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Day 2. Angkor Wat is visually, architecturally and artistically breathtaking. It is a massive three-tiered pyramid crowned by five lotus-like towers rising 65 meters from ground level. Angkor Wat is the centerpiece of any visit to the temples of Angkor.
At the apex of Khmer political and military dominance in the region, Suryavarman II constructed Angkor Wat in the form of a massive 'temple-mountain' dedicated to the Hindu god, Vishnu. It served as his state temple, though the temple’s uncommon westward orientation has led some to suggest that it was constructed as Suryavarman II’s funerary temple. Other temples of the same style and period include Thommanon, Banteay Samre, Wat Atwea and Beng Melea, which may have served as a prototype to Angkor Wat.
Angkor Wat is surrounded by a moat and an exterior wall measuring 1300 meters x 1500 meters. The temple itself is 1 km square and consists of three levels surmounted by a central tower. The walls of the temple are covered inside and out with bas-reliefs and carvings. Nearly 2000 distinctively rendered apsara carvings adorn the walls throughout the temple and represent some of the finest examples of apsara carvings in Angkorian era art. But it is the exterior walls of the lower level that display the most extraordinary bas-reliefs, depicting stories and characters from Hindu mythology and the historical wars of Suryavarman II. It is in the viewing of the bas-reliefs that a tour guide can be very helpful.
The northern reflecting pool in front is the most popular sunrise location. For sunrise, arrive very early, well before sunrise begins. The sun will rise behind Angkor Wat providing a silhouette of Angkor’s distinctively shaped towers against a colored sunrise sky. Some of the best colors appear just before the sun breaks over the horizon.
The visual impact of Angkor Wat, particularly on one's first visit, is awesome. As you pass through the outer gate and get your first glimpse, its size and architecture make it appear two dimensional, like a giant postcard photo against the sky. After you cross through the gate and approach the temple along the walkway it slowly gains depth and complexity. To maximize this effect you should make your first visit in optimal lighting conditions, i.e. after 2:00PM. Do not make your first visit to Angkor Wat in the morning when the backlighting obscures the view.
The first level of is the most artistically interesting. Most visitors begin their exploration with the bas-reliefs that cover the exterior wall of the first level, following the bas-reliefs counterclockwise around the temple. Bas-relief highlights include the mythological Battle of Kuru on the west wall; the historical march of the army of Suryavarman II, builder of Angkor Wat, against the Cham, followed by scenes from Heaven and Hell on the south wall; and the classic ‘Churning of the Ocean Milk’ on the east wall.
The temple interior is not as densely carved as the first level exterior, but still sports hundreds of fine carvings of apsaras and scenes from Hindu mythology. A guide can be quite helpful in explaining the stories of the various chambers, statues and architectural forms to be found in the interior. At the upper-most of your tour of the temple, the central tower on the third level houses four Buddha images, each facing a different cardinal point, highlighting the fact that though Angkor Wat was constructed as a Hindu temple, it has served as a Buddhist temple since Buddhism became Cambodia’s dominant religion in the 14th century. Some say that it is good luck to pay homage to all four Buddha images before departing Angkor.
Source: Canby Publications Co., Ltd
VIPS newest little fellow, Luke, and Teacher of the Visually Impaired, Ann Hughes. Luke has very low vision and was captivated by the lightbox Miss Annie brought to his house.
Yes, this is an exhibition of photographs taken by visually impaired persons. It is currently showing in Hong Kong. Don't miss it.
以真心看世界，任何人也可成為出色的攝影師。
在這裡有動人的故事: www.wenweipo.com/news_print.phtml?news_id=OT0710060001
送給所有 Flickr 的朋友。
Preschool students are engaged in directions given both verbally and visually by their teacher Allison Henderson.
How often is something exactly what it purports to be? Not an easy question to answer, but Glenwood Community School District has nailed it by embracing, embedding, and implementing Specially Designed Instruction into their preschool curriculum. Students are receiving exactly what the name implies, Specially Designed Instruction (SDI), aimed at meeting the educational needs of each individual student.
Some characteristics of Preschool SDI instruction include intentionality, abundant visuals, the amount of instruction, peer mediated interventions, and peer prompting. Successful SDI requires a collaborative, team approach for problem solving. A host of educational staff get together at least once a month, to discuss student progress based on the data recorded daily by the preschool teacher. They look to see if a goal is being worked on or if an instructional change is needed.
All five preschool teachers and classrooms in the district are on board with integration and delivery of SDI within the school day. All are part of a usability grant in various stages of execution (years one through four). Using specific criteria, early childhood consultants at Area Education Agencies (AEAs) recommended the best sites for grant funds to support the SDI work and provide professional development based on teacher feedback.
Action For Blind People organised a morning's Karting at Q-Leisure in Albourne for local blind and visually impaired youngsters. For those who needed it, like my daughter, they had a two seater Kart which was superb.
