Antique Appraisal Online – How to Appraise Vintage China, Japanese Chinaware and Antique Porcelain


This Antique Appraisal Online guide might help you to learn how to appraise vintage china or antique porcelain items, before you purchase. It is very important to help you decide how much money you will offer for it, and, later on, if it warrants the expense of an expert’s appraisal. The first part of your appraisal depends on identifying exactly what you have in your possession, where it came from and how old it is likely to be. Take a look at these key points to show you where to look and what you are looking for!

Pottery

  • Check underneath because most pottery makers’ marks on antique Pottery Art and Studio Pottery Vases were made by the designing artist signing or adding her initials.
  • Check antique ceramics/tiles and figurines for an additional makers’ mark back-stamp that can identify which studio or factory they came from.
  • Check any marks you find on the internet and discover information which will help you appraise the article.
  • Antique pottery articles are often unique, so an undamaged piece of pottery can be worth a lot of money if the provenance can be verified.

Antique Chinaware and Porcelain

  • Check underneath for a makers’ mark impressed, incised or ink-stamped on the base of the item.
  • Look for the initials or logo of the artist on hand-decorated figurines that show a piece is over 100 years old.
  • Look out for porcelain and chinaware with the country of origin mark either next to, or near, or within the makers’ mark or back-stamp, because this proves they were made after 1891.
  • Porcelain articles without this type of mark were made before 1891- making them antique!

Asian imports

  • Be wary of recent imports into Europe and the U.S. coming from impoverished areas in Asia.
  • Manufacturers have to place a label or sticker on each item and these stickers can be purposely removed or merely drop off after they arrive at their destination.
  • Some of these porcelain or chinaware items show a type of stamped makers’ marks that looks very similar to antique porcelain marks, so although they are of recent manufacture they can easily seem like genuine antiques.

Japanese porcelain

  • It is easy to identify the approximate age of a piece of Nippon or Japanese porcelain.
  • Until 1921 their porcelain was marked with the country of origin ‘Nippon’.
  • In that year, the U.S. requested they change the country of origin mark from Nippon to Japan and to cease marking porcelain with the Nippon mark.
  • Therefore, if you have a piece of porcelain or chinaware that is marked Nippon, you have definite proof that it was made before 1921 and could be a real antique!

Antiques appraisal is a fascinating hobby and my advice is always to try to find a course that will teach you the essential antiques hunting secrets you need to know. Only by informing yourself will you be able to do an accurate initial appraisal – before you spend your money!

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A Tribute to the Undervalued Ukiyo-e Master Koryusai


Introduction

Isoda Koryusai (c.1735-90) originally a samurai became, after the death of his master, the lord of Tsuchiya, a so-called rônin (a lordless knight) and a ‘floating man’. Most of these ‘floating people’ ended up in low water but Koryusai chose to be a painter and a designer of woodblock prints. At first he was most probably a student of Nishimura Shigenaga (1697-1756) but his friend and Ukiyo-e master Harunobu (c.1725-1770) had the greatest influence on his work. It was Harunobu who gave him the go (pseudonym) Koryusai, his real name was Masakatsu, which he had used once himself in the past. The respect and admiration for his teacher were so great that Koryusai developed his own style not until Harunobu died. He exceeded in different print formats and Ukiyo-e genres especially in the pillar print format and the shunga (erotic) genre which will be treated in the following paragraphs.    

Pillar Print  

Koryusai achieved remarkable results in the long and narrow format of the pillar print (hashira-e) using an unique style of opulent, rich and decorative coloring and for reintroducing the use of opaque orange (tan) which had characterized the hand-colored prints of the past. He also utilized the vertical size of this format to give it the appearance of a hanging scroll (kakemono) acquiring a certain stratification. As in the conventional style of Japanese landscape painting the eyes of the viewer start at the bottom of the image leading the eye to the middle part and then to the higher part depiciting the background. In general hashira-e are rare because at the time they were attached to wooden columns as part of the Japanese interior and therefore more susceptible to damage. But due to the substantial quantity of pillar prints Koryusai designed in this format a lot of his designs have survived.       

