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My final year project for fashion design. Trace is about memory of living in forest from a girl. She is looking the urbanisation but she can't do nothing for her forest.
Riff, PD#18245, a land art monument celebrating 100 years of the Zuiderzee Act
A collaboration of artist Bob Gramsma and engineer WaltGalmarini AG
Riff, PD#18245 is a site-specific work, a Land Art monument. The tectonic work looks like it is emerging from the natural-cultural landscape and, at the same time, helps to frame it. A mound of soil was heaped up on a foundation of slanted pillars. Large cavities were dug into the mound and then cast in concrete, thus creating an inverted sculptural reproduction of the void in the mound. Afterwards, the mound was removed, and the concrete sculpture cleaned of loose soil and sand. The result is a large-scale work, supported by three stalactite-shaped concrete volumes and the pillars of the foundation, which are partially visible. The monument is in context with the horizon, the landscape and the sunset. A stairway leads up to the top of the structure, inviting visitors to overview its surface.
The process of digging uses the labour of construction to create traces of landscape – space without architecture. The sculpture re-interprets the material and historical conditions of the site. The slightly slanted volume echoes characteristics of the Polder, like dikes, ditches, canals, plots, embankment, drainage, extraction, renaturation and depilution (vertical segregation). At the same time, Riff, PD#18245 also appears foreign in this environment – a hull resting on slanted pillars, aligned with the dikes. It is reminiscent of other interventions in this particular landscape: water management, flood protections, the signs of the transition from fishing to agriculture, and the renaturation of the landscape. It literally emerges from, and melds into, the artificial topography, the geology, the IJsselmeer polder and the Zuiderzee bed.
At the same time, Riff, PD#18245 is a trace of the artistic and the production process, outlining an interstice between the present and the past. The trace as an index of the working process creates a nexus between time and spatiality. The monumental blueprint of an excavation, which has long since disappeared, turns into a poetic sculpture, a hollow resonant body with a natural patina growing over time. Riff, PD#18245 looks southwest westward across the renatured land in the direction of the sunset and the amusement parks, providing a visual link to the Veluwemeer and the Flevopolder, the largest man-made island and its physical vastness.
Riff, PD#18245 becomes a space for the audience to project, or to reanimate, their understanding of the site, its history and its present. The sculpture is at once a tool to reflect on history and an incitement for the viewer to dream those stories. It is a way of visualizing both absence and presence, a sculpted ghost, or spirit, that opens up a new space for rethinking the relationship between material and memory. It is a residue of memory, honouring the past, while serving the present. By means of the elemental exposure of the earth, the missing cast, and the past that it encapsulates, we are reminded that earth and its history — as well as the cosmic forces or energies shaping it — are beyond human intelligibility. But we can try to understand, or appreciate, their unfathomable presence in time as we access this exhumed vestige.
Production
After creating a foundation by driving piles deep into the ground, a huge mound (70 x 40 x 7 m, 15.000 m3) was heaped up on top of it, consisting of sand and clay from the agricultural land and from the bottom of the Zuiderzee on the site. A wide sinkhole, reaching 2 m under sea level, and two narrow deep pits, reaching down to the level of the pillars, were dug into the mound. Reinforcement structures were built, and concrete poured and pneumatically projected into the cavities to produce an inverted sculptural reproduction of the empty space. After the concrete had dried, the heaped-up soil was bulldozed away and returned to build the new environment for the New Nature Programme. An immersive sculpture, whose platform hovers above the ground, is revealed. A small staircase cuts into the platform. The piece is approx. 37,5 m long, 13 m wide and 7 m high.
Using the local soil as false work, as well as formwork, and reusing it after the production for the new reserve is a very ecological, as well as economical, casting technique. It allows to produce an intricate seamless hollow concrete cast in one piece. After the structure was cleaned, it is ready for the public and the winds to take over. Within time, an ecosystem will evolve on the inside of the hollow body, and the surface will be partly covered with moss, chalk, and salt efflorescence. Little gaps in the shell enable insects and animals to build viable habitats inside the hollow body. The whole production process was open to the public to provide an in-depth vision and understanding in the making of Riff, PD#18245. The sculpture itself thus starts to generate memories in the minds of the audience – a process that will continue well into the future as weather and nature gradually take over the sculpture, altering its shape and functions over time, while the wind is playing on its resonant body.
Text: Martin Jaeggi
Reproduced from an old print (circa 1985). Original photo was taken by Alvin's brother whom I never really knew.
That was my band's name decades ago. I was the lead guitarist/vocalist and we played mainly rock and blues numbers. Lipstick traces was actually an intrumental piece performed by the British super rock group UFO and Michael Schenker played the guitar solo beautifully. I adopted the name. We still play this piece til this day and I love it.
Everytime I play the solo, I felt like I was being teleport back in time to my worries-free younger days just like an eagle soaring freely and effortlessly over the clear blue skies.
We gathered to practice every weekend and tried out new songs, We were all singles then and got all the time in the world to jam :)
But those days were gone and now most of us got heavy commitments in work & family and only get together once in a while just to make some noise in the music studio...to release stress.
