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Heart emotion faces - joy and sadness masks

A set of coloured heart faces with different emotions. *** If you need more variations on this theme, feel free to contact me (leave a comment via Tools tab). ***. A set of coloured heart faces with different emotions. *** If you need more variations on this theme, feel free to contact me (leave a comment via Tools tab). ***

Chinese Pet Hospital

Chinese Pet Hospital

Tiny flowers of asparagus

Tiny flowers of asparagus

Yellow River on the meadows when sunset

When travelling in Tibet of China in autumn, headwaters Yellow River on the meadows appear in front of us, with sunset. When travelling in Tibet of China in autumn, headwaters Yellow River on the meadows appear in front of us, with sunset.

Animation 3D shows how a solar panel is divided into its parts while rotating 360 degrees, the names of each part appear

Animation 3D shows how a solar panel is divided into its parts while rotating 360 degrees, the names of each part appear

Pretty young lady sitting near black piano

Pretty young lady sitting near black piano in grey dress with fur scarf around neck isolated

Young woman standing separated

Young blonde in wedding dress separated. Young blonde in wedding dress separated

Buddha statue, Nakhon Sawan Province, Thailand.

Beautiful image of buddha at Wat Pasiriwattanavisut, Nakhon Sawan Province, Thailand. created with money donated by people to hire artist. They are public domain or treasure of Buddhism, no restrict in copy or use, no name of artist appear (but, if there is artist name, it only for tell who is the artist of work, not for copyright). This photo is taken under these conditions. Beautiful image of buddha at Wat Pasiriwattanavisut, Nakhon Sawan Province, Thailand. created with money donated by people to hire artist. They are public domain or treasure of Buddhism, no restrict in copy or use, no name of artist appear (but, if there is artist name, it only for tell who is the artist of work, not for copyright). This photo is taken under these conditions.

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 15a

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. Riding through a ruined village, the Sasanian Nūshirvān and his Prime Minster Dastūr see two owls talking. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. Riding through a ruined village, the Sasanian Nūshirvān and his Prime Minster Dastūr see two owls talking. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Objects in Mirror

Objects in Mirror

Expensive house in sunlight

Expensive house in sunlight

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 104b

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. The reconciliation of Khusraw and Shīrīn. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. The reconciliation of Khusraw and Shīrīn. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 145b

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. Bahrām Gūr in the black pavilion. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. Bahrām Gūr in the black pavilion. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Fossil Creek seems to appear out of nowhere, gushing 20,000 gallons a minute out of a series of springs at the bottom of a 1,600 foot deep canyon. Over the years these calcium laden waters have laid down huge deposits of a type of limestone called travertine. That rock-like substance encases whatever happens to fall into the streambed, forming the fossils for which the area is named. Fossil Creek is one of two "Wild and Scenic" rivers in Arizona. This special designation was achieved when the Irving power plant was decommissioned, and removal of flume and dam on the creek allowed this magnificent creek to once again flow freely through Arizona's arid landscape. Most people come to Fossil Creek to sunbathe, wade, hike and birdwatch. It's also a great place to take photographs. The lushness of the riparian area strikes a sharp contrast to the brittle desert that surrounds it. Increasing popularity has led to the Coconino and Tonto National Forests to implement a parking permit reservation system in 2016. Reserved parking permits give visitors the peace of mind knowing they'll have a spot waiting for them in this remote location. Many visitors drive two or three hours to get to the creek. The final descent to the creek at the bottom of a canyon is on an extremely rough, rocky jeep road. Photo by Deborah Lee Soltesz. Credit: USFS Coconino National Forest. Learn more about visiting Fossil Creek, Fossil Springs Wilderness, and the Coconino National Forest.

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 193b

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. Iskandar fighting the Zanghis. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. Iskandar fighting the Zanghis. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Vintage traditional Thai style art painting

Vintage traditional Thai style art painting on temple's door (Buddha history). Generality in Thailand, any kind of art decorated in Buddhist church, temple pavilion, temple hall, monk's house etc. created with money donated by people to hire artist. They are public domain or treasure of Buddhism, no restrict in copy or use, no name of artist appear (but, if there is artist name, it only for tell who is artist of work, not for copyright ).

White bellied demoiselle fish

White bellied demoiselle fish in the sea in egypt

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 110a

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. Shīrūyah stabbing Khusraw, his father. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. Shīrūyah stabbing Khusraw, his father. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Large gold reclining buddha in the Pavilion.

