da Gloria, the small village in the north East of Brazil where he lives and works. Here Véio creates his enigmatic sculptures by giving new life to pieces of wood, clogs and branches he finds along the river. He immediately identifies a being in each piece – an animal, a resting human, a fantastic bird. By a process of artistic transformation – clipping, shaving, adding a final layer of color – he makes the same beings visible to the public, removing them from the raw material and thereby restoring to the wood a meaning that exceeds pure physicality.

 

This is the complete album of the photos of my visit. --- --- --- www.flickr.com/photos/136891509@N07/albums/72157661202999340

Site-specific перформанс Ірини Плотнікової "IceDora" на фестивалі сучасного мистецтва Гогольфест 2016, Київ, Україна © repor.to/popenko

Porsche 991 GT3 RS - Karlsruhe

In this part- at the five minute mark- I see the MahaBarodra project complete in the sky

The Disconcerting

 

Part 1

Midnight Shadows

 

Maybe is because of the specific role-play games my twin and I grew up playing. Maybe it’s also because of My love of dressing up in elegant attire and the wearing of jewellery. Or just maybe I am one of those mystic magnets of a soul that attracts this sort of thing to happen?

 

I had actually written this one out a year after it happened because someone suggested to me to do so, but wish now I had done so right after it happened so I would have a more descriptive memory of it.

 

It’s brief because the actual incident as it played out, happened so fast that it all was such a blur, there are no real recollections as far as detailed descriptions go.

 

Not even sure if it fits in with this collection of stories based on role play and similar games from youth and young adulthood.

 

For it may have been a game, but it certainly was not one of ours.

 

££££££££££

 

This rather harrowing experience occurred on the evening of a fancy dress Girl’s only party I attended some years ago.

 

My twin brother I were 22 years old at the time, as was my best friend Ginny.

 

The party mentioned was a BAFTA themed get together held in the nearby city.

 

Ginny and I were both attired for the party as though we were attending the real thing, which was the idea. And we were not alone in dressing up like that.

 

For at this annual party held by a university chum’s older sister, everyone attending was mandated to dress up like an actress attending the awards ceremony.

 

Ginny, as always when she does fancy proper, was drop-dead gorgeous.

 

She looked smashing, poured into her shimmering, off one shoulder gown of thin silk, silver with copper threads woven in. The gown really had a nice sexy fluid flow as she moved. Long elbow-length gloves of a dark copper satin, finished the effect.

 

She was wearing her good earrings. A pierced ear style set with real diamonds(1/2 Carat diamond with a dangling a pear-shaped 1 1/2 carat diamond), a diamond rhinestone choker, a matching rhinestone bracelet, and two cocktail rings. The 2 carat earrings and one of her rings were real, the rest good quality antique rhinestones.

 

Her silky hair, a darker natural red than mine, was worn up with an elegant bun held with a long silver clip on one side. Several strands purposely fell alongside her freckled face, adding a rather far too cute effect.

 

Myself, I was wearing a pretty party dress of Mum’s. One that I (and Papa) felt she looked breathtakingly beautiful wearing it on a night out.

 

It was a solid coloured sky blue taffeta dress that shone with a tight sleekness down along my figure. Maybe a bit too tight for it outlined my every curve, making me look sexier than I knew I was. The skirt was higher in front( touching just below my knees) than in the back where it swished a few inches above my ankles and my deep blue silk stiletto heels. The neckline of the dress was of a long open scoop and had wavy ruffles running along with its opening, the sleeves went to my elbows, ending in ruffles. With it, I was also wearing deep blue 3/4 length satin gloves.

 

For jewellery, I wore mum’s full set of enticingly sparkling rhinestones. The pricey imitation diamonds that Papa teased he needed sunglasses to look at her whenever Mum wore them out, which was a lot.

 

The centerpiece of the set was undoubtedly the long glittery necklace that looked like an upside-down,loosely attached, elongated pyramid filled with blazing diamond-like stones.

This eye-catcher hung down low along the open neck of the dress, swaying a few inches up from my (small)cleavage.

 

The set also had a matching bracelet, long earrings, and a ring. I added two more of my real gemstone rings for effect.

 

My own freshly washed long, naturally red hair was pulled back in a plait and I had a thin diamond chip encrusted silver Tiara to hold it all in place.

 

Please get a good mental picture of how Ginny and I were dressed up for the affair before reading on( and I hope you will read on) it should add a little clarity to the story.

  

Part 2

Midnight Ball (Faux)

 

To fit in with the party theme my twin brother actually was able to again borrow papa’s friend’s elegant antique car. An old dark purple Rolls Royce.

 

My brother dressed the part as a chauffeur( at Ginny and my puppy-eyed request), wearing a suit, formal shirt, and bow tie. He refused to wear the white gloves or hat though.

 

He thoroughly was into playing his role, opening the door for each of us as we were helped into the back, with him sitting alone upfront.