Erotic Work  

“In color and line, in the creation of the total atmosphere of physical love, the best of Koryusai’s erotic color prints are unsurpassed in Japanese art; and this particularly explains the high esteem in which he is held among connoisseurs – for few people have ever pursued the cult of artistic erotica as assiduously as the Japanese”. (Richard Lane)

During Harunobu and Koryusai’s period of activity government censorship was rather loose giving them the opportunity to experiment within the genre of shunga. Sometimes they even signed their designs often positioning them within the frame of a sliding door or screen. Koryusai’s early work resembles that of Harunobu but he gradually developed his own style using characteristic vivid colors (his famous orange!), expressing a multi-hued vitality and depicting more realistic figures. Initially woodblock artists worked in the chuban format (ca. 265 x 195 mm) until Koryusai introduced the larger oban format (ca. 390 x 265 mm) in the multi-colour printing medium creating two masterpiece series called Sensual Colors, A Phoenix Released in the Field’ and Twelve Holds of Love’  which were published in ca.1775. In the chuban format his most famous series is ‘Prosperous Flowers of the Elegant Twelve Seasons’  (ca.1773) depicting amorous encounters for each of the twelve months.    

Conclusion  

If one examines the literature on the history of Ukiyo-e and in special the artist Koryusai one realises the overall consensus among critics on his excellent craftmanship, originality and pioneering within this Japanese art. With the overall acknowledgement of his genius the question why he is so undervalued until this day becomes more explicit. Probably one of the reasons was Koryusai’s modest personality and the loyalty to his teacher and friend Harunobu sometimes even signing with his name. Jack Hillier raises an interesting theory in his book ‘The Japanese Print – A New Approach’  when he opts:  

“There is always, especially among collectors, a tendency to make comparison between artist and artist, and with Koryusai it is perhaps a case of we look before and after and pine for what is not”.        

Important Contemporaries  

Chobunsai Eishi (1756-1829) Torii Kiyonaga (1752-1815) Eishosai Choki (act. ca. 1789-1795) Chokyosai Eiri (act. ca. 1789-1801) Toshusai Sharaku (act. 1794-95), Kitagawa Utamaro (1753 -1806), Katsukawa Shuncho (act. ca.1780s-early 1800s) Katsukawa Shunsho (1726-93).

Literature  

‘Shunga, the Art of Love in Japan’  (1975) – Tom and Mary Evans, ‘The Complete Ukiyo-e Shunga’  (Vol.3) (1995) – R. Lane,  ‘Japanese Erotic Prints’  (2002) – Inge Klompmakers, ‘Japanese Erotic Fantasies’  (2005) – C. Uhlenbeck and M. Winkel, ‘The Japanese Print – A New Approach’  (1960) – J.Hillier.    

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Japanese Tattoos: History * Culture * Design

Japanese Tattoos: History * Culture * Design

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Thinking of getting a Japanese-style tattoo? Want to avoid a permanent mistake? Japanese Tattoos is an insider’s look at the world of Japanese irezumi (tattoos).

Japanese Tattoos explains the imagery featured in Japanese tattoos so that readers can avoid getting ink they don’t understand or, worse, that they’ll regret. This photo-heavy book will also trace the history of Japanese tattooing, putting the iconography and kanji symbols in their proper context so readers will be better informed as to what they mean and have a deeper understanding of irezumi. Tattoos featured will range from traditional tebori (hand-poked) and kanji tattoos to anime-inspired and modern works—as well as everything in between. For the first time, Japanese tattooing will be put together in a visually attractive, informative, and authoritative way.

Along with the 350+ photos of tattoos, Japanese Tattoos will also feature interviews with Japanese tattoo artists on a variety of topics. What’s more, there will be interviews with clients, who are typically overlooked in similar books, allowing them to discuss what their Japanese tattoos mean to them. Those who read this informative tattoo guide will be more knowledgeable about Japanese tattoos should they want to get inked or if they are simply interested in Japanese art and culture.



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Drawing and Painting – What is the Difference Between the Two?


Drawing is an art form wherein we create two dimensional figures on any surface using painting tool. There are many painting tools available in the market such as pencil, pen, ink, brush or metals like silver points.

Drawing is a result of mind blowing imagination power of an artist.

You will find a big difference between drawing and painting. Many people consider both things similar, but they are not the same. It is a fact that the same painting tools could be used to draw or paint but still there remain a few dissimilarities.

In painting colours are smeared on canvas or any other surface with the help of painting brush. While in drawing, a dark outline is first drawn on a paper. Hence it can be said that both the form of arts have a separate process that they follow.

While creating a drawing, much of the emphasis is given to composition. Paintings may be used for showing a traditional system of a certain cast or community by use of some basis colour describing different emotions. There are many types of paints available for painting purpose, some of them are oil paints, water colour paints and acrylic paints.

Painting takes more time to create compared to drawings. Drawings are made very quickly and instantly. It saves lots of time hence they are used for commercial purpose. In painting you can apply different colours to make an art work look attractive. While in drawing different colours are used to create different lines.