Golden Buddha, Reclining Buddha with a large unfinished building, located in White Hall. Generally in Thailand, any kind of art decorated in Buddhist church, temple pavilion, temple hall, monk’s house etc. creaced with money donated by people to hire artist. They are public domain or treasure of Buddhism, no restrict in copy or use, no name of artist appear (but, if there is artist name, it only. Golden Buddha, Reclining Buddha with a large unfinished building, located in White Hall. Generally in Thailand, any kind of art decorated in Buddhist church, temple pavilion, temple hall, monk’s house etc. creaced with money donated by people to hire artist. They are public domain or treasure of Buddhism, no restrict in copy or use, no name of artist appear (but, if there is artist name, it only

Lotus fruits at the summer in Hong Kong

Lotus fruits at the summer in Hong Kong

Ring-Tailed Lemur

It is incredible to see them climb and jump around in that tree. They are derpy little buggers but they are also incredibly quick and nimble. Their enclosure is also a great example of life in captivity done right. Sure, they aren't free. But other than that they can do what they want. They also appear to be pretty happy, they don't show any signs of boredom or aggression, which are usually signs for primates that aren't happy or that went crazy in captivity. These lemurs are curious, they are actively foraging for food and they actually seem to enjoy the presence of the visitors. It is incredible to see them climb and jump around in that tree. They are derpy little buggers but they are also incredibly quick and nimble. Their enclosure is also a great example of life in captivity done right. Sure, they aren't free. But other than that they can do what they want. They also appear to be pretty happy, they don't show any signs of boredom or aggression, which are usually signs for primates that aren't happy or that went crazy in captivity. These lemurs are curious, they are actively foraging for food and they actually seem to enjoy the presence of the visitors.

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 4b

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. The Prophet Muhammad is depicted ascending on Buraq led by the angel Gabriel. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. The Prophet Muhammad is depicted ascending on Buraq led by the angel Gabriel. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Current -- In Explore 14 Nov 2015

Current (1964) by Bridget Riley is a work at the Museum of Modern Art in NYC. Done in synthetic polymer paint on composition board, the curation card notes: Current's undulating black-and-white lines appear to vibrate and form three-dimensional depressions that quiver on the painting's surface. The juxtaposition of black and white activates the painting with the semblance of movement and the appearance of other colors. In this and other early works, Riley "wanted the space between the picture plane and the spectator to be active." She later explored color contrast. View it large and move it around -- a truly extraordnary experience. en.wikipedia.org/wiki/Bridget_Riley Please use the following to link back to the photo if you choose to use it: goo.gl/6KFMXo . Thanks!. Current (1964) by Bridget Riley is a work at the Museum of Modern Art in NYC. Done in synthetic polymer paint on composition board, the curation card notes: Current's undulating black-and-white lines appear to vibrate and form three-dimensional depressions that quiver on the painting's surface. The juxtaposition of black and white activates the painting with the semblance of movement and the appearance of other colors. In this and other early works, Riley "wanted the space between the picture plane and the spectator to be active." She later explored color contrast. View it large and move it around -- a truly extraordnary experience. en.wikipedia.org/wiki/Bridget_Riley Please use the following to link back to the photo if you choose to use it: goo.gl/6KFMXo . Thanks!

Fossil Creek seems to appear out of nowhere, gushing 20,000 gallons a minute out of a series of springs at the bottom of a 1,600 foot deep canyon. Over the years these calcium laden waters have laid down huge deposits of a type of limestone called travertine. That rock-like substance encases whatever happens to fall into the streambed, forming the fossils for which the area is named. Fossil Creek is one of two "Wild and Scenic" rivers in Arizona. This special designation was achieved when the Irving power plant was decommissioned, and removal of flume and dam on the creek allowed this magnificent creek to once again flow freely through Arizona's arid landscape. Most people come to Fossil Creek to sunbathe, wade, hike and birdwatch. It's also a great place to take photographs. The lushness of the riparian area strikes a sharp contrast to the brittle desert that surrounds it. Increasing popularity has led to the Coconino and Tonto National Forests to implement a parking permit reservation system in 2016. Reserved parking permits give visitors the peace of mind knowing they'll have a spot waiting for them in this remote location. Many visitors drive two or three hours to get to the creek. The final descent to the creek at the bottom of a canyon is on an extremely rough, rocky jeep road. Photo by Deborah Lee Soltesz. Credit: USFS Coconino National Forest. Learn more about visiting Fossil Creek, Fossil Springs Wilderness, and the Coconino National Forest.