 

The party was at a house 30 minutes away in the city, with about 25 guests expected to attend.

 

All of whom had gone wild with their fancy dress ideas.

 

Gowns and formal dresses, many of which were old bridesmaids affairs, flowed, shined, and shimmered along with our fellow guest's youthful female figures.

 

Copious amounts of Gemstones, mostly rhinestone with more than a few real ones, were glittering with amazing brilliance from their mistresses.

 

As you can imagine, I was really into that atmosphere and it was really for me, a quite enjoyable and engaging experience.

 

The party itself was a lot of fun and very enjoyable for all in attendance. This was the pre-cell phone era, so we all were quite focused on the party.

 

On and off we watched the awards show, but the main attraction was the drinking and guessing games we played.

 

We also had a fashion show with a makeshift red carpet that everyone did a catwalk along.

 

My mum’s rhinestone attracted a lot of notice, they sparkled so much.

 

And yes, once when mum was wearing them out a lady actually asked if they were real. We all had a good laugh over that.

 

My brother and even Ginny commented on how they would sparkle in the city street lamps as we drove under them on the way in.

 

By the time the party was winding down we all

were feeling pretty well lit, and very huggy.

 

All too soon it was time to go.

 

After my twin brother had dropped us off, he waiting for us at the riverside pub named Poet and the Peasant.

 

He told us to call at the pub and then wait inside the house for him to arrive. The neighborhood was nice enough, but still, it was the city, so he felt more comfortable if we were to not be out wandering.

 

He would honk the Roll’s horn at the curb to let us know when he was there.

 

We called from the house after midnight when ready and he told us he’d be there in about 15 minutes after leaving the pub where he was playing darts with a few lads.

 

We had told others about the Rolls Royce, and some had asked to see it. So, ignoring my brother’s request, we all gathered outside to wait.

 

Twenty minutes later my brother drove up, spying our group he honked the horn as he pulled up curbside.

 

Playing the part in front of so many well-dressed ladies, my brother was in his glory as helped each of us slip into the back seat of the rolls Royce, closing our doors like a gentleman, before hopping back in the driver's seat to take us home. Honking the horn again to the few remaining jealous admirers who waved us on.

 

We felt like real movie stars at that.

 

And like real movie stars, we soon had a following.

  

Part 3

Midnight Followers

 

It was after my brother turned off the street where the party house was located, that he first noticed the red auto behind us.

 

He was not sure where it had come from, but, something he could never put a finger on, made him think that it was a deliberate appearance

 

The red auto, keeping about two car lengths behind, began to match my brother’s turns as he began to take his usual way home. The car never signaled its turns he noticed.

 

Not saying anything to us chattering away in the back leather seats, he turned off into a side street at random to see what would happen. The auto turned down the same street following, again no turn signal.

 

My brother then turned down another street and pulled the Rolls over midway along it, stopping at the curb directly in front of a house, so the auto could pass if he also turned In behind.

 

It did come around the same corner, but instead of passing the parked Rolls, the red auto ominously pulled to the curb about three houses behind us, leaving its lights on.

 

Ginny and I had been chatting happily in the back seat, my brother stopping the Rolls Royce first drew our attention that something was up.

 

When asked what’s going on, he said that he thinks someone in an automobile is following us.

 

We laughed at him, thinking he was trying to play games with us.

 

On the way to the party, he kept teasing us on how sparkly our jewels were in the rearview mirror when illuminated by street lights.

 

I had snickered saying

“it’s a good thing your here to protect us then Luv.”

 

He had looked back at me with a wicked smile in his eyes. “Ah, true lass, but what if I was a thief in disguise?”

 

So now we both thought he was just trying to put a scare into us playing off on those remarks.

 

Not smiling at our taunts, he sternly told us to just turn around and watch the auto parked down the road with the headlights on.

  

Part 4

Midnight Apprehension

  

We both turned in our seats, surprised to see that he was right.

 

“Who do you think it is?” Ginny asked reasonably.

 

“Really don’t know, Luv?” He answered putting the Rolls in gear.

 

He pulled away, and after a few seconds so did the auto with the headlights on.

 

My brother then took two more random turns down roads and we realized he was really telling the bloody truth.

 

We knew then it wasn’t something my brother had dreamed up as role-play with his lads. He would not stoop this low and besides, to tell the truth, he was not all that good of an actor to pull it off.

 

The auto kept pace, matching

us turn for turn.

 

I would think by then whoever was in the red Auto knew that we realized they were tailing us. But they still kept following.

 

I remember as we watched from the back, Ginny and I turning to look at each other, both of us not really knowing what to do if even there was anything we could have done?

 

I can also clearly recollect how Ginny’s diamond earrings were glimmering as I looked into her concerned face. But bit my tongue.

 

I did not want to alarm her with my thoughts. Knowing how expensive her earrings were. That, plus the fact most of the jewellery I was wearing belonged to Mum, really gave me worries. Still, I knew Ginny was also harboring similar unsaid concerns.