Drawings are made mainly for commercial purpose. Engineering drawing makes best usage of drawing wherein it is used for construction of a buildings blueprint. Here accurate drawing is very important.

In the era of IT technology, there are tons of software available that helps to create exact drawing in a very less time. Digital drawing has exact accuracy compared to work done manually by an artist.

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Digitizing a Quilt Pattern


Quilters who are not already a machine embroidery enthusiast just may find themselves engrossed in the craft once they realize they could incorporate machine embroidery into their quilting.

Embroidery is a traditional way to add special decorative touches to quilts. Whether by hand or machine, a quilter may accent his or her creation with embroidered flowers or other accents. But today’s machine embroidery – for those willing to try it – can make quilting quite different.

For instance, a quilter may use a simple embroidery design to let the machine “quilt” the project. Simple designs that can be stitched in one color work best, especially for the beginning machine embroidery quilter.

If you want to give this a try, look for an embroidery design that’s simple – one that you can visualize stitched into a quilt. Some redwork inspired designs work well. Other simple designs like flowers, circles, sun/moon, houses, hearts – there are all sorts of designs to choose from – can work well as quilting stitches.

Be sure to keep your quilt top’s theme in mind. We all know and love the traditional beauty of the double wedding ring quilt. While the quilt top is beautiful with its color variety, the quilt back is just as pretty with its simple stitching that follows the design on the top.

What if you used an embroidery machine to quilt hearts into the quilt design? That one unexpected touch would truly make your quilt unique.

Have you ever needed to throw together a quick quilt? Many quilting pros laugh at the notion, but sometimes we need a quick gift to give and want to make it personal. Lap quilts and baby quilts are very easy to create on an embroidery machine.

Simply hoop your top fabric, batting and backing fabric into an embroidery hoop. Pick a design and get to work! Even if you are quilting solid color fabrics, you can complete a quick, beautiful quilt with the embroidery machine in no time!

Some ideas for a baby blanket for a boy would be to use outlines of footballs, airplanes, trucks, trains, etc., for your quilting pattern. The hardest part of your job will be re-hooping fabric and pushing the “start” button!

Ideas for a baby blanket for a girl include outlines of flowers, baskets, dolls, kittens, etc.

The method above uses machine embroidery on relatively small quilts. Larger quilts can be done the same way or may be quilted with machine embroidery by individual quilt blocks. Experiment to decide which method is easiest for you and remember that the machine embroidery quilting method may change with each unique project.

If you can’t find a pattern you like already on embroidery file, ask a digitizer to help you create one. A digitizer is someone who takes art images like line drawings, clip art and fonts and alters them to become a stitch pattern. So if you’d like for your family tree wall hanging to be quilted with a tree pattern, a digitizer can create one for you.

Be sure to let your digitizer know you plan to use the image for quilting. The digitizer will need to plan stitches accordingly.

Quilting is rich in tradition and therefore many true-blue quilters do not like the idea of using machine embroidery to quilt their projects. Isn’t it great to try new ideas and techniques? Remember, not to long ago quilters refused to consider machine quilting at all! Embroidery machines will never take the place of quilters, but it can be a fun and rewarding sewing technique to try from time to time.

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Source by Penny Halgren

Take It to Your Seat Phonics Centers, Grades 2-3

Take It to Your Seat Phonics Centers, Grades 2-3

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Take It to Your Seat Phonics Centers, Level D is an instructional must-have in 2-3 classrooms. The 14 full-color centers stored in envelopes provide engaging, independent practice of the phonics skills presented. Center topics include: sounds of oo, sounds of c, g, and s and sounds of ch. Voiced/unvoiced th, dipthongs: oi, oy, ou, ow and silent letters: b, h, k, n, w, g, c, l, t and 1-,2-,3-,4-syllable words. Vowel digraphs, -long a: ai, ay, eigh and -long e: e, ea, ey and -long i: ie, uy and -long o: oa, ow, oe and -long u: ew, ue. Rhyming words, word families: -ead, -ew, -ain, -air and word families: -udge, -ight, -ound, -ore. Plurals, inflectional endings, prefixes: dis-, re-, un- and suffixes: -ful, -less, -ly.Weight – 1.1875
Depth – 8.50
Width – 11.00
Height – 0.38



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The Japanese Way of the Artist: Living the Japanese Arts & Ways, Brush Meditation, The Japanese Way of the Flower

The Japanese Way of the Artist: Living the Japanese Arts & Ways, Brush Meditation, The Japanese Way of the Flower

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Ikebana and tea ceremony, karate and calligraphy—all traditional Japanese arts and practices share certain ideals and techniques to achieve the same goals: serenity, mind/body harmony, awareness, and a sense of connection to the universe. This collection of three complete books provides H. E. Davey’s unique insights into the rich universe of these Japanese spiritual, artistic, and martial traditions while introducing the reader to practical examples of two Japanese forms of “moving meditation” that exemplify the union of art and spiritual growth.