Stunning baroque Stucco at Oratorio di San Lorenzo Palermo, Sicily, Italy

Stunning baroque Stucco at Oratorio di San Lorenzo Palermo, Sicily, Italy

Traditional Thai style art painting on temple wall

Generality in Thailand, and kind of art decoratedvin Buddhist church, temple pavilion, temple hall, monk's house etc. created with money donated by people to hire artist. They are public domain or treasure of Buddhism, no restrict in copy or use, noname of artist appear (but, if theres is artist name, it only for tell who is the artist of worh, not for copyright). This photo is taken under these. Generality in Thailand, and kind of art decoratedvin Buddhist church, temple pavilion, temple hall, monk's house etc. created with money donated by people to hire artist. They are public domain or treasure of Buddhism, no restrict in copy or use, noname of artist appear (but, if theres is artist name, it only for tell who is the artist of worh, not for copyright). This photo is taken under these

over time, moles and other spots grow on the skin

over time, moles and other spots grow on the skin

Beautyful dragon wooden sculpture.

Beautyfuk dragon wooden sculpture on Chinese temple wall The temple open to the public to watch. And allowed to take photos in the temple. no restriction in copy or use, no name of artist appear. This photo is taken under these conditions. Beautyfuk dragon wooden sculpture on Chinese temple wall The temple open to the public to watch. And allowed to take photos in the temple. no restriction in copy or use, no name of artist appear. This photo is taken under these conditions.

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 160a

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. Bahrām Gūr in the blue pavilion. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. Bahrām Gūr in the blue pavilion. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 258b

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. Iskandar in search of the fountain of life passes by a cave, before which sit the prophets Khiḍr and Ilyās. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. Iskandar in search of the fountain of life passes by a cave, before which sit the prophets Khiḍr and Ilyās. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 29b

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. At a court gathering an old woman speaks with a confidant of King Jamshīd. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. At a court gathering an old woman speaks with a confidant of King Jamshīd. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Bruised Dead Female Hand Photo Manipulation

A photograph of a female hand that has been manipulated to appear bruised and dead. The hand looks like a zombie hand as well. A photograph of a female hand that has been manipulated to appear bruised and dead. The hand looks like a zombie hand as well.

Bright blue glowing computer symbols appear on technology data stream grid

Bright blue glowing computer symbols appear on technology data stream grid

Blossoming cotton tree (Bombax ceiba)

Bombax ceiba, like other trees of the genus Bombax, is commonly known as cotton tree or tree cotton. Red flowers with 5 petals appear in the spring before the new foliage. Bombax ceiba, like other trees of the genus Bombax, is commonly known as cotton tree or tree cotton. Red flowers with 5 petals appear in the spring before the new foliage.

Tiny human face to nature

Tiny human face to nature

Traditional Thai style painting art

The Traditional Thai style painting art on wall of buddhist church, Generality in Thailand, and kind of art decorated in Buddhist church, temple pavilion, temple hall, monk's house etc, created with money donated by people to hire artist. They are public domain or treasure of buddhism, no restrict in copy or use, no name of artist appear

Fins Blades Texture Black and white

Black and white texture (RGB) of slats that appear to be flat blades. Black and white texture (RGB) of slats that appear to be flat blades

Into the sunset.

Sunset or sundown, is the daily disappearance of the Sun below the western horizon as a result of Earth's rotation. The time of sunset is defined in astronomy as the moment when the trailing edge of the Sun's disk disappears below the horizon. The ray path of light from the setting Sun is highly distorted near the horizon because of atmospheric refraction, making the sunset appear to occur when the Sun’s disk is already about one diameter below the horizon. Sunset is distinct from dusk, which is the time at which the sky becomes completely dark, which occurs when the Sun is approximately eighteen degrees below the horizon. The period between sunset and dusk is called twilight. Sunset or sundown, is the daily disappearance of the Sun below the western horizon as a result of Earth's rotation. The time of sunset is defined in astronomy as the moment when the trailing edge of the Sun's disk disappears below the horizon. The ray path of light from the setting Sun is highly distorted near the horizon because of atmospheric refraction, making the sunset appear to occur when the Sun’s disk is already about one diameter below the horizon. Sunset is distinct from dusk, which is the time at which the sky becomes completely dark, which occurs when the Sun is approximately eighteen degrees below the horizon. The period between sunset and dusk is called twilight.