 

Neither of us daring to give voice to those worries, lest it became a reality.

 

But two elegantly clad young ladies being driven around inside a Rolls Royce with a chauffeur at the wheel could say the least, easily attract notice. Something we had not given any thought to as we planned out this evening.

 

Inviting attention, both when arriving in the city, and as well as when they were leaving it.

 

Both of us turned back to look out the window.

 

Again watching the bright headlights, I shuddered at another thought that popped into my head.

 

What if the occupants of the red auto had followed us in, and while we were enjoying the party, had been waiting patiently for us to leave it?

 

That really creeped me out and I shivered.

 

My brother, silent with unspoken worries of his own, was keeping to the well lit, residential streets while trying to think of how to get out of this if he needed to.

 

It could be just two joyriders doing this on a lark after all.

 

A second issue was that the big Rolls Royce was a lumbering beast not made to outspeed pursuit.

 

Then there was a third issue: He also did not want to lead our shadowers near to where Ginny or we both lived.

 

We still lived in a rambling country cottage with my parents. Ginny lived a few houses over in the old stone house that had once been a summer home for a large, prewar, estate owner.

 

Not voicing any of these concerns to his passengers, my brother stayed in the city, which he knew quite well.

 

Turning up a boulevard he saw a traffic light ahead.

 

We pulled up to it and the Red Auto stopped about a car length back.

 

We could make out the shadowy figures of two unmistakable males, talking to each other as they were pointing fingers.

 

They were not just pointing at us, but past us. That gave me the creeps as I told my brother what the occupants were doing.

 

The light turned green, and without signaling, he turned the Rolls to the right, entering a Main Street.

 

The red auto did the same, not signaling either.

 

Approaching another light as it was turning red, my brother ran it, cutting off a lurching double-decker just coming into the intersection.

 

As we received a blast of horns for our transgression, my brother shifted into a higher gear and forced the whining old Rolls into its top speed.

 

All I remember at that point, was thinking we were not going fast enough at all.

 

But this maneuver held up the red auto only long enough for us to turn down an alley between two businesses about 3/4 of a block past the red light. I was watching our rear and I knew the red auto, just leaving the intersection, had seen us turn.

 

My brother knew that the alleys on this street all let out onto a road that ran along the grounds of a rugby stadium.

 

There were street lamps on the opposite side of the road from the stadium. There were no lights on at all on the stadium side, making the area darker at night than India ink.

 

We pulled out of the alleyway without seeing any following headlights yet coming in behind us.

 

“There is usually a patrol car parked along the stadium at night, “my brother said.

 

“Keep an eye out”

 

But of course, tonight was the exception, no cars were parked there.

 

I was looking back at the alleyway we had left and I saw headlights casting along the brick walls.

 

I gave warning, but it came out as a girlish shriek.

 

“I see it.” My brother said, he had killed the headlights and was already turning into the exit end of the stadium’s long parking lot

 

My twin pulled the Rolls under the shadows of some trees that lined the inner side of the parking lot, facing the way we had come.

 

We all scrunched down and waited.

  

Part 5

Midnight Escape

 

A few very long seconds later, the red auto, driving slowly, appeared at the end of the alley and stopped.

 

Then, without signal,

it slowly turned off onto the street and started going in the opposite direction, at a crawl.

 

Looking For our Rolls Royce we probably rightly suspected.

 

Our hearts were pounding and I believe we were all holding our breaths with disquieting

trepidation.

 

The red auto went down past that end of the stadium.

 

My heart leaped into my throat as I put a hand to my beating breasts, watching it turn up the next street leading back to the intersection with the red light we had blown through.

 

My brother put in the clutch, keeping the headlamps off, he slowly turned the auto around.

 

Ginny and I sat up and watched behind us.

 

We turned off the parking lot went back the opposite of where our pursuers had gone.

 

Once in the street my brother turned on the headlamps and gave the old engine some gas. We turned up the next street and then some side streets.

 

Nervously we watched the streets behind us. But only saw a few headlights coming on the road, and they were all false alarms.

 

Finally circling around we made it back to the Main Street that led to the highway turnoff.

 

Nervously all three of us scanned the cars parked along both sides of the streets. But no one pulled out behind us that seemingly going on forever stretch of road.

 

Apparently, we had lost our shadower’s in the red auto.

 

We made it to the turnoff without further mischief befalling us and went onto the highway and headed back home.

 

We never saw the red auto again.

 

Ginny and I were spending the rest of the weekend in her basemen bedroom at her house, her parents bring out of town.

 

Neither of us was ashamed to admit we accepted my brother’s offer to spend the night upstairs.

 

When we got to her place, Ginny helped us raid Uncle’s small bar in the basement. We sat up for the rest of the early morning, still fully dressed, talking it over.