The 9K35 Strela-10 (Russian: 9К35 «Стрела-10»; English: arrow) is a highly mobile, visually aimed, optical/infrared-guided, low-altitude, short-range surface-to-air missile system. 9K35; is its GRAU designation; its NATO reporting name is SA-13 Gopher.
(Text Wikipedia)
Men's & Women's downhill skiing, visually impaired, sitting and standing at the 2010 Vancouver Paralympic Games.
TBBC member, Paul, with Adam Szczepaniak, Director of TBBC, and Amy Lucas from the NJ Commission for the Blind and Visually Impaired (NJCBVI). They are standing in front of the donor wall.
Angkor Wat is visually, architecturally and artistically breathtaking. It is a massive three-tiered pyramid crowned by five lotus-like towers rising 65 meters from ground level. Angkor Wat is the centerpiece of any visit to the temples of Angkor.
At the apex of Khmer political and military dominance in the region, Suryavarman II constructed Angkor Wat in the form of a massive 'temple-mountain' dedicated to the Hindu god, Vishnu. It served as his state temple, though the temple’s uncommon westward orientation has led some to suggest that it was constructed as Suryavarman II’s funerary temple. Other temples of the same style and period include Thommanon, Banteay Samre, Wat Atwea and Beng Melea, which may have served as a prototype to Angkor Wat.
Angkor Wat is surrounded by a moat and an exterior wall measuring 1300 meters x 1500 meters. The temple itself is 1 km square and consists of three levels surmounted by a central tower. The walls of the temple are covered inside and out with bas-reliefs and carvings. Nearly 2000 distinctively rendered apsara carvings adorn the walls throughout the temple and represent some of the finest examples of apsara carvings in Angkorian era art. But it is the exterior walls of the lower level that display the most extraordinary bas-reliefs, depicting stories and characters from Hindu mythology and the historical wars of Suryavarman II. It is in the viewing of the bas-reliefs that a tour guide can be very helpful.
The northern reflecting pool in front is the most popular sunrise location. For sunrise, arrive very early, well before sunrise begins. The sun will rise behind Angkor Wat providing a silhouette of Angkor’s distinctively shaped towers against a colored sunrise sky. Some of the best colors appear just before the sun breaks over the horizon.
The visual impact of Angkor Wat, particularly on one's first visit, is awesome. As you pass through the outer gate and get your first glimpse, its size and architecture make it appear two dimensional, like a giant postcard photo against the sky. After you cross through the gate and approach the temple along the walkway it slowly gains depth and complexity. To maximize this effect you should make your first visit in optimal lighting conditions, i.e. after 2:00PM. Do not make your first visit to Angkor Wat in the morning when the backlighting obscures the view.
The first level of is the most artistically interesting. Most visitors begin their exploration with the bas-reliefs that cover the exterior wall of the first level, following the bas-reliefs counterclockwise around the temple. Bas-relief highlights include the mythological Battle of Kuru on the west wall; the historical march of the army of Suryavarman II, builder of Angkor Wat, against the Cham, followed by scenes from Heaven and Hell on the south wall; and the classic ‘Churning of the Ocean Milk’ on the east wall.
The temple interior is not as densely carved as the first level exterior, but still sports hundreds of fine carvings of apsaras and scenes from Hindu mythology. A guide can be quite helpful in explaining the stories of the various chambers, statues and architectural forms to be found in the interior. At the upper-most of your tour of the temple, the central tower on the third level houses four Buddha images, each facing a different cardinal point, highlighting the fact that though Angkor Wat was constructed as a Hindu temple, it has served as a Buddhist temple since Buddhism became Cambodia’s dominant religion in the 14th century. Some say that it is good luck to pay homage to all four Buddha images before departing Angkor.
Source: Canby Publications Co., Ltd
Angkor Wat is visually, architecturally and artistically breathtaking. It is a massive three-tiered pyramid crowned by five lotus-like towers rising 65 meters from ground level. Angkor Wat is the centerpiece of any visit to the temples of Angkor.
At the apex of Khmer political and military dominance in the region, Suryavarman II constructed Angkor Wat in the form of a massive 'temple-mountain' dedicated to the Hindu god, Vishnu. It served as his state temple, though the temple’s uncommon westward orientation has led some to suggest that it was constructed as Suryavarman II’s funerary temple. Other temples of the same style and period include Thommanon, Banteay Samre, Wat Atwea and Beng Melea, which may have served as a prototype to Angkor Wat.
Angkor Wat is surrounded by a moat and an exterior wall measuring 1300 meters x 1500 meters. The temple itself is 1 km square and consists of three levels surmounted by a central tower. The walls of the temple are covered inside and out with bas-reliefs and carvings. Nearly 2000 distinctively rendered apsara carvings adorn the walls throughout the temple and represent some of the finest examples of apsara carvings in Angkorian era art. But it is the exterior walls of the lower level that display the most extraordinary bas-reliefs, depicting stories and characters from Hindu mythology and the historical wars of Suryavarman II. It is in the viewing of the bas-reliefs that a tour guide can be very helpful.
