A selection of stunning pictures of the water lily harvest in Vietnam, captured by Pham Huy Trung, a talented Vietnamese photographer based in Ho Chi Minh City.
Source: CEO-founder of Visualflood. A Brazilian fine art photographer, among other things, who loves visual arts, nature, science, and innovative technologies. You can follow him on Facebook and Instagram.
What is Japandi? Japandi (Japanese minimalism + Scandinavian hygge) is everywhere you look these days. Get the look yourself with perfectly imperfect décor and accents, functional pieces, and layers of natural materials. […] Japandi: A Blend of Minimalism & Hygge — Wyndesong’s Place
“Paint Box” (1302–1070 BCE), Egyptian, ceramic and pigment cakes, 2 5/16 x 8 11/16 x 2 3/16 inches, RISD Museum (courtesy RISD Museum)
Despite all of the ancient painted objects in our museums, it’s rare to see an actual paint set.
For all the paint fragments found throughout the ancient world, on murals, pottery, sculpture, and scrolls, surprisingly few ancient paint palettes have been uncovered. Ancient palettes in the collections of the Metropolitan Museum of Art in New York, the British Museum in London, and the Louvre in Paris — among other institutions — number in the single digits. This is even more surprising now that scholars know ancient Greek and Roman statues were vibrantly painted.
The palettes we do have, many of which still contain traces of original pigment, show us how people painted, but they also tell us about the role of the painter in ancient civilizations.
“Scribe’s Palette” (ca. 2030-1550 BCE), Egyptian, wood and pigment, 13 5/8 x 1 11/16 x 11/16 inches, Metropolitan Museum of Art (courtesy Metropolitan Museum of Art)
Most of the existing paint boxes and palettes are Ancient Egyptian: They belonged to scribes, tomb painters, and recreational painters of the upper classes. Some include the original brushes — for scribes, pen-like lengths of rush grass, and for professional and recreational illustrators, thicker bundles of grass to compose larger images.
“Paint Box of Vizier Amenemope” (ca. 1427-1401 BCE), boxwood with inscription inlaid in Egyptian blue, 7/8 x 8 1/4 x 1 7/16 inches, The Cleveland Museum of Art (courtesy Cleveland Museum of Art)
Scribes’ palettes mostly held only red and black pigments and many bear inscriptions of the king’s name, suggesting the importance of the scribe in the eyes of the ruler. Inscriptions with the king’s name — as in a palette at the British Museum featuring hieroglyphs in high relief that read “the perfect god, lord of the Two Lands, Nebpehtire, s[on of Ra, Ahmose]” — may have noted that the owner was the king’s official scribe and suggest that perhaps the king himself gave the palette to the scribe.
An Ancient Egyptian painting palette owned by a professional painter and housed at the Met also bears the king’s name, but one at the Cleveland Museum of Art includes the name of the owner himself, signifying it was likely used for leisurely painting. Unlike scribes’ bicolor palettes, recreational and tomb painters used a wider range of colors, all naturally occurring besides so-called “Egyptian blue.”
Replacing the expensive lapis lazuli, Egyptian blue was a synthetic compound made by heating malachite, sand, and other materials to a temperature of 1,500-2,000 degrees Fahrenheit. The method was adopted by the Ancient Romans, but by the Middle Ages, the process was lost, and painters relied once again on the prohibitively expensive lapis lazuli.
“Painter’s Palette Inscribed with the Name of Amenhotep III” (ca. 1390–1352 BCE), ivory and pigment, 6 7/8 x 1 3/4 inches x 3/8 inches, The Metropolitan Museum of Art (courtesy The Metropolitan Museum of Art)
In Ancient Egypt, blue was used to paint the gods (red, yellow, black, and green all came from the ground, making them unfit to depict deities). This concept is seen again in Christian art centuries later, with Mary and Jesus repeatedly depicted in blue.
Across the world and made centuries after the Egyptian palettes, another ancient paint setlinks the painter to the divine.
This new outstanding dance creation by Red Sky, a Toronto based contemporary dance and theater company, brings together the Indigenous cultures of Canada, Mongolia and China and is heavily grounded in the theme of horse culture. Sandra Laronde, artistic director of Red Sky, explains the creative process behind Tono, an innovative three-country project involving eleven dancers and musicians.
Dance has always played a vital role in Aboriginal cultures. It is a connection to the spirit, to the land, and a deep expression to our gratitude. In the Indigenous worldview, the horse is revered and respected. When one thinks about the horse at war, at play or as a helper of humankind, we realize the horse has made a considerable contribution to civilizations around the world.
Born from something natural and evolves into something astonishing.
This project was born in April 2016 and consists of a specially designed electronic circuit that manages to extend the transfer of ions from a saline medium to convert them into useful and immediate energy. The electrodes of the salt bridge make it possible to drain energy from the salt water, (a known process), but with the electronic circuit with which it is possible to extract around 500 watts for each liter of water. The prototypes that we have developed are portable equipment weighing around 2 kilos. These teams can be scaled up to industrial production quickly. The Waterlight project can be scaled up vertically and horizontally in many ways.
As goals for the immediate future, to connect several units to a central base and in this way produce and extract greater amounts of energy.
A second goal is to be able to make plants on the shore of beaches to produce energy in significant quantities, continuously and for immediate use or to store in accumulators. The effluents from this process provide additional value by becoming fertilizers or drinking water, the energy of which for the desalination process comes from the same equipment.
Salt water is abundant and covers 73% of the earth’s surface. We can immediately extract 2 kilowatts from a cubic meter of salt water. We can extend this extraction for 10 continuous days, but ideally it should be a 24-hour process to change the saline medium and then reload it. In the development of small units, the Waterlight project provides an immediate solution that can directly benefit communities that lack lighting and a small electrical source; It can supply light and it can also be the electrical source where they can charge a cell phone or listen to a radio. The Waterlight for individual use also has applications in the field of recreation (camping), navigation (at all levels) and education (turning on a computer or a television). The project has a PCT Patent pending.
ANCESTRAL CONNECTION
The design is inspired by the Colombian Wayúu community and their ancestral connection with the sea.
RECYCLABLE
Assembled with 100% recyclable materials.
TRADITION
Strap knitted with kanas figures, millenary Wayúu handicrafts
Spring Equinox/Ostara How to Celebrate Now The Spring Equinox is a time of new beginnings, of action, of planting seeds for future grains, and of tending gardens. Spring is a time of the Earth’s renewal, a rousing of nature after the cold sleep of winter. Eggs and Egg Baskets, coloring eggs, bird watching, egg hunts, […]
Spring Equinox Celebrations in the past For early Pagans in the Germanic countries, this was a time to celebrate planting and the new crop season. Typically, the Celtic peoples did not celebrate Ostara as a holiday, although they were in tune with the changing of the seasons. Persian kings known as the Achaemenians celebrated the […]
May the festival of color paint your life to being true to yourself, being true to your heart and soul and celebrating the love, joy, renew and rebirth of nature. Happy Holi- Nisha Designs
Beth Moon, a photographer based in San Francisco, has been searching for the world’s oldest trees for the past 14 years. She has traveled all around the globe to capture the most magnificent trees that grow in remote locations and look as old as the world itself.
“Standing as the earth’s largest and oldest living monuments, I believe these symbolic trees will take on a greater significance, especially at a time when our focus is directed at finding better ways to live with the environment” writes Moon in her artist statement.
Sixty of Beth Moon’s duotone photos were published in a book titled “Ancient Trees: Portraits Of Time”. Here you can have a sneak preview of the book, full of strangest and most magnificent trees ever.