 

We all believed was no lark, hoax, or a joke being played on us. The occupants of that red auto seemed all too intent on something.

 

To this very day, none of us have any real idea of what that intent may have been, just only our speculation.

 

I do remember that we had come up with a whole gauntlet of theories before turning in.

 

But we are all quite ok with not finding out which theory was the correct one that night.

 

And Like me, I’m sure we all finally drifted off to sleep considering what may have played out if...?

^^^^^^^^^^^^^^^^^^^^^^^

 

Would love to hear thoughts on this in the comments below. Especially if anyone has ever had a similar experience.

   

All my images are protected by copyright, Please do not use for any purpose without my specific written permission.

 

More experimentation with Silver Efex Pro - I'm loving it!!!

My friend's best friend.

 

In 2010, a prohibition of the ownership and breeding of 13 specified dog breeds and cross-breeds hereof was introduced (including Pitt Bull Terrier and Tosa Inu and crossbreeds hereof which have been prohibited in Denmark since 1991.)

 

The prohibition of dog breeds has been evaluated during 2013. It was decided by the Danish Parliament that there will be no amendments to the prohibition based on the evaluation. The prohibition of specific dog breeds will therefore be maintained

Please help out the cause by signing here: www.skrivunder.net/imod_hundeloven

 

www.asbjornfoto.com

Everyone knows that they have a specific birthstone that is placed in jewelry and trinkets to signify the month they were born in. However, many people don't know that just like the stones, each month has a flower or two as well, which symbolizes birth. Here is the history and meaning behind your birth flower.

 

September: Morning Glory

Alternate: Aster

 

As its name insinuates, the Morning Glory is a flower that blooms in the morning hours. However, by the time the sun has fallen, the flower has died. Each morning will give birth to a brand new flower on the plant. Because they bloom in the morning, they are often pollinated by hummingbirds, bees, butterflies and other daytime birds and insects.

 

Many species of Morning Glory have seeds that contain LSA which is a drug that is up to 10% as potent as LSD. To discourage the growing of Morning Glory specifically for drugs, some cultivators are treating the seeds before they sell them with a chemical that can not be washed off and will cause vomiting and sickness if ingested.

 

In Japan the Morning Glory is known as asagao, asa "morning" and kao "face". In China it has been used for medicinal purposes as a powerful laxative. During the Edo Period it because a popular decorative flower. It is often used next to walls as it will grow as a vine, blocking out some of the heat and lowering air conditioning bills in the summer.

  

For a full rundown on this specific car, please see the following link from Sotherbys:

 

rmsothebys.com/en/auctions/az17/arizona/lots/r194-1961-fe...

 

In summary, however, is that in the old days, Ferrari (man and company) obsessively built racing cars to win. The modest number of super-wealthy regularly sought out cars from Ferrari to drive on the road, with which he reluctantly complied.

 

Early on, these were barely different to the race cars, such as the 166, 212, and then 250 series. Once the 250 series was producing cars such as the 250 GT Lusso and GTE, the volumes were relatively high (in the hundreds), and so one could purchase a Ferrari by being merely very rich. For those clients who were more special, a series of low volume cars were still available, sold in single, or low double figures.

 

The 1961 400 Superamerica car shown here is a good example. Produced during the period of significant increase in Ferrari road car production, the 400 Superamerica Aerodinamico saw 17 cars produced.

 

The 400 saw a switch to the long-block Columbo V12 engine, as opposed to the Lampredi V12 seen in the preceding 410 Superamerica (which was rarer still). The last 410s visually linked the newer 400s, particularly the 'Superfast' cars.

 

Larger than it initially appears (and larger that 250/275/330 Ferraris of the period), this Lego model is a redo of an earlier attempt. Notable for the inclusion now of the large Technic piston engine.

  

Compassion is sensing the distress of others, empathizing with them, and reaching out to them in specific ways to assist in alleviating their need. A godly, Christ-centered man must include compassion as a quality of his busy, success-oriented lifestyle. If you are married, strive to have compassion for your wife and children.

 

1. Our model for compassion is God himself.

 

Psalm 72:12–13 For he will deliver the needy when he cries for help, the afflicted also, and him who has no helper. He will have compassion on the poor and needy, and the lives of the needy he will save. (NASB)

Lamentations 3:21–23 This I recall to my mind, therefore I have hope. The LORD’s lovingkindnesses indeed never cease, for His compassions never fail. They are new every morning; great is Your faithfulness. (NASB)

Matthew 14:14 When He went ashore, He saw a large crowd, and felt compassion for them and healed their sick. (NASB)

Deuteronomy 30:3; Psalm 25:6; 51:1; Isaiah 49:10; 54:10; Micah 7:18–19; Matthew 15:32; 20:34; Luke 7:13; 10:33

 

2. Compassion for others is required.

 

Zechariah 7:9 This is what the LORD Almighty said: “Administer true justice; show mercy and compassion to one another.” (NIV)

Colossians 3:12–14 Therefore, as God’s chosen people, holy and dearly loved, clothe yourselves with compassion, kindness, humility, gentleness and patience. Bear with each other and forgive one another if any of you has a grievance against someone. Forgive as the Lord forgave you. And over all these virtues put on love, which binds them all together in perfect unity. (NIV)

Proverbs 29:7; Philippians 2:1–3

 

3. Compassion must be expressed in tangible ways, not just talk or good intentions. Those who are able should share materially with others.