The northern reflecting pool in front is the most popular sunrise location. For sunrise, arrive very early, well before sunrise begins. The sun will rise behind Angkor Wat providing a silhouette of Angkor’s distinctively shaped towers against a colored sunrise sky. Some of the best colors appear just before the sun breaks over the horizon.
The visual impact of Angkor Wat, particularly on one's first visit, is awesome. As you pass through the outer gate and get your first glimpse, its size and architecture make it appear two dimensional, like a giant postcard photo against the sky. After you cross through the gate and approach the temple along the walkway it slowly gains depth and complexity. To maximize this effect you should make your first visit in optimal lighting conditions, i.e. after 2:00PM. Do not make your first visit to Angkor Wat in the morning when the backlighting obscures the view.
The first level of is the most artistically interesting. Most visitors begin their exploration with the bas-reliefs that cover the exterior wall of the first level, following the bas-reliefs counterclockwise around the temple. Bas-relief highlights include the mythological Battle of Kuru on the west wall; the historical march of the army of Suryavarman II, builder of Angkor Wat, against the Cham, followed by scenes from Heaven and Hell on the south wall; and the classic ‘Churning of the Ocean Milk’ on the east wall.
The temple interior is not as densely carved as the first level exterior, but still sports hundreds of fine carvings of apsaras and scenes from Hindu mythology. A guide can be quite helpful in explaining the stories of the various chambers, statues and architectural forms to be found in the interior. At the upper-most of your tour of the temple, the central tower on the third level houses four Buddha images, each facing a different cardinal point, highlighting the fact that though Angkor Wat was constructed as a Hindu temple, it has served as a Buddhist temple since Buddhism became Cambodia’s dominant religion in the 14th century. Some say that it is good luck to pay homage to all four Buddha images before departing Angkor.
Source: Canby Publications Co., Ltd
The visually stunning poster is more interesting than the plot of the movie, which revolves around A witch-finder general who falls in love with the village beauty. Unfortunately for him, she has made a pact with the devil to seduce him and prevent the killing of Satan’s servants.
A visually stunning decorative map of North America dating to 1852, by French map publisher Victor Levasseur. Levasseur published several different editions of his North America map - this being the most desirable due to its depictions of the ephemeral Republic of Texas. Though cartographically minimalist, there are a number of additional important elements that are worthy of note. These include the extension of Oregon territory well into British Columbia, reflecting the American claims that later led to the 54 40' dispute. Also, the Northwest Passage from Atlantic to Pacific is drawn as an open and practically navigable seaway. By far this map's most striking feature is its elaborate allegorical border work. Levasseur composed this map for publication in his magnificent Atlas Nacionale de la France Illustree , one of the most decorative and beautifully produced atlases to appear in the 19th century. This particular map is surrounded by wide and elaborate illustrative border work showing the cultural, natural, and trade richness of the Americas. The left hand side of the map depicts European seamen bargaining for indigenous products. In the background is a Mesoamerican style pyramid, dramatic mountain scenery, and a railroad train. The right hand side of the map shows a cross-section of the flora and fauna common to the continent, including a Bison, vultures, a polar bear, an elk, a fox and an alligator. In the undergrowth, a leopard lies hidden. At the base of the map a classically dressed woman lounges with a St. Bernard and Bale of Cotton. To either side her text boxes offer additional information about the discovery, history, and culture of the region. A population table appearing at the bottom of the map gives statistics for the Arctic (50,000), Alaska or Russian America (50,000), British America (1,200,000), the United States (19,000,000), Texas (200,000), Mexico (8,000,000), Guatemala (3,000,000), and the Antilles (2,720,000) Publised by V. Levasseur in the 1852 edition of his Atlas National de la France Illustree.
Visually Goose Fair is adorned with amazing artwork which possibly gets overlooked. In 2022 I created a short video focusing on it, check it out!
www.youtube.com/watch?v=3Ix1jE9Nt80
These series of photos were taken 28 Sept 2023, the day before the official opening of the fair. People were busy making final adjustments to rides, checking electrics, stock of foods, drinks, gifts and so on.
The Nottingham Goose Fair is an annual travelling funfair held at the Forest Recreation Ground here in Nottingham. This year, 2023, it runs for 10 days, usually it's 3 days.
Album: Goose Fair. Nottingham
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No Group Banners, thanks.
Day 2. Angkor Wat is visually, architecturally and artistically breathtaking. It is a massive three-tiered pyramid crowned by five lotus-like towers rising 65 meters from ground level. Angkor Wat is the centerpiece of any visit to the temples of Angkor.