Looking forward for retirement (still a long way from now though) when we can repeat what we did during our younger days and jam together whenever we like....if that's still possible....
from left to right :
Unknown Filipino and stand-in member(drums) for my band, ronald(bass), alvin(original drummer/KB), me(lead guitarist/vocalist), raj(rhythm guitar...sleeping??) and another Filipino stand-in member(singer/rhythm guitar). Both Filipinos disappeared as suddenly as they appeared, presumably fled to join a better group with better prospect....as high sea pirates in Somalia. perhaps they are right, I should had joined them and became their pirate chief. Instead of a guitar, I would be holding an AK47 on one hand and a rocket-propelled grenade on the other and instead of sceaming ROCK STEADY, it would be something like ATTACK THAT F..king.... SHIP !!. That would be cool I love it !
pic taken in a musical studio at Peninsula Building back then, now...a toilet inside a new building
The guitar i'm holding was a cheapo les paul copy that was my very first electric guitar (bought it from dennis ) That was nothing more than a piece of crap. I got my first (used) quality USA Fender Stratocaster (late 70's model with big headstock) with solid ash body and rosewood neck(serial number S946985) soon after. Sold it some years later in the 90's. Bought my second (new)USA Fender Stratocaster in sept 2013. An American special with texas pickups alder sunburst body and maple neck, ...great guitar(serial number US12077214).
Forgotten guitar You Won’t Part With Yours Either
www.flickr.com/photos/lonesomecrow/29050487511/in/datepos...
Officers from Operation Alloy targeted illegal vehicles yesterday as part of a national day of action to target metal theft.
During the day police stopped 24 vehicles and issued £3,800 of fines to drivers found to be flouting the law.
Two vehicles were seized for no insurance and a further four were immediately prohibited for defects.
Nineteen motorists received fixed penalty notices and officers also issued two traffic offence reports.
A further two drivers were summoned for no insurance.
Operation Alloy was launched in 2011 to deal with an increase in metal theft. Officers have worked relentlessly alongside the scrap metal industry and local authorities to target offenders and this has led to a 78 reduction in this type of crime.
In December 2012 Operation Alloy introduced the Legal Aid Sentencing and Punishment of Offenders Act which took cash out of the industry. Following on from this in October 2013 the Scrap Metal Dealers Act 2013 was introduced which required all sites and collectors to be licensed.
Superintendent Craig Thompson from the Operation Alloy team said: “Operation Alloy has seen some massive reductions in metal theft and as days like this show, we are committed to continuing our battle against this type of crime.
“Metal theft is far from being a victimless crime and it is our local communities that feel the effect of it. We’ve come a long way since the launch of the operation and will continue to disrupt offenders using every tool at our disposal.
“Help us in our fight against these criminals, please report unlicensed scrap dealers or metal collectors to police on 101 or call Crimestoppers anonymously on 0800 555 111.”
To find out more about Greater Manchester Police please visit our website.
You should call 101, the new national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111.
Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
"Red Lips" - six color print by John Wesley, at the Axelle Fine Arts Silkscreen Studio
Although he was part of the original group of POP Artists and was included
in the three Pop Art Print Portfolios, Wesley, a native Callifornian, has
been slow to gain the recognition he deserves. In POP ART: A Continuing
History, Marco Livingstone notes that Wesley used a "straightforward linear
technique associated with such non-art sources as cartoons, comics and
coloring books" (82-83) and used "gentle humor . . . framing devices,
symmetry, and tactics of repetition as essential ingrediants in the
production of paintings that appear to be innocent in an obviously childlike
way but are in fact meditative in atmosphere and sophisticated in their
formal construction" (208). Meditative they may be, but if innocence is
present it is often that of those who ought to know better. As a press
release foor the January-February 2001 exhibition of his work at the Harvard
University Art Museums points out, "Wesley has been painting acutely sexual,
intensely observed, narrative paintings for more than 40 years. The
conspicuous characteristics of his work since the early seventies-its
insistent flatness, powdered pastel palette, cartoon/cinematographic
narratives, embrace of the sexually charged encounter, sophisticated
anthropomorphism, and mannered drawing-have enormous appeal for younger
painters inspired by a digital revolution to rethink the medium: Wesley's
painting looks like nothing else out there.
A recent retrospective at the Museum of Modern Art's P.S.1, Wesley's first
in the United States, reflects this new interest in a painter who first came
into prominence in the early sixties. Staged against the backdrop of the
more extensive MoMA/P.S.1 retrospective, John Wesley: Love's Lust is
selective rather than comprehensive, featuring work from the sixties through
to the present in an effort to look more closely at Wesley's allegorical
subject matter and sophisticated formal innovations. 'Wesley's compelling
approach to painting encourages the viewer to question the reasons for his
eccentric creations and in doing so forces us all to ponder his intended
message,' said James Cuno, the Elizabeth and John Moors Cabot Director of
the Harvard University Art Museums. 'Wesley has never lacked for attention,'
said Linda Norden, the curator at the Fogg who organized the show. 'But
critics have been eager to characterize rather than analyze the art for fear
that looking too closely would kill off whatever it is that works. This
exhibition is meant to show that exactly the opposite is true. Wesley's
paintings can be frighteningly funny, poignant, and just plain weird; but
there is a complex pictorial intelligence driving this body of work.' "
The Harvard show "includes a wide selection of acrylic-on-paper paintings,
which Wesley usually enlarges on canvas. Two wall cases contain some of the
traced drawings he uses to compose his paintings. Surprisingly, these
tracings reveal how little is fixed by an apparently mechanical means of
reproduction: Instead, what becomes quickly apparent is Wesley's mastery of
subtle shifts in scale and placement. Over the last ten years, Wesley has
taken another turn in his paintings, opening spaces between figures,
substituting distance for repetition, and conveying character less through
facial expression than by developing a complex mannered line. This seems to
be John Wesley's moment: John Wesley: Love's Lust offers an overdue
opportunity to examine the work of an artist who has long been loved, but
never taken quite seriously enough."
