Beautiful and magical misty morning on Tamblingan lake. The site contains the archaeological remains of the 10th-century Tamblingan civilization. The lake and the surrounding settlements are designated as a spiritual tourism area protected from modern development. The area is surrounded by many ancient Balinese temples that are associated with the ancient Tamblingan civilization.
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Pszczyna Castle, Poland🇵🇱
. .”Pszczyna changed its owner few times in the history. The todays castle used to be a gothic fortification, back in the middle ages, but was reconstructed into renaissance residence in the 16th century. This was just the first of the major changes. The biggest changes were made during the times of Dukes of Anhalt-Köthen-Pless in 18th and 19th centuries, who expanded the #estate and founded #park around it.
The present shape of the #castle and its surrounding was executed by the successor of the Dukes, Prince Hans Heinrich XI, Duke of Hochberg. One must know the #Silesia, land where Pszczyna lies, was under #Prussian rule after the partition of Poland in 1795. Soon, this beautiful place became very popular as a hunting palace for German nobles, Dukes and even Emperors.
Between 1870 and 1876 the #residence was rebuilt by the French architect Aleksander Hipolit Destailleur into the two-story palace-castle on a quadrangle plan in the style of 17th century French #architecture.
As the official site of the Castle says:
Between 1914 and 1917 the Pszczyna castle played an important role #housing an Emperor’s Headquarters and the General Stuff of the German Army. It was here, in Pszczyna, where the #Emperor, the Chief of General Staff, Marshal Paul von Hindenburg, and the Chief of Eastern Staff, General Erich von Ludendorff, were making military decisions changing the #history of Europe.
In 1922 Pszczyna was incorporated into the #Polish state and remains within its borders until today. Thankfully it survived the II World War almost intact.
The castle in Pszczyna is one of the very few museums of this type in this part of Europe with so many elements of preserved historical #furnishings. In 1995 the museum was rewarded with an honourable diploma for the concept of #interior#renovation by organization Europa Nostra with its seat in Hague, the pan-European federation for cultural heritage: “For diligent reconstruction of the castle interiors with their #furnishings based on thorough #historical researches which brought back the #splendour of the beginning of the twentieth century”. Courtesy PolishArms / Pszczyna Castle
A Look Through History colourisation of Joe “The Boss” Masseria lying dead on the floor of a Coney Island restaurant holding the Ace of Spades; 1931.
Joe was the head of one of the key New York crime families locked in a war for money, respect, and power.
In climbing through the ranks he had his hands in multiple murders and power plays including arranging a meeting for peaceful resolution only for it to be a set up to take out his rival.
It has been said that multiple people were in on the hit including possibly the restaurant owner and that whilst playing cards upcoming mobster Lucky Luciano excused himself to go to the toilet. This was the signal for the hit with 20 rounds of lead finding their target including 4 in the back and 1 in the head.
Despite the incredible placement of the card in this photo many believe it to be planted by the photographer.
#Astazi în istorie: #13decembrie1983
A incetat din viata, la varsta de 50 de ani, Nichita Stănescu.
Poetul Nichita Stănescu s-a născut la 31 martie 1933, la Ploieşti. Tatăl său, Nicolae Stănescu, era comerciant, iar mama, Tatiana, provenea dintr-o familie nobilă rusească refugiată în România în 1917.
Nichita Stănescu a urmat cursurile şcolii primare, între 1940 şi 1944, la Ploieşti (primele două clase) şi, după evacuarea oraşului din cauza războiului, la Buşteni şi, în refugiu, la Vălenii de Munte, iar apoi, între 1944 şi 1952, cursurile Liceului ''Sf. Petru şi Pavel'' din Ploieşti (numit ulterior Liceul ''I.L. Caragiale'').
Între 1952-1957 urmează cursurile Facultăţii de Filologie a Universităţii din Bucureşti. Îi are ca profesori pe Tudor Vianu, Iorgu Iordan, Al. Rosetti, Al. Graur, iar printre colegi pe Matei Călinescu şi pe Eugen Simion, care îi fusese şi coleg de liceu.
A fost corector, în perioada 1957-1960, apoi redactor, până în 1968, la revista ''Gazeta literară'', în 1969 a fost numit redactor-şef adjunct la revista ''Luceafărul'', iar între anii 1970-1973 a fost redactor-şef adjunct la revista ''România literară''. Avea să colaboreze, ulterior, şi la alte reviste: ''Viaţa românească'', ''Orizont'', ''Argeş'', ''România literară''.
Nichita Stănescu a debutat în revista ''Tribuna'', la 17 martie 1957, cu poeziile ''Au fost oameni mulţi...'', ''La lemne, Pământ!'', sub titlul generic ''1907''. Versurile fuseseră recomandate de Dumitru Micu, asistent universitar şi critic literar. La 21 martie 1957 Nichita Stănescu reuşeşte să publice poemul ''1907'' în ''Gazeta literară'', condusă atunci de Zaharia Stancu. Debutează editorial în 1959, în volumul colectiv ''Sub semnul revoluţiei: 30 de tineri poeţi'', cu o prefaţă de Mihai Gafiţa, iar individual cu ''Sensul iubirii'', carte apărută în 1960, ''primită bine de criticii tineri, care au sentimentul că se întoarce o pagină nouă în poezia românească'' (''Dicţionarul general al literaturii române'').
929 hours ago
#Astazi în istorie: #13decembrie1863
Guvernul Kogalniceanu a votat Legea secularizarii averilor manastiresti, un deziderat al Revoluției de la 1848.