At the apex of Khmer political and military dominance in the region, Suryavarman II constructed Angkor Wat in the form of a massive 'temple-mountain' dedicated to the Hindu god, Vishnu. It served as his state temple, though the temple’s uncommon westward orientation has led some to suggest that it was constructed as Suryavarman II’s funerary temple. Other temples of the same style and period include Thommanon, Banteay Samre, Wat Atwea and Beng Melea, which may have served as a prototype to Angkor Wat.
Angkor Wat is surrounded by a moat and an exterior wall measuring 1300 meters x 1500 meters. The temple itself is 1 km square and consists of three levels surmounted by a central tower. The walls of the temple are covered inside and out with bas-reliefs and carvings. Nearly 2000 distinctively rendered apsara carvings adorn the walls throughout the temple and represent some of the finest examples of apsara carvings in Angkorian era art. But it is the exterior walls of the lower level that display the most extraordinary bas-reliefs, depicting stories and characters from Hindu mythology and the historical wars of Suryavarman II. It is in the viewing of the bas-reliefs that a tour guide can be very helpful.
The northern reflecting pool in front is the most popular sunrise location. For sunrise, arrive very early, well before sunrise begins. The sun will rise behind Angkor Wat providing a silhouette of Angkor’s distinctively shaped towers against a colored sunrise sky. Some of the best colors appear just before the sun breaks over the horizon.
The visual impact of Angkor Wat, particularly on one's first visit, is awesome. As you pass through the outer gate and get your first glimpse, its size and architecture make it appear two dimensional, like a giant postcard photo against the sky. After you cross through the gate and approach the temple along the walkway it slowly gains depth and complexity. To maximize this effect you should make your first visit in optimal lighting conditions, i.e. after 2:00PM. Do not make your first visit to Angkor Wat in the morning when the backlighting obscures the view.
The first level of is the most artistically interesting. Most visitors begin their exploration with the bas-reliefs that cover the exterior wall of the first level, following the bas-reliefs counterclockwise around the temple. Bas-relief highlights include the mythological Battle of Kuru on the west wall; the historical march of the army of Suryavarman II, builder of Angkor Wat, against the Cham, followed by scenes from Heaven and Hell on the south wall; and the classic ‘Churning of the Ocean Milk’ on the east wall.
The temple interior is not as densely carved as the first level exterior, but still sports hundreds of fine carvings of apsaras and scenes from Hindu mythology. A guide can be quite helpful in explaining the stories of the various chambers, statues and architectural forms to be found in the interior. At the upper-most of your tour of the temple, the central tower on the third level houses four Buddha images, each facing a different cardinal point, highlighting the fact that though Angkor Wat was constructed as a Hindu temple, it has served as a Buddhist temple since Buddhism became Cambodia’s dominant religion in the 14th century. Some say that it is good luck to pay homage to all four Buddha images before departing Angkor.
Source: Canby Publications Co., Ltd
Submitted by: khin mglwin
Country: myanmar
Organisation: mps myanmar
Category: Professional
Caption: Myanmar children eye care
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Photo uploaded from the #MakeVisionCount Photo Competition website (photocomp.iapb.org)
This competition is held for World Sight Day 2017.
Exploding origami.
The Single Sheet Project:
For my design class; using only a single sheet of paper, make a composition that is 1.) 3-dimensional, 2.) reveals (visually) that the entire paper was used and nothing more was added or taken away and not used.
I complicated the last design project, and decided to "simplify" this one. I thought the origami was a pretty valid solution to the form aspect, and it was fun.
Order and Chance - The Unmaking of Time
Led by artist Sarah Sparkes
Monday 5 March – Saturday 31 March 2012,
This five-session course invites you to celebrate and engage with the diverse body of works and processes developed by the Italian artist Alighiero e Boetti. His extensive artistic practice is unique in the choice of materials, techniques and artistic strategies that he developed over the three decades of his professional life.
Time – its construction and de-construction – appeared as a recurring theme for Boetti. He was interested in the relationship between the conception of an idea and its execution, often directing others to make his artworks. Boetti considered everything in the world of potential use to the artist. The ephemera of the everyday were media through which he could explore his interest in the opposing relationship between order and chance, the individual and society, error and perfection.
Inspired by Boetti’s practice, this course is an opportunity to investigate and practically engage with the methods of working collaboratively and individually to create both intimate and large-scale works. Using everyday, easily accessible ephemera such as postcards, calendars, magazines, diaries, graph paper, maps and charts, we explore the representation of time and other systems of order and how to visually ‘unmake’ them.
This five-session course will conclude with a small exhibition of work on Saturday 31 March 2012, 16.00–17.00 in the Level 7 East Room at Tate Modern, open to friends and family.
Is there anything more visually arresting than a beautiful city at night? That's what I thought as I lined up my camera to take a photo of the memorable Stockholm waterfront as visible from the Af Chapman boat hostel. It was as I pressed the shutter I realised I'd forgotten something. My tripod.