The Curator of John Wesley: Paintings 1961-2000, a retrospective held during
the autmn of 2000 at P.S. 1, a branch of The Museum of Modern Art, has a
slightly different perspective. Alanna Heiss, P.S.1 Director, says"Wesley's
work stands eerily apart. He mixes images of traditional emblems, historical
figures, comic book personalities, animals, sexy women, athletes and
showgirls into surreal daydreams, prompting the viewer to rejoin her own
private dream-world." This exhibition includes works ranging from his
earliest paintings (Stamp, 1961) to his most recent-Showboat, 2000. To
accompany this retrospective, P.S.1 has produced a catalogue including new
essays by Brian O'Doherty and Carolyn Christov-Bakargiev, an interview with
the artist by Alanna Heiss, a chronology by Hannah Green, and an anthology
of other significant texts and color plates. Wesley is known for his
consistency of palette (baby blues, cotton-candy pinks), his use of painted
"frames" within his pictures, his early emblem paintings, his cartoon
Bumstead paintings, and ultimately for his representations of an inner
erotic voyage where we are both the voyager and the voyeur.
After moving from his native Los Angeles to New York in 1960, John Wesley
began showing his work at the Robert Elkon Gallery in 1963. Donald Judd
became an early supporter of Welsey's work at that time. In a review of that
first New York show he wrote "...the forms selected and shapes to which they
are unobtrusively altered, the order used, and the small details are
humorous and goofy." Initially considered in alignment with pop artists of
the early 60s, Wesley consistently produced works of such a subtle and
subversive nature as to put him in a category of his own. He used the early
tools of advertising production (tracing paper and stock photographs).
Influences on his work range from Surrealism to Art Nouveau, from ancient
Greek pottery to Matisse. Wesley's colorful and figurative style also
reflects the "flat" world of comics and posters. His secret life is ours;
the works uncover the private world of a dreamer, where the dreamer is the
protagonist, the artist, and the viewer. They are icons proclaiming the
sanctity of our subconscious wanderings.
Selected Bibliography: In addition to discussions of Wesley in such standard
works on the POP Art Movement as Judith Goldman, The Pop Image: Prints &
Multiples (NY: Marlboroush Graphics, 1994), Marco Livingstone, POP ART: A
Continuing History (NY: Abrams, 1990), see R. H. Fuchs, Kasper Konig, et al,
John Wesley : Paintings 1963-1992, Gouaches 1961-1992 (Frankfurt: Oktagon
Verlag, 1993-Catalogue of a travelling retrospective held in Frankfurt,
Amsterdam, Ludwigsburg, and Berlin between July & Oct. 1993); Alanna Heiss,
John Wesley: Paintings 1961-2000 (NY: P. S. 1-MoMA, 2000).
[Source]
Read: A Conversation with John Wesley by Marianne Stockebrand
Thank you to the vast majority of fans last night for your excellent behaviour while watching the England game.
Although the score didn’t go our way, fans by-and-large were brilliant and watched the #WorldCup semi-final between England and Croatia in good spirits.
Nine arrests were made in total in Manchester City Centre including public order offences and being drunk and disorderly, but thankfully no serious incidents took place.
We would also like to thank all the officers who worked hard to keep everyone safe last night, with many having to give up their plans of watching the game with friends and family.
Yesterday was a testament to fans – you came together, helped look after each other and dealt with the result graciously.
Bring on Euro 2020!
To find out more about Greater Manchester Police please visit www.gmp.police.uk
You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
Wolverhampton are trying to trace the owners of this recovered property. Any information please call Wolverhampton CID on 101 or crimestoppers, Please quote Log 143 of 04/12/15.
Trace Cyrus from the ol infamous band, Metro Station, in his new musical project called Ashland High. Live at the Chameleon Club in Lancaster, PA.
Wolverhampton are trying to trace the owners of this recovered property. Any information please call Wolverhampton CID on 101 or crimestoppers, Please quote Log 143 of 04/12/15.
for my soloshow + book-release: His Most Exquisite Elaborations
Beth Fox, irish artist, says: “Johannes Mundinger’s book ‘His Most Exquisite Elaborations” is so good it cured my cancer”
Oliver Breitenstein, director of Berliner Kunstverein adds: “Slowly I got the impression that every medium was appropriate and the most profane materials were just the right thing. They were best paired with banal themes, like in the example of Nose Picking Pictures. Was it about the avoidance of collaboration with a sublime artistic concept with a bloated theoretical superstructure? Was it simply the joy in creating in the moment without having to consider the reception in the world afterwards? Is the artist picking my nose with his index finger, in order to consume the last traces of the grey matter in my head for dessert with delight?”
And Petra Wessbecher, cultural scientist writes:
“Hidden in forgotten places across the City, Johannes Mundinger‘s artworks are found mainly by accident. Colourful faces, fantastic figures and wall-paintings melted totally into decaying facades, create anxiety in dark urban corners. Corresponding to Graffiti, the style of the Artist is in a constant dialogue with this form of the street art. Lyrical and painterly finesse of Mundinger‘s works remains in contradition to the roughness and inexactitude of urban art. They are unique compositions.
The niches of unexpected dazzling beauty hidden between the superficial facades of the buildings are only waiting to be discovered and awakened. Mundinger‘s curiosity about the urban surrounding and the exploration of the city itself, leave not only surprising spaces for His own art. Through inititating and organising various exhibitions, he brings together different artists enabling them on national and international level networking. This vivid cooperation of artists under the Mundinger‘s curation, gives a new meaning to abandoned places in the urban area as well; to discover changing faces of the city.“
Thursday, 2. Feb 7pm - 23:30pm will be the vernissage + book-release at idrawalot, Boddinstr 60, Berlin.