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 2a

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. This is the left side of an illuminated double-page opening initiating the poem Makhzan-i asrār. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. This is the left side of an illuminated double-page opening initiating the poem Makhzan-i asrār. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Pretty young dark haired girl with curly hair

Pretty young dark haired girl with curly hair sitting turned near piano in grey dress with fur scarf smiling isolated

Girl in color dress and bright make-up

Girl in color dress and bright make-up standing with hand on neck

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 168a

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. Bahrām Gūr in the white pavilion. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. Bahrām Gūr in the white pavilion. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 261b

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. This illuminated incipit page introduces the Iqbālnāmah, which is the second part of Iskandarnāmah. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. This illuminated incipit page introduces the Iqbālnāmah, which is the second part of Iskandarnāmah. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

The Painted Stork (Mycteria leucocephala)

The Painted Stork (Mycteria leucocephala) is a large wading bird in the stork family. It is found in the wetlands of the plains of tropical Asia south of the Himalayas in South Asia and extending into Southeast Asia. Their distinctive pink tertial feathers give them their name. They forage in flocks in shallow waters along rivers or lakes. They immerse their half open beaks in water and sweep them from side to side and snap up their prey of small fish that are sensed by touch. As they wade along they also stir the water with their feet to flush hiding fish. They nest colonially in trees, often along with other waterbirds. They only sounds they produce are a weak moan or sounds produced by bill clattering. This large stork has a heavy yellow bill with a down-curved tip that gives it a resemblance to an ibis. The head of the adult is bare and orange or reddish in colour. The long tertials are tipped in bright pink and at rest they extend over the back and rump. There is a distinctive black breast band with white scaly markings. The band continues into the underwing coverts and the white tips of the black coverts give it the appearance of white stripes running across the underwing lining. The rest of the body is whitish in adults and the primaries and secondaries are black with a greenish gloss. The legs are yellowish to red but often appear white due their habit of urohidrosis or defecating on their legs especially when at nest. The short tail is black with a green gloss.

Burmese Giraffe old Woman working

Burmese Giraffe old Woman working

Long startrail around Polaris, above the lake

Long startrail around Polaris, above the lake

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 33b

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. This illuminated incipit page introduces the story of Khusraw va Shīrīn. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. This illuminated incipit page introduces the story of Khusraw va Shīrīn. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

FALL SEASON PEAR AND LEAVES

FALL SEASON PEAR AND LEAVES

Optical illusion with explanation

Optical illusion with explanation

All the Way Home

The commute home after all long week in the office is a time to wind down and transition into the calmness of home life. However, this transition can be challenging depending on the nature of the commute. In large urban areas, the commute can be more stressful than the work day. I have commuted in major urban areas with clogged multilane freeways and have commuted in rural areas with quiet roads. I much prefer the latter. I fantasize about a commute that involves no traffic (of the motorized kind) at all. I imagine a tree lined path with no cars, trucks or even buildings. The only other commuters I would see would be four legged or winged. This trail on the east side of Short Hills Provincial Park in Thorold, Ontario connects the dead ends of Wiley Road and Eller Road. It appear as if this was once part of one or the other of these two roads. Today, it is a hiking, cycling and equestrian trail. An idea route for a bucolic commute without traffic. The commute home after all long week in the office is a time to wind down and transition into the calmness of home life. However, this transition can be challenging depending on the nature of the commute. In large urban areas, the commute can be more stressful than the work day. I have commuted in major urban areas with clogged multilane freeways and have commuted in rural areas with quiet roads. I much prefer the latter. I fantasize about a commute that involves no traffic (of the motorized kind) at all. I imagine a tree lined path with no cars, trucks or even buildings. The only other commuters I would see would be four legged or winged. This trail on the east side of Short Hills Provincial Park in Thorold, Ontario connects the dead ends of Wiley Road and Eller Road. It appear as if this was once part of one or the other of these two roads. Today, it is a hiking, cycling and equestrian trail. An idea route for a bucolic commute without traffic.

Utah-Canyonlands National Park- White Rim Road

This view was captured in area along the White Rim Road near Airport camping area in the Canyonlands National Park. These massive land formations are much larger than they appear in any image. This view was captured in area along the White Rim Road near Airport camping area in the Canyonlands National Park. These massive land formations are much larger than they appear in any image.