Living the Japanese Arts & Ways presents 45 essential principles—like wabi, “immovable mind,” and “stillness in motion”—that are universal in the Japanese classic tradition. Revealing little-known, ancient, and powerful teachings that link all classic Japanese arts, it explains how they can beneficially transform your life. Living the Japanese Arts & Ways was the recipient of the Spirituality & Health magazine Best Spirituality Books Award.

Brush Meditation introduces beginners and non-artists alike to Japanese calligraphy, and shows how even the most elemental stroke of ink and brush reveals your physical and mental state. It’s packed with amazing examples of the author’s award-winning Japanese calligraphy.

The Japanese Way of the Flower examines practical methods for looking at nature and leads the reader through simple meditations as a prelude to learning how to create easy ikebana compositions.

This anthology contains an all-new introduction by the author. The entire text is complemented by diagrams, drawings, and photographs, plus information, resources, and glossaries of Japanese terms.



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The Strange Case Of The Pushy Void


Billions upon billions of galaxies, blazing with the furious, brilliant fires of a host of dazzling stars, trace out the heavy and gigantic filaments of the Great Cosmic Web–a structure that would otherwise be invisible to our eyes, were it not for these sparkling and revealing flecks of starlight. This mysterious Web, which is thought to be composed of the bizarre dark matter, accounts for more than 50% of the volume of the entire Universe, and these enormous filaments surround almost-empty Cosmic Voids–vast and very black spaces that exist between the invisible filaments of the Cosmic Web. Astronomers have known for decades that our barred-spiral Milky Way Galaxy–along with our companion spiral Galaxy, Andromeda–is traveling through intergalactic Space at the breathtaking speed of approximately 1.4 million miles per hour with respect to the expanding Universe. Astronomers have long assumed that dense regions of the Universe, heavily populated by galaxies, are pulling us through Space in the same way that gravity forced Newton’s famous apple to crash down from its tree to the ground below. However, in a groundbreaking study, released in January 2017, and published in the journal Nature Astronomy, a team of astronomers reported their discovery of a previously unknown Void lurking in our galactic neighborhood–and this secretive, long-hidden Void is the real culprit that is pushing our Milky Way, Andromeda, and the rest of the Local Group of galaxies swiftly through intergalactic Space. Even though both our Milky Way and Andromeda are large and majestic spirals, most of the 54 galaxies dwelling in the Local Group are dwarf galaxies.

Largely barren of galaxies, this nearby Void effectively exerts a repelling force that pushes our entire Local Group of galaxies through Space. Originally, astronomers attributed our Milky Way’s speedy journey through the Universe to the Great Attractor. The Great Attractor, situated about 150 million light-years from Earth, is a region of Space that contains about six heavily populated clusters of galaxies. Following closely on the heels of the discovery of the Great Attractor, astronomers were drawn to a considerably larger structure dubbed the Shapley Concentration. The Shapley Concentration is located 600 light-years away, in the same direction as the Great Attractor. However, there is an ongoing controversy about the relative importance of this duo of attractors, and whether or not they can really be the explanation for our Galaxy’s swift travels through Space.

The Universe is heavily populated with enormous collections of galaxies that are arranged within the gigantic Cosmic Web. The Cosmic Web itself is outlined by galaxy clusters and nodes that are bound together by long strings. This large-scale structure is extremely well-organized, and it reveals to the curious eyes of astronomers very busy intersections of galaxies swarming like fireflies around the enormous and almost-empty Voids.

The black, mostly barren, and cavernous Voids have fascinated astronomers for years, and they have frequently been a target for those scientists trying to understand the small population of galaxies that inhabit these regions of near-emptiness. Indeed, the Voids are intriguingly empty, and might harbor only one or two galaxies. This contrasts with the hundreds of galaxies that are commonly observed dwelling within big galaxy clusters.

The Primordial Universe

The mysterious Voids of the Cosmic Web were first discovered back in 1978 in an important study by Dr. Stephen Gregory and Dr. Laird A. Thompson at the Kitt Peak National Observatory in Arizona.