Exhibition 2. - 25. Feb 2012 Tuesday - Friday 12 - 18 Uhr Saturday 13 - 18 Uhr
Idrawalot Boddinstraße 60 12053 Berlin
Amrum About this sound pronunciation (help·info) (Öömrang North Frisian: Oomram) is one of the North Frisian Islands on the German North Sea coast, south of Sylt and west of Föhr. It is part of the Nordfriesland district in the federal state of Schleswig-Holstein and has appromixately 2,300 inhabitants.
The island is made up of a sandy core of geestland and features an extended beach all along its west coast, facing the open North Sea. The east coast instead borders to mud flats and tidal creeks of the Wadden Sea. Sand dunes are a characteristical part of Amrum's landscape, resulting in a vegetation that is largely made up of heath and shrubs. The island's only forest was planted in 1948. Amrum is a refuge for many species of birds and a number of marine mammals like grey seal or harbour porpoise.
Settlements on Amrum have been traced back to the Neolithic when the area was still a part of the mainland of the Jutland peninsula. During the Middle Ages, Frisian settlers arrived at Amrum and engaged in salt making and seafaring. A part of the modern population still speaks Öömrang, a dialect of the North Frisian language, and Frisian traditions are kept alive.
With the island hosting many endangered species of plants and animals, its soil being largely unfavourable for agriculture and as a popular seaside resort in general, Amrum's population today almost exclusively lives from the tourism industry.
Amrum's area measures 20,4 km2,[2] making it the tenth-largest island of Germany (excluding Usedom which is partly Polish territory).[3] Adding the large Kniepsand beach on the Western shore to the surface area results in a total area of c. 30 km2.[4] Amrum's surface area has however been subject to constant change due to land loss and gain caused by the sea. During the 19th century, a 20th part of the area recorded in the beginning of the century had been lost, but in 1913, a net gain was again recorded at the Kniepsand.[5]
Amrum is one of three isles with a geestland core in Nordfriesland.[6] This sandy core is made up of glacial deposites from the Saalian glacial period.[4] To the east, it borders to the Wadden Sea mud flats of the North Sea. The east side is also where the island's ancient hamlets are situated: Norddorf, Nebel, Süddorf and Steenodde. On the geestland core one can find extended areas of heath and woodland which form a strip that runs along a north-south line on the axis. West of this woodland strip, a region of 838 hectares (2,070 acres) is covered with dunes[1] that run all along the island for about 12 km. The maximal width of this area amounts to more than a kilometre. Amrum's tallest dune near Norddorf is called a Siatler (the settling dune); it reaches 32 m of height.[1] Northward, the dune area extends into a small peninsula called Odde. In the south of Amrum, the newest settlement, Wittdün, is located. West of the dunes, the entire shore of Amrum is made up of the Kniepsand beach; it counts among northern Europe's largest sand beaches. North of Norddorf there is some marshland, another small marsh area can be found between Süddorf and Steenodde.[4] Both of them are protected from the sea by dikes. During low tide it is possible to reach the neighbouring island of Föhr by mudflat hiking.
Amrum's population amounts to about 2,300 and the island is divided into three municipalities: Norddorf, Nebel and Wittdün. They adhere to the Amt Föhr-Amrum.
The oldest traces of settlements in the area date back to the Neolithic with a number of dolmens among them. Also many tomb sites from the Bronze and Iron Ages have been preserved. In the dunes west of the decoy pond, the remainders of an Iron Age hamlet have been found. It is unknown whether the Ambrones, who together with the Cimbri and Teutones threatened Rome around 100 BC, stemmed from this island which back then was still connected to the mainland by a land bridge. In the early Middle Ages the island was colonised by the Frisians. The oldest known record of Amrum island has been found in the Danish Census Book of King Valdemar II of Denmark from 1231.[9]
Next to salt making, agriculture, fishery and whaling, merchant shipping was one of the main sources of income for a long time. Hark Olufs, a sailor from Süddorf who had been enslaved by Algerians in 1724, advanced to the rank of a General until he was allowed to return to his native island in 1736. During the late 19th century, tourism became a rapidly emerging business on Amrum and effectively changed the island's economical structures.
During the Middle Ages, Amrum as well as all of North Frisia proper belonged to the so-called Uthlande, the Outer Lands, which only successively became parts of the Danish realm or the Duchy of Schleswig. After the conflicts between the Danish kings and the counts of Schauenburg about the rule over Schleswig, Amrum and western Föhr became an enclave of Denmark and contrary to neighbouring areas, it was not any longer a part of the Duchy of Schleswig. This state endured until 1864, when Denmark lost Schleswig to Prussia after the Second Schleswig War. For a brief period after that war Amrum was ruled together by Prussia and Austria, yet in 1867 the island came under Prussian rule and was made a part of the province of Schleswig-Holstein. At first, Amrum formed a municipality within the district of Tondern. In 1920, the Schleswig Plebiscites resulted in a clear majority vote for Amrum staying with Germany, while Tondern fell back to Denmark. Until 1972, Amrum belonged to the Südtondern district which then merged into the newly created district of Nordfriesland.
During the 19th century, Amrum still had a considerably lower population than today. Church records from 1821 to 1833 show an average population of 587, a census in 1860 noted 642 inhabitants, and in 1871, the population had dropped to 571.[10] Among other factors, the decrease owed to the fact that large parts of Amrum's population had emigrated — mainly to the United States. Today, more people with ancestors from Amrum live in the United States than there are on Amrum proper, and the connections between Amrum and the U.S. are still being cultivated.