 

Proverbs 19:17 If you help the poor, you are lending to the LORD—and he will repay you! (NLT)

Psalm 41:1 Blessed is the one who considers the poor! In the day of trouble the LORD delivers him. (ESV)

1 John 3:17 If we are rich and see others in need, yet close our hearts against them, how can we claim that we love God? (GNT)

Proverbs 11:25; Matthew 25:35–36; Luke 3:11; James 2:15–16

  

Biblical Narratives

 

• David to Saul, 1 Samuel 23:21

• David to Mephibosheth, 2 Samuel 9

• Jonah’s need, Jonah 4

• Nehemiah to Jerusalem, Nehemiah 1

• Jesus, Matthew 14:14; 15:32; 20:34; Mark 1:40–42

• Good Samaritan, Luke 10:25–37

  

Practical Steps

 

• Get your family involved in volunteer work for needy people. Make a list of those you know who are hurting; do something tangible to help.

• Study the parable of the Good Samaritan (Luke 10:25–37), and write out ten specific applications reflecting present-day needs around you.

• List the number of times in the Gospels something is mentioned or modeled about compassion.

• Get involved in the lives of needy people through ministries such as Christmas shoe boxes or Angel Tree. Consider sponsoring a child through organizations such as Compassion International or Samaritan’s Purse.

• In showing compassion to your children, remember their age and the need to see things from their point of view. How can you show compassion in language they will understand?

• Make a list of coming events in your child’s life when you will need extra compassion (start of school, new baby coming, fear of illness, losing a game in sports, etc.).

 

Keith R. Miller, Quick Scripture Reference for Counseling Men (Grand Rapids, MI: Baker Books, 2014), 72–74.

Winding forest road from Rock Creek Park in Washington DC (USA). Selectively processed with golden yellow colors for a more surreal atmosphere.

 

This photo is offered under a standard Creative Commons License - Attribution 3.0 Unported. It gives you a lot of freedom to use my work commercially as long as you credit and link back to this image on my Flickr page.

 

Flickr resolution: 1800 x 1200 px

 

Also available for download at 5000 x 3333 px on my Patreon page, an ever-growing collection of high res images for one low monthly subscription fee. You can find this specific photo at the following post:

www.patreon.com/posts/gold-forest-road-25776578

Site-specific by Giuseppe Stampone | The Invisible Dog Art Center a Brooklyn, New York

 

Ordinary Love is the title of the new single of U2 composed for the soundtrack to the biography Mandela: Long Walk To Freedom, a film directed by Justin Chadwick.

The music video for Ordinary Love, directed by Mac Premo and Oliver Jeffers, has as its location the installation "Caronte" by Giuseppe Stampone which is located in the spaces of The Invisible Dog Art Center in Brooklyn, New York.

 

Ordinary Love è il titolo del nuovo singolo degli U2 composto per la colonna sonora del film biografico Mandela: Long Walk To Freedom, pellicola diretta da Justin Chadwick.

Il video musicale di Ordinary Love, diretto da Mac Premo e Oliver Jeffers, ha come location l'installazione site specific "Caronte" di Giuseppe Stampone che si trova negli spazi di The Invisible Dog Art Center a Brooklyn, New York.

   

I've never seen a Russian truck in such good condition, this one isn't particularly old but it's still impressively clean and undented. Can anyone identify what specific type of Kamaz this is?

The dusky dolphin (Lagenorhynchus obscurus) is a dolphin found in coastal waters in the Southern Hemisphere. Its specific epithet is Latin for "dark" or "dim". It is very closely genetically related to the Pacific white-sided dolphin, but current scientific consensus holds they are distinct species.

 

The dolphin's range is patchy, with major populations around South America, southwestern Africa, New Zealand, and various oceanic islands, with some sightings around southern Australia and Tasmania. The dusky dolphin prefers cool currents and inshore waters, but can also be found offshore. It feeds on a variety of fish and squid species and has flexible hunting tactics. The dusky dolphin is known for its remarkable acrobatics, having a number of aerial behaviours. The status of the dolphin is unknown, but it has been commonly caught in gill nets.

 

The dusky dolphin is small to medium in length compared with other species in the family. There is significant variation in size among the different population areas. The largest dusky dolphins have been encountered off the coast of Peru, where they are up to 210 cm (6 feet) in length and 100 kg (210 pounds) in mass. The size for dusky dolphins in New Zealand have been recorded to be a length range of 167–178 cm and a weight range of 69–78 kg for females and a length range of 165–175 cm and a weigh range of 70–85 kg for males.