Secularizarea averilor manastiresti a fost, alături de reforma agrară, una dintre reformele fundamentale adoptate de Alexandru Ioan Cuza pentru modernizarea României, prin care proprietățile bisericilor și mănăstirilor închinate din țară au fost trecute în proprietatea statului. Măsura adoptată în 1863, la 4 ani de la Unirea Principatelor, era fundamentală pentru formarea noului stat român, întrucât 1/4 din suprafața arabilă a țării aparținea mănăstirilor românești aflate sub influență preponderent greacă. Aceste proprietăți generau anual venituri de circa 7 milioane de franci, bani care luau calea străinătății și pe care călugării greci instalați în mănăstiri îi cheltuiau fără să dea socoteală autorităților și fără să aducă un folos real românilor.
#istoriazilei#istorie#romania#history#historical #1848 #1863
Heft 5 – Gigon/Guyer, Kalkriese
28 pages, 27 color images
«Drei Merkmale ördlich von Osnabrück, nahe bei Bramsche, unterlagen die Römer im Jahre 9 n.Chr. in der Varusschlacht den Germanen. 2000 Jahre später haben die Architekten Gigon /Guyer, zusammen mit den Landschaftsarchitekten Schweingruber Zulauf, das Schlachtfeld mit einem Museumspark vergegenwärtigt. Das Team gewann den Wettbewerb 1998.»
109 hours ago
Repost from @petermanion_art (Opening Reception @houskagallery December 14. 5-8pm) Raft of Medusa//2016//47.5x70.25//oldie but a goodie work getting a new frame//(; I’ve added the story from Wikipedia//
The Raft of the Medusa (French: Le Radeau de la Méduse [lə ʁado d(ə) la medyz]) is an oil painting of 1818–19 by the French Romantic painter and lithographer Théodore Géricault (1791–1824). Completed when the artist was 27, the work has become an icon of French Romanticism. At 491 cm × 716 cm (16' 1" × 23' 6"), it is an over-life-size painting that depicts a moment from the aftermath of the wreck of the French naval frigate Méduse, which ran aground off the coast of today's Mauritania on 2 July 1816. On 5 July 1816, at least 147 people were set adrift on a hurriedly constructed raft; all but 15 died in the 13 days before their rescue, and those who survived endured starvation and dehydration and practised cannibalism. The event became an international scandal, in part because its cause was widely attributed to the incompetence of the French captain. .
#workonpaper#contemporaryart#petermanion_art#alfagallerymiami#abstraction#interpret#painting#mixedmedia#modern#artstl#groupshow#théodoregéricault#medusa#raftofmedusa#favorite #2018 #historical#frenchculture#france
Ve buluşma vakti geldi. İçimize sığmayan heyecanla 2018-19 sonbahar/kış sezonu koleksiyonlarımız görücüye çıktı. İşte her birinden sadece birer adet olan kişiye özel üretimlerle tarzınıza ayrıcalık katacak CODE küpeler.
Bu sezon CODE küpeler, özel üretim bronz parçalarla harmanlanmış; detaylarında inci, mercan, safir, turmalin ve akik gibi doğal taşlar barındıran üç koleksiyonla sizlerin beğenisine sunuldu.
Uyanış, Sonbahar Festivali ve Doğanın Dokusu.
Biz CODE Slow Lab.’da yeni heyecanlara yelken açarken, sizlere koleksiyonlarımızdaki kodları yakalamanız dileklerimizle…
And finally it's time to meet. Here is the CODE debut collection for 2018-19 winter season earrings, which will complete your style with custom-made productions that are only one from each. That is, all the CODE collections are unique for you.
CODE 2018-19 fall/winter season collections are Awakening, Fall Festival and Texture of the Nature.
This season, CODE earrings custom-made bronze pieces blended with natural stones such as pearl, coral, sapphire, tourmaline and agate.
We have started design new pieces with the full of excitement at CODE Slow Lab. and wish you to catch the codes in our collections.
Oh history! How fun history is when there is also a romantic storyline. I’m not very familiar with this romantic style, but I do appreciate a good historical romance! What about you? What’s your style?
1519 hours ago
Painted wooden door of 'Panchmukhi' (five headed) Hanuman. 20th century. Rajasthan. ⚠️The exhibition “HANUMAN : The Divine Simian” is on at Indira Gandhi National Centre for the Arts (IGNCA), Janpath, New Delhi from 19th November till 31st December, 2018.
1619 hours ago
More custom details! I had Daltile make the tile floor pattern that I wanted. It took four different 12x24 mosaic sheets to complete the repeat. And I had a salvaged stain glass window that I found in Pasadena sandwiched between two other sheets of glass to create a thermo window for the steam shower.
Ship of fools ~ Hieronymus Bosch ~ 1490-1500 ~ Louvre, Paris.
Feel like I've been captaining this ship all week, counting down the days until the weekend.
Part of a tryptich of 3 panels. This incomplete section of the panel is now kept in the Louvre. The two other sections show an "Allegory of Gluttony" and "Death and the Miser". The image here shows ten people adrift in a boat, two others overboard. In the centre of the group is a nun playing a lute and a friar. To the left of the image, a woman appears to be about to hit a man who is dragging a flagon in the water.
To the right of the picture another guy appears to be puking over the side. Above him, a man dressed as a fool, is drinking from a cup. One of the boatmen is using a huge ladle instead of an oar, the other has a flagon on the end of his oar. Dangling from the mast is a pancake which the main group may be wanting to eat. Climbing up the mast is another character who is about to carve some meat from a roasted bird strapped to the mast/tree. Sitting in the mast appears an owl, which in medieval times was a symbol of bad luck.
Overall the painting is of a group of fools adrift in the sea of life, eating and drinking to excess. They are without morals and rudderless despite the church being on board. They all are lacking direction in life and oblivious to the men overboard.