Eventually, tourism began only to flourish on the island when a seaside resort was established in Wittdün in 1890, which also led to a rapid increase in population.[11]
On 29 October 1998, the cargo ship Pallas ran aground off Amrum, causing a severe oil spill in the region.
Amrum's vegetation is determined by the sea and by the different types of landscapes on the island, most of which are low in nutrients. In parts of the dune belt and on the Kniepsand marram grass or sea wormwood grow, as well as numerous other sand-loving plants like sheep's bit which will bloom in sheltered areas between the dunes.[16] Also some stunted pines, bent by the sea wind, and Salix repens, the creeping willow can be found there. Until the 1970s, the rare sea holly could still be seen in the dunes.
East of there are heaths and conifer or mixed forests. In some dune slacks, peat bogs can be found which occasionally host the carnivorous plant common sundew.[16] The once abundant marsh gentian vanished during the 1990s.
The Amrum forest was mainly planted in 1948 on an area of heath. Until then only a few forested regions could be found around the decoy ponds. With 180 hectares, Amrum has the largest ratio of forested land of all Germany's North Sea islands. Mainly pines, firs and birches can be found here. Meanwhile, the forest has largely lost its artificial nature. So one will encounter numerous plants on all levels and many species of fungi. The "geestland", east of the forest, is mostly used for farming. Its grassland grows plants such as Harebell (Campanula rotundifolia), Sea Thrift (Armeria maritima) and Carthusian Pink (Dianthus carthusianorum) and several species of hawkweed.[16]
In the small marshlands, some sedges and the ragged robin may be seen.[16] Here is the most nutritious soil on Amrum. Even the soil of Amrum's gardens is so low in nutrients that only few sorts of plants, e.g. hollyhock, will grow there without fertilising.
On the salt marshes along the eastern shore of Amrum, many salt tolerant species can be found. Pioneer plants such as Salicornia europaea and alkali grasses, grow on and stabilize the mud flats.
Mandore (Hindi: मंडोर), is a town located 9 km north of Jodhpur city, in the Indian state of Rajasthan.
HISTORY
Mandore is an ancient town, and was the seat of the Mandorva branch of the Gurjar -Pratihara dynasty which ruled the region in the 6th century AD by King Nahar Rao Panwar.[citation needed] In 1395 AD, a Mohil princess of the Parihar rulers of Mandore married Chundaji, scion of the Rathore clan of Kshstriyas. This was during the era of rapid ascendency of the Rathore clan, and Chundaji received Mandore in dowry.[citation needed] The town remained the seat of the Rathore clan until 1459 AD, when Rao Jodha, a Rathore chief who united the surrounding region under his rule, shifted his capital to the newly founded city of Jodhpur.
Mandore was the capital of the erstwhile princely state of Marwar (Jodhpur State), before moving to Mehrangarh Fort in Jodhpur.
MONUMENTS
The historic town boasts several monuments. The now ruined Mandore fort, with its thick walls and substantial size, was built in several stages and was once a fine piece of architecture. A huge, now ruined temple is a highlight of the fort. The outer wall of the temple depicts finely carved botanical designs, birds, animals and planets.
The 'Mandore gardens', with its charming collection of temples and memorials, and its high rock terraces, is another major attraction. The gardens house the Chhatris (cenotaphs) of many rulers of Jodhpur state. Prominent among them is the chhatri of Maharaja Ajit Singh, built in 1793.
The Mandore Gardens also house a government museum, a 'Hall of Heroes' and a Hindu temple to 33 crore gods. Various artefacts and statues found in the area are housed at the museum. The 'Hall of Heroes' commemorates popular folk heroes of the region. It contains 16 figures carved out of a single rock. Next door is a larger hall called "The temple of 33 crore gods" which houses images of various Hindu deities.
FAIRS AND FESTIVALS
The Rao Festival
Hariyali Amavasya
Naag Panchami
Veerpuri Mela
BhogiShell Parikrama
________________________________________
A cenotaph is an "empty tomb" or a monument erected in honour of a person or group of people whose remains are elsewhere. It can also be the initial tomb for a person who has since been reinterred elsewhere. The word derives from the Greek: κενοτάφιον = kenotaphion (kenos, one meaning being "empty", and taphos, "tomb"). Although the vast majority of cenotaphs honour individuals, many noted cenotaphs are instead dedicated to the memories of groups of individuals, such as the lost soldiers of a country or of an empire.
HISTORY
Cenotaphs were common in the ancient world with many built in Ancient Egypt, Ancient Greece and across Northern Europe (in the shape of Neolithic barrows).
Sir Edwin Lutyens' cenotaph in Whitehall, London influenced the design of many other war memorials in Britain and the British sectors of the Western Front, as well as those in other Commonwealth nations.
The Church of Santa Engrácia, in Lisbon, Portugal, turned into a National Pantheon since 1966, holds six cenotaphs, namely to Luís de Camões, Pedro Álvares Cabral, Afonso de Albuquerque, Nuno Álvares Pereira, Vasco da Gama and Henry the Navigator.
The Basilica di Santa Croce in Florence, Italy, contains a number of cenotaphs including one for Dante Alighieri,who is buried in Ravenna.
CHHATRIS
In India, cenotaphs are a basic element of Hindu architecture, later used by Moghuls as seen in most of the mausoleums of Mughal Emperors which have two burial chambers, the upper one with a cenotaph, as in Humayun's Tomb, Delhi, or the Taj Mahal, Agra, while the real tomb often lies exactly below it, or further removed. The Chhatri(s) trace their origin at 2000 years ago at Fort Kangara. The term chhatri, used for these canopylike structures, comes from Hindustani word literally meaning umbrella, and are found throughout the northwestern region of Rajasthan as well as in Madhya Pradesh and Maharashtra. In the Shekhawati region of Rajasthan, chhatris are built on the cremation sites of wealthy or distinguished individuals. Chhatris in Shekhawati may consist of a simple structure of one dome raised by four pillars to a building containing many domes and a basement with several rooms. In some places, the interior of the chhatri is painted in the same manner as the Haveli.