Doubly annoying when you're using film!
Visually exquisite, the Flagler Memorial Presbyterian Church was built by Henry Flagler in 1889. It is one of his most significant projects, because it was constructed as a memorial to Flagler’s only daughter, Jenny. The mausoleum adjacent to the church is where Flagler, his daughter, granddaughter and first wife are buried. At first sight, many are awed by the church's grand Venetian Renaissance-style architecture. Inside and out, every detail was attended to and as is evident, money was no object at the time of its design. Flagler’s masterpiece features hand-carved Santo Domino mahogany, detailed terra cotta frieze work by Italian artists and a massive copper dome. Tours of the church are available daily and offer guests a personal look at this touching memorial and historic site.
Perhaps the most visually stunning aspect of the exhibit, the Glass House was conceptualized by Chihuly and executed by local architecture firm Owen Richards (which also designed McCaw Hall and Seattle International Film Festival’s new headquarters at Seattle Center). Resembling a glass chapel at the foot of the Space Needle.
"There are four materials I work with: glass, plastic, water and ice. Those are really the only transparent materials of any scale. Polyvitro is the name that I coined for a type of polymer we created. I’ve done several projects casting resins or polymer for site-specific projects and hope to explore new ways of using it, ways nobody else would think of. The Polyvitro doesn’t replicate what I can do in glass. It’s a totally different material, and it has enabled me to create artwork on a whole new scale and level. One reason I use it is because it weighs much less than glass. Once again, it depends on the size, scale, and location of the work, whether it be an indoor or outdoor public installation.
Dale Chihuly in a June, 2003 interview by Charles K. Steiner, director of the Wichita Art Museum
Angkor Wat is visually, architecturally and artistically breathtaking. It is a massive three-tiered pyramid crowned by five lotus-like towers rising 65 meters from ground level. Angkor Wat is the centerpiece of any visit to the temples of Angkor.
At the apex of Khmer political and military dominance in the region, Suryavarman II constructed Angkor Wat in the form of a massive 'temple-mountain' dedicated to the Hindu god, Vishnu. It served as his state temple, though the temple’s uncommon westward orientation has led some to suggest that it was constructed as Suryavarman II’s funerary temple. Other temples of the same style and period include Thommanon, Banteay Samre, Wat Atwea and Beng Melea, which may have served as a prototype to Angkor Wat.
Angkor Wat is surrounded by a moat and an exterior wall measuring 1300 meters x 1500 meters. The temple itself is 1 km square and consists of three levels surmounted by a central tower. The walls of the temple are covered inside and out with bas-reliefs and carvings. Nearly 2000 distinctively rendered apsara carvings adorn the walls throughout the temple and represent some of the finest examples of apsara carvings in Angkorian era art. But it is the exterior walls of the lower level that display the most extraordinary bas-reliefs, depicting stories and characters from Hindu mythology and the historical wars of Suryavarman II. It is in the viewing of the bas-reliefs that a tour guide can be very helpful.
The northern reflecting pool in front is the most popular sunrise location. For sunrise, arrive very early, well before sunrise begins. The sun will rise behind Angkor Wat providing a silhouette of Angkor’s distinctively shaped towers against a colored sunrise sky. Some of the best colors appear just before the sun breaks over the horizon.
The visual impact of Angkor Wat, particularly on one's first visit, is awesome. As you pass through the outer gate and get your first glimpse, its size and architecture make it appear two dimensional, like a giant postcard photo against the sky. After you cross through the gate and approach the temple along the walkway it slowly gains depth and complexity. To maximize this effect you should make your first visit in optimal lighting conditions, i.e. after 2:00PM. Do not make your first visit to Angkor Wat in the morning when the backlighting obscures the view.
The first level of is the most artistically interesting. Most visitors begin their exploration with the bas-reliefs that cover the exterior wall of the first level, following the bas-reliefs counterclockwise around the temple. Bas-relief highlights include the mythological Battle of Kuru on the west wall; the historical march of the army of Suryavarman II, builder of Angkor Wat, against the Cham, followed by scenes from Heaven and Hell on the south wall; and the classic ‘Churning of the Ocean Milk’ on the east wall.
The temple interior is not as densely carved as the first level exterior, but still sports hundreds of fine carvings of apsaras and scenes from Hindu mythology. A guide can be quite helpful in explaining the stories of the various chambers, statues and architectural forms to be found in the interior. At the upper-most of your tour of the temple, the central tower on the third level houses four Buddha images, each facing a different cardinal point, highlighting the fact that though Angkor Wat was constructed as a Hindu temple, it has served as a Buddhist temple since Buddhism became Cambodia’s dominant religion in the 14th century. Some say that it is good luck to pay homage to all four Buddha images before departing Angkor.