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 68a

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. Khusraw and Shīrīn sit enthroned. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. Khusraw and Shīrīn sit enthroned. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Wat Phra Kaew Bangkok Thailand

Generality in Thailand and kind of art decorated in Buddhist church, temple, Pavilion temple hall monk's house etc., created with donate money donated by people to hire artist. They are public domain or treasure of Buddhism, no restrict in copy or use no name of artist appear (but if have name on the wall it just a name of artist who build it by donate money isn't copyright). Generality in Thailand and kind of art decorated in Buddhist church, temple, Pavilion temple hall monk's house etc., created with donate money donated by people to hire artist. They are public domain or treasure of Buddhism, no restrict in copy or use no name of artist appear (but if have name on the wall it just a name of artist who build it by donate money isn't copyright)

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 93a

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. Khusraw and Shīrīn in the palace. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. Khusraw and Shīrīn in the palace. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Young dark haired girl with curly hair

Pretty young dark haired girl with curly hair sitting turned near piano smiling in grey dress with fur scarf smiling isolated

Hover Bee with pollen on blue Lobelia

Hover bee on blue lobelia with rainbow colours on wings, flowers almost appear to be in 3d. Hover bee on blue lobelia with rainbow colours on wings, flowers almost appear to be in 3d.

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 154a

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. Bahrām Gūr in the yellow pavilion. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. Bahrām Gūr in the yellow pavilion. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Coprinus comatus, the shaggy ink cap, lawyer's wig, or shaggy mane, is a common fungus often seen growing on lawns, along gravel roads and waste areas. The young fruit bodies first appear as white cylinders emerging from the ground, then the bell-shaped caps open out. The caps are white, and covered with scales—this is the origin of the common names of the fungus. The gills beneath the cap are white, then pink, then turn black and secrete a black liquid filled with spores (hence the “ink cap” name). This mushroom is unusual because it will turn black and dissolve itself in a matter of hours after being picked or depositing spores. Coprinus comatus, the shaggy ink cap, lawyer's wig, or shaggy mane, is a common fungus often seen growing on lawns, along gravel roads and waste areas. The young fruit bodies first appear as white cylinders emerging from the ground, then the bell-shaped caps open out. The caps are white, and covered with scales—this is the origin of the common names of the fungus. The gills beneath the cap are white, then pink, then turn black and secrete a black liquid filled with spores (hence the “ink cap” name). This mushroom is unusual because it will turn black and dissolve itself in a matter of hours after being picked or depositing spores.

Armillaria mellea

The honeylike color of this white-spored gilled mushroom inspired its common name. This mushroom is very abundant. Variable in appearance, returning each year in many shapes and colors, what we call Armillaria mellea, (also known as the "oak mushroom"), may represent more than one species of mushroom. The caps can be red-brown to tan, smooth or scaled, with tan or pale brown fibrils. They may be small, rounded, and bell-like, or flat and fully expanded. They appear as individuals or in troops of hundreds. They are enjoyed worldwide.

Tiny flowers of asparagus

Tiny flowers of asparagus

Pretty dark haired girl sitting

Pretty young dark haired girl sitting near piano with hands ctossed in front looking forward with fur scarf and reflections on cover isolated. Pretty young dark haired girl sitting near piano with hands ctossed in front looking forward with fur scarf and reflections on cover isolated

Vertical picture of Mt.Annapur

This picture can appear the vertical range of Mt.Annapurna. I cost one day to arrive here from Pokhara. no ps. photo by canon eos 3 kodak 100 scan by nikon coolscan v ed. This picture can appear the vertical range of Mt.Annapurna. I cost one day to arrive here from Pokhara. no ps. photo by canon eos 3 kodak 100 scan by nikon coolscan v ed

Background-Painting Plants and animals

Thai paintings in the temple.Thailand,Generality in Thailand,any kind of art decoreted in Buddhist church,temple pavillion,temple hall, monk's house etc.created with money donated by people to hire artist.They are public domain or treasure of Buddhism,no restrict in copy or use,no name of artist appear (but, if there is artist name, it only for tell who is the artist of work, not for copyright). This photo is taken under these conditions. Thai paintings in the temple.Thailand,Generality in Thailand,any kind of art decoreted in Buddhist church,temple pavillion,temple hall, monk's house etc.created with money donated by people to hire artist.They are public domain or treasure of Buddhism,no restrict in copy or use,no name of artist appear (but, if there is artist name, it only for tell who is the artist of work, not for copyright). This photo is taken under these conditions.

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