Chhatris are elevated, dome-shaped pavilions used as an element in Indian architecture. Chhatris are commonly used to depict the elements of pride and honor in the Jat, Maratha and Rajput architecture. They are widely used, in palaces, in forts, or to demarcate funerary sites. Originating in Rajasthani architecture where they were memorials for kings and royalty, they were later adapted as a standard feature in all buildings in Maratha ruled states, Rajasthan, and most importantly in Mughal architecture. They are today seen on its finest monuments, Humayun's Tomb in Delhi and the Taj Mahal in Agra. Chhatris are basic element of Hindu as well as Mughal architecture. The term "chhatri" (Hindi: छतरी) means umbrella or canopy.
In the Shekhawati region of Rajasthan, chhatris are built on the cremation sites of wealthy or distinguished individuals. Chhatris in Shekhawati may consist of a simple structure of one dome raised by four pillars to a building containing many domes and a basement with several rooms. In some places, the interior of the chhatris is painted in the same manner as the Havelis (Mansions) of the region.
IN RAJASTHAN
Many other chhatris exist in other parts of Rajasthan. Their locations include:
- Jaipur - Gaitore Cenotaphs of the Maharajas of Jaipur. Set in a narrow valley, the cenotaphs of the former rulers of Jaipur consist of the somewhat typical chhatri or umbrella-shaped memorials. Sawai Jai Singh II's Chhatri is particularly noteworthy because of the carvings that have been used to embellish it.
- Jodhpur - White marble Chhatri of Maharaja Jaswant Singh II
- Bharatpur- the cenotaphs of the members of the Jat royal family of Bharatpur, who perished whilst fighting against the British in 1825, are erected in the town of Govardhan. The chhatri of Maharaja Suraj Mal of Bharatpur has fine frescos illuminating the life of Surajmal, vividly depicting darbar and hunting scenes, royal processions and wars.
- Udaipur, Rajasthan-. Flanked by a row of enormous stone elephants, the Lake Pichola island has an impressive chhatri carved from gray blue stone, built by Maharana Jagat Singh.
- Haldighati - a beautiful Chhatri with white marble columns, dedicated to Rana Pratap, stands here. The cenotaph dedicated to Chetak, Rana Pratap's famous horse, is also noteworthy.
- Alwar - Moosi Maharani ki Chhatri is a beautiful red sandstone and white marble cenotaph of the rulers of Alwar.
- Bundi - Suraj Chhatri and Mordi Ki Chhatri, Chaurasi Khambon ki Chhatri, Bundi and Nath Ji ki Chhatri are located in Bundi. Rani Shyam Kumari wife of Raja Chhatrasal on the northern hill constructed the Suraj Chhatri and Mayuri the second wife of Chhatrasal on the southern hill erected Mordi Ki Chhatri.
- Jaisalmer - Bada Bagh, a complex with chhatris of Jai Singh II (d. 1743) and subsequent Maharajas of Jaisalmer.
- Bikaner - Devi Kund near Bikaner is the royal crematorium place with a number of cenotaphs. The chhatri of Maharaja Surat Singh is most imposing. It has the spectacular Rajput paintings on the ceilings.
- Ramgarh - Seth Ram Gopal Poddar Chhatri
- Nagaur - Nath Ji ki Chhatri, Amar Singh Rathore-ki-Chhatri
IN SHEKHAWATI
Some of the best-known chhatris in the Shekhawati region of Rajasthan are located at the following cities and towns:
- Ramgarh - Ram Gopal Poddar Chhatri (Ram Gopal Poddar Chhatri )
- Bissau - The Raj ki Chhatri of the Shekhawat Thakurs
- Parsurampura - Thakur Sardul Singh Shekhawat's chhatri
- Kirori - Chhatri of Raja Todarmal (Ruler of Udaipurwati)
- Jhunjhunu - Chhatri of Shekhawat Rulers
- Dundlod - The beautiful chhatri of Ram Dutt Goenka
- Mukungarh - Shivdutta Ganeriwala Chhatri
- Churu - Taknet Chhatri
- Mahansar - The Sahaj Ram Poddar Chhatri
- Udaipurwati - Joki Das Shah ki Chhatri
- Fatehpur - Jagan Nath Singhania Chhatri
IN MADHYA PRADESH
The region of Madhya Pradesh is the site of several other notable chhatris of its famous Maratha rulers:
- Shujalpur - Tomb Of Ranoji Scindia, Founder Of Scindia Dynasty. Situated At Ranoganj, Shujalpur To Akodia Road.
- Shivpuri - Intricately embellished marble chhatris erected by the Scindia rulers in Shivpuri.
- Gwalior - Shrimati Balabai Maharaj Ladojirao Shitole Chhatri
- Gwalior - Rajrajendra Ramchandrarao Narsingh Shitole and wife Gunwantyaraje Ramchandrarao Shitole (princess of Gwalior)Chatri
- Orchha - Elaborate chhatris of local Hindu kings are not popular tourist attraction
- Gohad - The Jat rulers of Gohad constructed the chhatri of Maharaja Bhim Singh Rana on the Gwalior Fort.
- Indore and Maheshwar - Chhatris of Holkar rulers.
- Alampur - Maharani Ahilya Bai Holkar built the chhatri of Malhar Rao Holkar at Alampur in Bhind district in 1766 A.D.