Source: Canby Publications Co., Ltd
"This painting is one of the most enigmatic sixteenth century portraits in the Royal Collection. It is a visually arresting image: painted full-length, nearly two metres tall, the man is silhouetted against an apparently imaginary landscape with the suggestion of buildings and ruins on the left and curious rock formations on the right. Sixteenth-century portraits showing a sitter dressed entirely in one bright colour (rather than all black) are rare at this date, as are full-length portraits showing the figure in an outdoor setting.
It is difficult to identify the nationality of the artist who painted the Man in Red. In this period artists travelled throughout Europe to work in different centres, the most famous example being Hans Holbein the Younger, who moved from Basel to London. One artist proposed for the Man in Red - Gerlach Flicke (active 1545 – 58) - originated in northwest Germany, was probably trained close to or in the neighbouring Netherlands and was active in London. Many Netherlandish artists were also working in England, for example William Scrots (active 1537 – 53), who worked in England from 1545. This work has previously been attributed to him, though his portraits are different stylistically and technically. No surviving portrait of this date painted in the Holy Roman Empire, France or the Netherlands closely resembles the Man in Red in format, style and technique. Taking into account all the evidence together with the assessment of the costume it seems that the sitter is more likely to be English and the portrait made in England. Analysis of comparable portraits has ruled out a French artist, but it is possible that the artist was German or Netherlandish working in England.
Identifying sitters in portraits painted more than 400 years ago is difficult because of the scarcity of records and comparable likenesses. Various candidates have been proposed for the Man in Red’s identity, although there is currently no conclusive answer. Facially he appears to be an adolescent, possibly in his late teens, with a beard just starting to grow. Evidence from the technical analysis and costume suggests that the painting was produced between c.1530 and c.1550. Assuming the sitter is aged between fifteen and twenty this would put his date of birth between c.1510 and c.1535.
The portrait was sold to Charles II in 1660 when he was at Breda as a portrait of the young Henry VIII by Holbein. The man’s pose, legs apart and hand on hip, is reminiscent of Holbein’s portrayal of Henry VIII. First recorded in the Royal Collection c.1666 – 7, the portrait was unattributed and described as ‘A young man in a red garment, red bonnet and white feather with his hand on his sworde and a dagger hanging by’. During the twentieth century the painting was hung at Hampton Court, before that at Windsor Castle and Somerset House.
On the bottom half of his legs the sitter wears lower stocks, which might be made from woven woollen fabric, knitted silk or dyed deerskin. Above these are upper stocks, constructed from panes of alternating types of fabric, one woven with metal thread and the other probably crimson silk velvet. The two garments would have been laced together above the knee to make up the tailored hose. The fabric shoes are decorated with slashing and buttons. His linen shirt is decorated with foliate blackwork embroidery. The manner in which the clothing has been painted makes the exact combination of garments worn over the shirt hard to interpret. Normally a man would wear a doublet over his shirt, which would be laced to his hose at the waist. Although such a garment is not apparently visible here, it is possible that one with a very low neckline is being worn beneath the coat. This example has skirts below the waistline and is worn open down the front, evidently to display the fine embroidery on the shirt. The outermost layer is a gown reaching to mid-thigh with decorative aglets at the shoulders. It is not clear whether the fabric covering the forearm is part of the coat beneath or the gown. These lower sleeves are decorated with ‘pullings out’ – diaphanous fabric woven with gold thread is pulled through slashes in the layer above. Like most gowns at this date, this one appears to be of velvet. The sheen on the large collar, turned back to reveal the lining of the gown, suggests it is possibly lined with a fabric woven with metal thread. The most expensive fabrics were often reserved for linings.
The painting appears in Pyne's illustrated 'Royal Residences' of 1819, hanging as an overdoor in the Queen's Drawing Room at Windsor Castle (RCIN 922102).
Provenance
Acquired by Charles II in 1660 from William Frizell at Breda (List I no 21) as Holbein of Henry VIII when young; recorded in the Queen's Gallery at Hampton Court in 1666 (no 24)" Royal Collection Trust.
Condensation
Digital Photo on Paper
11" by 14"
Laura Landry
Concordia, KS
I was born blind with an Ulcer Variance of Peter’s Anomaly, and after cornea transplants to restore a tiny amount of vision, I have remained legally blind my entire life. I am extremely near-sighted so in order for me to see the details of almost anything, I must be within a couple inches of the subject. Because my vision has always been so poor, it seems as normal to me as anything else can be. I’ve never let my sight impairment get in the way of my interest. Photography is just one interest on a long list that I am willing and eager to explore in spite of the difficulties such a more visually oriented task may pose. It is a creative in which I find extreme enjoyment. I would even love to turn it into a full-fledged career at some point- even though everyone else I know who does it sees far better than me. I love the challenge of capturing a scene that is both fascinating from my perspective as well as appealing for any other viewer.
Visually the 1957 model was a near-twin to 1956. Engine displacement increased to 283 cu in , fuel injection became optional, and a 4-speed manual transmission was available after April 9, 1957.