 

Almost no sexual dimorphism occurs in this species, although males have more curved dorsal fins with broader bases and greater surface areas. The back of the dolphin is dark grey or black, and the dorsal fin is distinctively two-toned; the leading edge matches the back in colour, but the trailing edge is a much lighter greyish white. The dusky dolphin has a long, light-grey patch on its fore side leading to a short, dark-grey beak.

 

The throat and belly are white, and the beak and lower jaw are dark grey. Two blazes of white colour run back on the body from the dorsal fin to the tail. Right between the white areas remains a characteristic thorn-shaped patch of dark colour, by which the species can easily be recognised. Aside from that, dusky dolphins may be confused with other members of their genus when observed at sea. It can be distinguished from the common dolphin, which has a more prominent and longer beak and yellow flank markings. The skull of a dusky dolphin has a longer and narrower rostrum than that of an hourglass dolphin or Peale's dolphin of similar age and size.

 

This image was taken in the Beagle Channel as we sailed towards Punta Arenas in Chile.

Mom's note on this album page says, "Kathy Freeland's 4th Birthday Party - summer 1948. Kathy, Ed, unidentified boy & Donna Bowman."

 

With no specific date, I've arbitrarily chosen June 1st of that year.

 

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All of the photos in this album are “originals” from the 3-month period that my family spent in Denver from 1947-50 — i.e., the period before I lived in Omaha, Riverside, Roswell, Ft. Worth and a separate stay in Denver in 1951-53 (which you may have seen already in my Flickr archives).

 

Before I get into the details, let me make a strong request — if you’re looking at these photos, and if you are getting any enjoyment at all of this brief look at some mundane Americana from 65+ years ago: find a similar episode in your own life, and write it down. Gather the pictures, clean them up, and upload them somewhere on the Internet where they can be found. Trust me: there will come a day when the only person on the planet who actually experienced those events is you. Your own memories may be fuzzy and incomplete; but they will be invaluable to your friends and family members, and to many generations of your descendants. (Actually, I should listen to my own advice: unlike my subsequent visits to Roswell, Riverside, and Omaha I did not even track this early home down, let alone take any photos.)

 

So, what do I remember about the 3 early-childhood years that I spent in Denver? Since I was only 3 years old when we first moved there, the simple answer is: hardly anything. Here are the few random memories that I can dredge up:

 

1. I don’t think my Dad had even seen the ocean as a boy, but that didn’t stop him from enlisting in the Navy a while after he graduated from high school (there weren’t many other jobs on the Utah-Colorado border in those Depression-era days). He got sent out to the Pacific on some kind of naval vessel … and as it turned out, his ship was behind schedule getting back to home port in Hawaii on the evening of December 6, 1941. The submarine nets into Oahu harbor had been drawn closed, and his ship had to anchor outside … which helps explain why his ship didn’t end up at the bottom of the harbor the next morning.

  

2. Fifty years later, on December 7, 1991, I happened to be in a big park in downtown Tokyo, surrounded by thousands of young Japanese citizens, cheering as they waved their red-and-white national flags back and forth — waiting for a glimpse of the new Japanese empress, who was being presented to the public for the first time after her wedding. I heard someone near me speaking in English, so I asked him if he thought there was anything special about the 50th anniversary of Pearl Harbor Day. He was polite, but he was also puzzled and confused: he had never heard the phrase before.

  

3. But I digress … Dad eventually got back to the U.S. and left the Navy in 1947 while stationed in Washington, DC. Like so many of his generation, he decided to go to college, with most expenses paid for by the G.I. Bill. He managed to get into Denver University, and he went on ahead of my mother and me. I vaguely remember that we took the train all the way out there. (I probably don’t remember it at all; but my mother repeatedly told me about some strange man grabbing me out of her arms, and dashing off to the restroom on the train … all I know is that we arrived in Denver safely.)

  

4. We lived in an old form of military housing, known as Quonset Huts, at the edge of the D.U. campus, and I had a tiny bedroom to myself. I have only a few memories of the place: during the brutally-cold winters, Dad would use a garden hose to fill the tiny patch of grass outside the front door with a sheet of water … which froze, and provided the neighborhood kids with a place to ice-skate.

  

5. Though it wasn’t a hardship, I do remember that we had relatively little money for food. My grandparents still lived out near the Utah-Colorado border (just south of the small town of Vernal), and once a week they would send a dozen fresh eggs to us, packed in a carefully padded wooden box. We also made our own ice cream, and I’ll never forget the time Dad used some food-coloring to make blue ice-cream. I had no idea that ice cream could be any color other than brown (chocolate) or white (vanilla).