IN KUTCH
Chhatris can also be found in the outskirts of Bhuj city belonging mainly to Jadeja rulers of Kutch. The chhatri of Rao Lakhpatji is very famous for its intricate designs & carvings. Most of them but have been destroyed in the earthquake of 26 January 2000. The restoration work is going on.
OUTSIDE INDIA
There are two notable chhatris in the United Kingdom, a country with strong historical links to India. One is a cenotaph in Brighton, dedicated to the Indian soldiers who died in the First World War. The other is in Arnos Vale Cemetery near Bristol and is a memorial to the distinguished Indian reformer Ram Mohan Roy, who died in the city.
WIKIPEDIA
Riaño, León (Spain).
Better seen in Fluidr.
Se ve mejor en Fluidr.
ENGLISH
Riaño (Riañu, in Leonese language), is a town located in the province of León in the autonomous community of Castile and León, northern Spain. In the 1980s the town was covered by water during the construction of a dam and reservoir, and a new town was built on the reservoir's bank.
More info: en.wikipedia.org/wiki/Ria%c3%b1o,_Spain
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CASTELLANO
Riaño es un municipio de la provincia de León, comunidad autónoma de Castilla y León (España) situado al noreste de la misma, a los pies de la Cordillera Cantábrica cerca de los Picos de Europa, a 1.148 m de altitud. Se encuentra a 91 km de la capital provincial y cuenta con una población de 536 habitantes (INE 2008), conocidos por el gentilicio de riañeses, con una extensión de 97,63 km². También forman parte del municipio los pueblos de Horcadas y Carande.
La historia reciente de Riaño está marcada por la traumática construcción del embalse que anegó el pueblo original, el antiguo Riaño o Viejo Riaño en 1987. Junto con él, siete pueblos más del valle fueron también cubiertos por las aguas.
Tras varios intentos de construir un embalse a lo largo del siglo XX, finalmente el valle de Riaño, en el que confluyen los ríos Esla, Yuso y Retuerto, fue sepultado por las aguas en 1987, bajo el gobierno de Felipe González siendo ministro responsable Javier Sáenz de Cosculluela.
El proyecto de construcción del pantano dio lugar a numerosas movilizaciones populares, enfrentamientos con las fuerzas del orden e incluso suicidios, siendo finalmente necesario para la demolición de las casas el desalojo por la fuerza de los vecinos que se negaban a abandonarlas atrincherándose en los tejados de las mismas. El nuevo Riaño fue posteriormente reedificado en el paraje de Valcayo. Las compensaciones tan anunciadas entonces en forma de nuevas tierras de regadíos en la provincia de León a cuenta del agua del pantano no han sido hasta el momento cumplidas.
This is a photograph from the Le Chéíle 'Leixlip 5KM' Road Race, Jog, and Fun Run was held in Leixlip, Co. Kildare, Ireland on Saturday May 4th 2013 at 11:00. This race has steadily grown in stature over the past number of years and now is a well known fixture in the racing calendar in May annually. This was a big aattendance at the race which finished with the last 700 meters on the beautiful new tartan track belonging to Le Cheile AC at the Leixlip Amenities center. As always This was a great race with a great atmosphere. The weather was reasonably good (except for a head wind at a few places on the course). Good race times were reported by many participants. Congratulations to Kevin Roche and all of Le Chéíle AC for their huge volunteer work that goes into making this race the growing success that it is. As always the post race refreshments were awesome with some fabulous treats available for everyone. This year Lidl and Applegreen were title sponsors with support for prizes from Runworx. There was great support from local Kildare clubs and club of the day must go to Sliabh Buidhe Rovers AC of Ferns in Wexford who brought over 30 athletes up on a club day out for the race. The race was supported by FIT Magazine. Junior races for children aged between 7 - 16 years old took place on the track at 10:30 before the main race at 11:00. The race was AAI Permit Approved with a certified course measurement.
Reading on a Smartphone or tablet? Don't forget to scroll down further to read more about this race and see important Internet links to other information about the race! You can also find out how to access and download these photographs.
Overall Race Summary
RESULTS: The chip timing was provided by Red Tag Timing and the results are available here [www.redtagtiming.com/results/LeCheile5km_2014.pdf]
Participants: Approximately 320 people took part in both events with runners, joggers, walkers, and families involved.
Weather: This was a nice bright mild morning with a headwind at the 1st and final KM of the race.
Course: The race starts on the road outside the amenities center. There is a signifcant climb up the motorway overpass at 1KM. The stretch from here to 4KM is reasonably flat. There is a final
long drag up to Louisia Bridge and the race finishes with almost 700M on the new athletics track built by the club.
Refreshments: The refreshments after the Le Cheile 5KM have now gained legendary status. Outstanding.
Location Map: Start/finish area on Google StreetView [goo.gl/maps/ykhbT]
Some Useful Links
The Internet Homepage of Le Cheile Athletic Club [www.lecheileac.com/]
The Le Cheile Leixlip 5KM Event Page on Facebook [www.facebook.com/groups/198725250155741/]
Google StreetView of the Race HeadQuarters: goo.gl/maps/ykhbT
A Youtube Video of the 5KM Route for 2013: www.youtube.com/watch?feature=player_embedded&v=fFFem...