Visually distilling what a family get-together can look like, for me.
Canon 5D Classic + Canon EF 50mm F1.8 v1
Creative Visions: A Holiday Boutique is a special art exhibition featuring the work of local blind and visually impaired artists was held at Braille Institute in Los Angeles.
2011
paint and hand embroidery on interfacing
these were created for a show directed towards the visually impaired and are intended to be held, touched and manipulated. i wanted them to still be visually interesting, aesthetically pleasing, etc...but it was challenging to think how i could incorporate texture in a different way so as to "read" the pieces with one's hands.
i imagine that the visually impaired have a heightened sense of touch, so will, perhaps, notice the nuances in stitches and surfaces. plus the verso side is a whole new experience!
Why should someone not talk about Technology, when it comes to seeing the world without anyone's support? SHG Technologies works with Visually Impaired People to understand their difficulties and come up with solutions to make them less dependent on anyone.
Recently there was a very small incident, that inspires me to pen down the #SMART#VISION #GLASSES, developed by SHG Technologies. For the Blind, the only hope is to see the world with their eyes. Eyes could be given physically or with AI. Today AI has been making wonders. It can replace normalcy with data. Artificial Intelligence(AI) could be the best dude for any kind of disability.
SHG Technologies are the only company in India that provides SMART VISION GLASSES, using Artificial Intelligence(AI). It has step-by-step guiding tutors to make any Visually Impaired person to read, walk, recognize and guide them. A guiding voice that processes very quickly to help the Visually challenged people to act immediately or recognize the objects as early as possible.
There are many firms, foundations, and CSR activities, that help Visually Impaired or Blind people for getting back their vision. SHG Technologies' main objective is to reach such organizations to enable their services. It is always not possible to find eyes for blind or Visually impaired people or partially challenged Vision. But, you could always depend on the
technology that is tested on MILLIONS of Visually challenged people and helped
them to meet their requirements. The SMART VISION GLASSES has improved over
some time and commits to keeping improving till all the challenges of a Visually Impaired person are met.
You can buy the SMART VISION GLASSES from many outlets or call for help on SHG Technologies PVT LTD. We always have a support team who would walk-in into your location and give you entire training on the usage of SMART VISION GLASSES. You don’t have to wait for any more to see the world … We are here to help you and show the world with TECHNOLOGY!
The Statistics presented by Research Gate on the Estimation of blindness in India from 2000 through 2020:
Published on 05-Jul-2022
We used these population-based data to estimate blindness in India in 2000 and project the possible scenarios of blindness through 2020 with different emphases on the blindness control policy in India. Recent population-based data on the age-, sex- and cause-specific blindness rates from the Andhra Pradesh Eye Disease Study for the entire age range were applied to the population distribution of India to estimate the number of blind persons in 2000. The age-, sex- and cause-specific rates of blindness were then applied to the estimated age, sex, and urban-rural population distribution of India in 2010 and 2020 to project the number of persons blind (from various causes) and the blind person-years that would be suffered under varying degrees of emphasis in the policy to control blindness due to particular diseases. For these projections, blindness was defined as a presenting distance visual acuity of < 6/60 or a central visual field < 200 in the better eye. The number of blind persons in India in 2000 was estimated to be 18.7 million (95% confidence interval [CI]: 15.2-22.3), of which 9.5 million were cataract-related and 3 million refractive error-related. If there is no change in the current trend of blindness, the number of blind persons in India would increase to 24.1 million (95% CI: 19.7-28.4) in 2010, and to 31.6 million (95% Cl: 26.4-36.9) in 2020. If effective strategies are put in place to eliminate 95% of blindness due to cataracts by 2020, blindness in 15.6 million persons would be prevented who would otherwise be blind in 2020 if the current trend continues, and 78 million blind person-years would be prevented in these persons. Similarly, if effective strategies are also implemented to eliminate 95% of the refractive error blindness by 2020, another 4.2 million persons would be prevented from being blind in 2020, and 82 million blind person-years would be prevented. In addition, if strategies to prevent 90% of the preventable blindness due to corneal disease and glaucoma are successful by 2020, blindness in an additional 3.6 million persons in 2020 and 29 million blind person-years would be prevented. The planning of blindness control in India should take into account recent population-based data for the entire age range, which suggest that the number of blind persons in India is currently over 18 million. This estimate is 50% more than the figure of 12 million from a decade ago that is still quoted widely in the blindness control policy documents. If avoidable blindness is to be substantially reduced in India by 2020, effective strategies against blindness due to cataracts and refractive error are needed urgently as both these conditions are relatively easy to treat. Also, strategies against preventable corneal and glaucoma blindness need to be strengthened soon for them to show an impact over the next two decades.
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The most colorful and visually spectacular valley in Yellowstone, Wyoming is the Grand Canyon of the Yellowstone. Two large waterfalls occur along this stretch of the river - the Upper Falls and the Lower Falls.