 

6. During our last year in Denver, I attended kindergarten. I was allowed to walk to school, which felt like it was miles away, across several interstate highways. But there were no Interstates at the time, and it was probably just a two-lane street a few blocks away…

 

7. At Christmas and a few other times of the year, we drove from Denver to spend the holidays with my grandparents. Not only were there no Interstate highways in those days, but there were also no ski resorts: no Vail, no Aspen. I think we drove on the old highway U.S. 40, and we went through a mountain pass (Rabbit Ear pass?) that was always snow-filled, bitter-cold, and dangerous in the winter. Invariably, Dad had to stop to put tire-chains on the car, a process that entailed much cursing and yelling. But we always got there.

 

8. Dad went to school 12 months of each year, and got a B.S. in Electrical Engineering after just 3 years, in June of 1950. I was allowed to wear his graduation cape and gown for a few minutes, and I snuck a paper airplane into the huge gymnasium where friends and families gathered to watch the graduation ceremony. We were way in the back, way up high; and I was convinced that my airplane would sail all the way across the gym, if only I could throw it. If only, if only … but I didn’t.

 

9. Dad must have gotten a job (back in Glen Oaks, NY) right away, and their lease/rental of the Quonset Hut must have ended at about the same time. I mention that only because he drove back East alone, leaving me and my very pregnant mother behind. We lived in a tiny apartment at an old Air Force base at the edge of Denver (Buckley Field?) until July, when it was time for my mother to head to the hospital and deliver my sister, Patrice. Meanwhile, I was picked up by Dad’s older brother, and driven all the way out to Utah to spend a week with my grandparents … before everyone reconnected in Denver, and we took an airplane flight back East.

 

10. There is probably more … but that’s all I can remember at this point...

This old building, once a Convent and now the James Cook Museum in Cooktown has two histories really. If in Cooktown, it should not be missed as it is one of the better regional museums and best dedicated to a specific subject (mostly anyway) that I have seen. Do not miss out. I have a couple of shots from inside coming tomorrow.

 

I can do no better than hand over the whole story to Wikipedia....

 

James Cook Historical Museum is a heritage-listed former convent and school and now museum at Furneaux Street, Cooktown, Shire of Cook, Queensland, Australia. It was designed by Francis Drummond Greville Stanley and built from 1888 to 1889 Hobbs & Carter. It was formerly known as St Mary's Convent and School. It was added to the Queensland Heritage Register on 21 October 1992.

 

This substantial, two-storeyed brick building was erected in 1888-1889 as St Mary's Convent and School. It was the inspiration of the first Vicar Apostolic of Cooktown, Bishop John Hutchinson; designed by former colonial architect Francis Drummond Greville Stanley, of Brisbane; and staffed initially by Sisters of Mercy from Dunvargan in Ireland.

 

Bishop Hutchinson was one of three Irish Augustinian Fathers who arrived in Cooktown in 1884 to take charge of the Pro-Vicariate of North Queensland, established in 1876 and extending from Cardwell to Cape York Peninsula. In the mid-1880s it was appropriate that the Augustinians were based at Cooktown, rather than Cairns, as the former was emerging as the principal town and port of far North Queensland. Such was the rapid progress of Cooktown during the second half of the 1880s that the Pro-Vicariate of North Queensland was constituted the Vicariate Apostolic of Cooktown in 1887. Father Hutchinson was appointed the first Vicar Apostolic and was consecrated a Bishop in August the same year. In late 1887 Bishop Hutchinson returned to Ireland to recruit more priests and to encourage an order of sisters to establish a convent school at Cooktown. There was an existing primary school, staffed by lay teachers, attached to St Mary's Pro-Cathedral in Cooktown, but Bishop Hutchinson envisaged a grander establishment which could offer a superior education, both religious and academic, to the girls (future wives and mothers) of Far North Queensland. It was to operate as both a day school and a boarding school for girls.

 

St Mary's Convent and School was designed by former colonial architect FDG Stanley, one of Queensland's most prolific late 19th century architects. In the 1880s he designed a number of other Catholic churches and institutional buildings, including St Patrick's Church at Gympie (1883–88), additions to St Mary's Church at Maryborough (1884–85), dormitories at St Vincent's Orphanage, Nudgee (1886–87), Holy Cross Church at Bundaberg (1886–88), the Magdalene Asylum at Wooloowin, Brisbane (1888–89), and the Sisters of Mercy Convent at South Brisbane (1889).

 

The tender for St Mary's Convent and School at Cooktown was let about May 1888 to Brisbane contractors Hobbs & Carter, who had erected the much admired Cook Monument at Cooktown in 1887. When Bishop Hutchinson returned from Ireland in June 1888 with five Sisters of Mercy to staff the school, the convent building was far from complete, but work continued rapidly and the building was occupied by May 1889.