A GARMIN GPS Trace of the 5KM Route for 2013: connect.garmin.com/activity/305379628
Our Flickr set from the 2013 Le Cheile 5KM: www.flickr.com/photos/peterm7/sets/72157633416311738/ (2013)
Our Flickr Set from the 2012 Le Cheile 5KM: www.flickr.com/photos/peterm7/sets/72157629605644270/ (2012)
Our Flickr Set from the 2012 Le Cheile 5KM: www.flickr.com/photos/peterm7/sets/72157626541539991/ (2011)
Our Flickr Set from the 2012 Le Cheile 5KM: www.flickr.com/photos/peterm7/sets/72157624016827268/ (2010)
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download the photographic image here direct to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. However - look for a symbol with three dots 'ooo' or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
Welcome to the rugged, remote Silver Creek canyon. Travel to the end of the road to explore waterfalls plunging into deep blue-green pools. Wander along the creek or bring a picnic lunch to enjoy the sounds of nature and the solitude surrounding you. There are no picnic tables or amenities in this area. Please respect the land and others, by leaving no trace that you have been there!
Know Before You Go:
•Use caution when exploring along the creek-there are rock outcrops, slippery rocks and cold, sometimes swift, water;
•Access is along remote forest road system, that is not accessible in winter;
•Be aware of and respect that there are mining claims in the area;
•Pack it in Pack it out-no garbage or toilet facility; and
•The area at the end of the road is closed to shooting.
Point of Interest:
Dispersed camping, day use, swimming, fishing. The North Fork Silver Creek contains fall chinook salmon, winter steelhead, rainbow, and cutthroat trout. There is evidence of past wildfires in the area, including 2002’s Biscuit Fire.
Location:
Travel west from Merlin, Oregon along the Merlin-Galice Road. Turn onto the Galice-Hellgate Back Country Byway (Galice Access Road/Bear Camp Road) and continue for approximately eight miles to the North Fork Silver Creek Road (road 35-9-1).
Contact:
Grants Pass Oregon BLM
(541) 471-6614
Photo: Michael Campbell, BLM
On our way to Bam, Iran.
Bam is situated in a desert environment on the southern edge of the Iranian high plateau. The origins of Bam can be traced back to the Achaemenid period (6th to 4th centuries BC). Its heyday was from the 7th to 11th centuries, being at the crossroads of important trade routes and known for the production of silk and cotton garments. The existence of life in the oasis was based on the underground irrigation canals, the qanāts, of which Bam has preserved some of the earliest evidence in Iran.
To view more of my images, of Ripon Cathedral, please click "here"
Ripon Cathedral is a seat of the Bishop of Leeds and one of three co-equal mother churches of the Diocese of Leeds, situated in the small North Yorkshire city of Ripon, England.
There has been a stone church on the site since 672 when Saint Wilfrid replaced the previous timber church of the monastery at Ripon (a daughter house of Aiden's monastery at Melrose) with one in the Roman style. This is one of the earliest stone buildings erected in the Anglo-Saxon Kingdom of Northumbria. The crypt dates from this period.
People have been coming to worship and pray at Ripon for more than 1,350 years. The Cathedral building itself is part of this continuing act of worship, begun in the 7th century when Saint Wilfrid built one of England's first stone churches on this site, and still renewed every day. Within the nave and choir, you can see the evidence of 800 years in which master craftsmen have expressed their faith in wood and stone.
Today's church is the fourth to have stood on this site. Saint Wilfrid brought stonemasons, plasterers and glaziers from France and Italy to build his great basilica in AD 672. A contemporary account by Eddius Stephanus tells us:
"In Ripon, Saint Wilfrid built and completed from the foundations to the roof a church of dressed stone, supported by various columns and side-aisles to a great height and many windows, arched vaults and a winding cloister."
Saint Wilfrid was buried in this church near the high altar. Devastated by the English king in AD 948 as a warning to the Archbishop of York, only the crypt of Wilfrid's church survived but today this tiny 7th-century chapel rests complete beneath the later grandeur of Archbishop Roger de Pont l’Evêque’s 12th century minster. A second minster soon arose at Ripon, but it too perished – this time in 1069 at the hands of William the Conqueror. Thomas of Bayeux, first Norman Archbishop of York, then instigated the construction of a third church, traces of which were incorporated into the later chapter house of Roger's minster.
The Early English west front was added in 1220, its twin towers originally crowned with wooden spires and lead. Major rebuilding had to be postponed due to the outbreak of the Wars of the Roses but resumed after the accession of Henry VII and the restoration of peace in 1485. The nave was widened and the central tower partially rebuilt. The church's thirty five misericords were carved between 1489 and 1494. It is worth noting that the same (Ripon) school of carvers also carved the misericords at Beverley Minster and Manchester Cathedral. But in 1547, before this work was finished, Edward VI dissolved Ripon's college of canons. All revenues were appropriated by the Crown and the tower never received its last Perpendicular arches. It was not until 1604 that James I issued his Charter of Restoration.
The cathedral has a fine organ by Harrison and Harrison dating from 1926. The organ is on the screen and has casework by Gilbert Scott. A specification of the organ can be found on the National Pipe Organ Register. The organ was refurbished in 2013. These works included a thorough cleaning and repair of all pipe work; selective re-leathering of reservoirs and drawstop motors; reconstruction/rationalisation of the wind distribution system; refurbishment and updating of the screen console and cleaning of the case. The only minor tonal changes during these works were the replacement of Great Larigot 1 1/3 (1972) by a Flûte harmonique 8 (in Lewis style) and the recasting of Choir Cimbel III at a lower pitch.
A ring of 12 bells with an additional 'flat sixth' bell is hung in the south-west tower. A diatonic ring of ten bells was cast in 1932, and three additional bells were installed in 2008 with two new trebles being added to give a diatonic ring of twelve, and an additional 'flat sixth' bell to give a light ring of eight.
From Wikipedia, the free encyclopedia