The rocks of the canyon include rhyolite lava flows, rhyolitic volcanic tuffs, and some sedimentary deposits - all are geologically young and date to the Quaternary.
Yellows, pinks, reds, and oranges are common colors in the canyon (see elsewhere in this photostream). They indicate the presence of hydrothermally altered rocks. Hydrothermal metamorphism refers to the intense alteration by superheated groundwater. Yellowstone has over 100,000 hydrothermal features in the form of hot springs, geysers, fumaroles, and mudpots.
The vertical feature shown in the picture is a narrow landslide chute. Well-developed rockslide chutes are common along the very steep walls of the canyon.
Locality: view from Inspiration Point, northern rim of the Grand Canyon of the Yellowstone, northwestern Wyoming
Lighthouse International’s first 5K Tandem Bike Ride and Walk, Double Up 4 Vision. The event pairs people with and without sight on tandem bikes and as walking teams.
Pop Art - a rolling daily diary comprising a manipulated digital art collage that visually documents a local, political or international event of popular culture based on fractured photographic images.
The work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.
Adapting Pop Arts notion of mass media imagery into a context of the contemporary digital age, this work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our subconsciousness.
This work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead focusing on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.
This work considers elements of Pop Art through an artistic and conceptual exploration of specific people and events of the day. The works are diaristic in nature that metaphorically record a spectators experience of the contemporary digital age.
Courageous, visually spectacular,emotionally engaging, production of raw, provocative dance theatre, inspired by Japanese Butoh, burlesque and cabaret, performed by infamous Australian physical theatre company Zen Zen Zo. Played to packed houses across Australia. www.zenzenzo.com
Angkor Wat is visually, architecturally and artistically breathtaking. It is a massive three-tiered pyramid crowned by five lotus-like towers rising 65 meters from ground level. Angkor Wat is the centerpiece of any visit to the temples of Angkor.
At the apex of Khmer political and military dominance in the region, Suryavarman II constructed Angkor Wat in the form of a massive 'temple-mountain' dedicated to the Hindu god, Vishnu. It served as his state temple, though the temple’s uncommon westward orientation has led some to suggest that it was constructed as Suryavarman II’s funerary temple. Other temples of the same style and period include Thommanon, Banteay Samre, Wat Atwea and Beng Melea, which may have served as a prototype to Angkor Wat.
Angkor Wat is surrounded by a moat and an exterior wall measuring 1300 meters x 1500 meters. The temple itself is 1 km square and consists of three levels surmounted by a central tower. The walls of the temple are covered inside and out with bas-reliefs and carvings. Nearly 2000 distinctively rendered apsara carvings adorn the walls throughout the temple and represent some of the finest examples of apsara carvings in Angkorian era art. But it is the exterior walls of the lower level that display the most extraordinary bas-reliefs, depicting stories and characters from Hindu mythology and the historical wars of Suryavarman II. It is in the viewing of the bas-reliefs that a tour guide can be very helpful.
The northern reflecting pool in front is the most popular sunrise location. For sunrise, arrive very early, well before sunrise begins. The sun will rise behind Angkor Wat providing a silhouette of Angkor’s distinctively shaped towers against a colored sunrise sky. Some of the best colors appear just before the sun breaks over the horizon.
The visual impact of Angkor Wat, particularly on one's first visit, is awesome. As you pass through the outer gate and get your first glimpse, its size and architecture make it appear two dimensional, like a giant postcard photo against the sky. After you cross through the gate and approach the temple along the walkway it slowly gains depth and complexity. To maximize this effect you should make your first visit in optimal lighting conditions, i.e. after 2:00PM. Do not make your first visit to Angkor Wat in the morning when the backlighting obscures the view.
The first level of is the most artistically interesting. Most visitors begin their exploration with the bas-reliefs that cover the exterior wall of the first level, following the bas-reliefs counterclockwise around the temple. Bas-relief highlights include the mythological Battle of Kuru on the west wall; the historical march of the army of Suryavarman II, builder of Angkor Wat, against the Cham, followed by scenes from Heaven and Hell on the south wall; and the classic ‘Churning of the Ocean Milk’ on the east wall.
The temple interior is not as densely carved as the first level exterior, but still sports hundreds of fine carvings of apsaras and scenes from Hindu mythology. A guide can be quite helpful in explaining the stories of the various chambers, statues and architectural forms to be found in the interior. At the upper-most of your tour of the temple, the central tower on the third level houses four Buddha images, each facing a different cardinal point, highlighting the fact that though Angkor Wat was constructed as a Hindu temple, it has served as a Buddhist temple since Buddhism became Cambodia’s dominant religion in the 14th century. Some say that it is good luck to pay homage to all four Buddha images before departing Angkor.
Source: Canby Publications Co., Ltd