 

Stanley's original design was for a two-storeyed brick core with two transverse wings, but when officially opened by Bishop Hutchinson on 12 May 1889, only the core and north wing had been completed, at a cost of nearly £5,000. The intention was to complete the second wing as funds permitted, but this did not eventuate. The substantial brick building was the most imposing structure in Cooktown, pre-dating the Queensland National Bank building in Charlotte Street by about two years. The footings were of concrete and the plinth was constructed of Cooktown granite. Most of the bricks were obtained from Campbell & Sons' brickworks in Brisbane, and shipped to Cooktown. Much of the skilled labour required for the construction also came from Brisbane.

 

Internally, the ground floor comprised a central entrance hall, off which opened a large dining room (also used as the school chapel) to the right and a large reception room for visitors to the left. Behind these rooms were two classrooms, each divided by folding doors. Beyond the reception room was the school hall, a large room 44 by 18 feet (13.4 by 5.5 m), which occupied most of the ground floor of the north wing. Beyond the eastern end of the hall were the lavatories. A central staircase led from the entrance hall to the upper floor, which contained boarders' dormitories at the north end and dormitories for the sisters at the south end. Upper floor lavatories and bathrooms were located above the ground floor lavatories at the east end of the north wing. Boarders used a second staircase on the rear verandah, rather than the grand central stair. At the rear, the kitchen, scullery and servant's room formed a detached wing, connected to the main building via a covered way. Stanley had taken account of the Cooktown climate: the rooms were large, light and airy, and there were deep verandahs front and back. The rear verandahs were enclosed with "curtain boards", and the front verandahs were decorated with cast iron.

 

The site selected was on the crest of the ridge running south from Grassy Hill, above the main street of Cooktown, with a spectacular view over the Endeavour River estuary. By the 1890s the imposing building had become a Cooktown landmark, regularly featured in visiting journalists' descriptions of the town.

 

Bishop Hutchinson had made the establishment of the convent school at Cooktown a personal project, donating much of his own money and borrowing from his relatives in Ireland, but substantial funds were raised locally as well. The community clearly recognised the need for an educational institution for girls in far North Queensland which offered a superior education to that available in small local state schools, and St Mary's was patronised by families of all denominations. It was the first girls' high school in the area and gained a strong reputation for the quality of its music curriculum. World-acclaimed Queensland singer Gladys Moncrieff was educated there.

 

The significance of Cooktown as a port deteriorated in the 1890s, as production from the alluvial diggings on the Palmer Goldfields declined. Bishop Hutchinson died in 1897, and his successor, Bishop James Murray, is understood to have paid off the debt on the convent building by conducting a lecture tour in the United States. In 1906 Bishop Murray moved his residence to Cairns, which had eclipsed Cooktown as the principal port of far North Queensland.

 

Despite the decline of Cooktown - both in population and significance - St Mary's Convent and School remained an important educational facility for girls in far North Queensland until the 1930s. The building suffered substantial damage during the cyclone of January 1907, which demolished the Catholic Church behind the convent and removed part of the convent roof, but was repaired immediately. However, many of the businesses destroyed in the 1907 cyclone were not re-established, and an entire block of shops and offices in the main street of Cooktown, destroyed by fire in 1919, were never re-built. St Mary's boarding school closed in the 1930s but co-educational day classes were continued until 1941, when the building is understood to have been commandeered by United States military authorities.

 

Although the building was returned to the Church in 1945, the school was not re-opened and the Sisters never returned. Another cyclone damaged the building in 1949 and by 1969 it was considered to be in such a ruinous state that tenders for its demolition were called. Following public protest the building was donated to the National Trust of Queensland on condition that it be restored to house the collection of the James Cook Historical Museum at Cooktown. The new Museum was opened on 22 April 1970 by Her Majesty Queen Elizabeth II, during her visit to Australia to celebrate the bi-centenary of Cook's charting of the east coast. The former St Mary's Convent and School continues to be maintained by the National Trust, and is one of the principal tourist attractions in Cooktown. In the early 1970s, extensions were made to the rear of the building to house the museum collection. The grounds have been landscaped as the Joseph Banks Memorial Garden, planted with about 40 of the 186 plants catalogued by Joseph Banks and Dr Daniel Solander during their 7-week stay at the Endeavour River in 1770. Each of these 40 plants is peculiar to the Cooktown area.

  

no specific order... cause WE ALL ARE OF A SPECIAL ODER!!!

 

www.youtube.com/watch?v=juBRHjqx9jc&feature=player_em...

This species was once widely grown in Europe for its leaves, which were used like spinach, and its parsnip-like root, which was used like a radish.[3] The Brothers Grimm's tale Rapunzel took its name from this plant.

Entomology

The genus Latin name (“campanula”), meaning small bell, refers to the bell-shape of the flower, while the specific name (“rapunculus”) is a diminutive of the Latin “rapa” (turnip) and means 'little turnip', which refers to the shape of the root.

From WikipediaThank you for your friendship and comments etc. Due to chronic poor health I'm unable to take on new contacts but do my best to reply to comments. More of my shots can be seen on

  

www.ipernity.com/home/351433