Many scientists think that the Cosmic Voids were formed as a result of baryon acoustic oscillations (BAO) in the early Universe, and this suggests that collapses of mass came on the heels of implosions of the compressed atomic (baryonic) matter. In cosmology, the BAO are periodic and regular fluctuations in the density of the visible atomic matter of the Cosmos. In much the same way that supernovae provide curious astronomers with a standard candle for astronomical observations, BAO matter clustering provides a standard ruler that can be used to measure the length scale in cosmology. The length of this standard ruler–which is about 490 million light years in the Universe that we observe today–can be measured by observing the large scale structure of matter using astronomical surveys.

Starting from what began as very small anisotropies caused by quantum fluctuations in the primordial Universe, the anisotropies grew larger and larger and larger as time passed. In physics, a quantum is the minimum quantity of any physical entity that is involved in an interaction.

The regions of higher density collapsed more rapidly under the extremely heavy pull of their own gravity–eventually resulting in the foam-like, large-scale structure of the Cosmic Web that is composed of Voids and massive dark matter filaments. Voids situated in regions of low-density are larger than the Voids that are located in high-density environments. Voids also seem to correlate with the observed temperature of the Cosmic Microwave Background (CMB) radiation–which is the relic radiation of the beginning of the Universe. Hotter regions of the CMB correlate with filaments and colder regions with the Voids.

The primordial Universe was composed of a dense, searing-hot plasma that was made of electrons and baryons (protons and neutrons). Particles of light called photons, bouncing around brightly in the early Universe, were trapped, and essentially were unable to travel for any great distance before doing a dance with the plasma.

However, as the Universe expanded, the plasma cooled down to a temperature below 3000 Kelvin. This cooler temperature was of a sufficiently low energy to enable the electrons and photons in the primordial plasma to combine and thus create neutral hydrogen atoms. This era of recombination occurred when the baby Universe was a mere 379,000 years old. The photons interacted to a much lesser degree with neutral matter. As a result, during the era of recombination the Universe became transparent to photons, permitting them to decouple from the matter and stream their beautiful and beaming way through the Universe. This newly liberated light was finally free, and it has been dancing through Space and Time ever since. In other words, the mean free path of the dancing photons essentially became the size of the Universe. The CMB is the light that was emitted after recombination–and it is only now finally finding its way to the welcoming telescopes of astronomers on Earth. Therefore, images of this light that lingers, traveling to us from long ago and far away, reveals the Universe the way it was when it was a mere baby of only 379,000 years of age.

The Light That Lingers

On the largest scales, the entire Cosmos looks the same wherever we observe it–showing a foam-like, bubbly appearance, with extremely massive filaments of dark matter weaving themselves around each other to create the mysterious Cosmic Web. The otherwise invisible filaments are traced out by the brilliant light of stellar fires that sparkle within vast sheets of the tangled, twisted, and intertwining structure. The enormous, almost empty, and very black Voids–which interrupt this strange, transparent web-like structure–are traced out by the glittering flames of a multitude of stars. Because the Voids contain very few galaxies, this makes them appear to be almost empty, in dramatic contrast to the brilliantly lit, star-blasted heavy filaments of the Cosmic Web. The filaments braid themselves around these very dark, and almost empty, caverns, creating a twisted, convoluted knot.

Wherever we look in the observable Universe, we see exactly the same thing–the same bizarre pattern, where brilliantly starlit, majestic galaxies are seen swarming like summer fireflies around the borders of the almost, but not quite, empty Voids. This complicated, twisting and transparent Web is generously sprinkled with matter of both the “ordinary” atomic kind, and the exotic and mysterious dark kind. Indeed, observers have found it a challenge to determine whether the regions of luminous matter and dark filaments, lit by the fires of starlit galaxies, encircle the black and almost empty Voids, or if the Voids instead surround these very massive starlit filamentary strands of the twisted, mysterious stuff. Indeed, the two components are so inextricably tangled up together that the entire construction resembles a natural sponge–or, alternatively, a honeycomb. It has been proposed by some cosmologists that the entire large-scale structure of the Universe can be best described as only one immense filament, lit up by the stars, and one huge Void, with both twisted around each other into a mean Cosmic knot.

Our Universe is mysterious. We cannot even see most of it. The myriad of galaxies and enormous galactic clusters and superclusters are all embedded within halos of the exotic, non-atomic, ghostly dark matter. Even though the dark matter is invisible, most cosmologists think that it is really there because it exerts an observable gravitational influence on those objects that are visible–such as stars and clouds of glaring hot gas.

The most current measurements suggest that the Universe is made up of approximately 27% dark matter and 68% dark energy. Dark energy is even more mysterious than dark matter, and it is an unidentified substance that is causing our expanding Cosmos to speed up in its expansion. The origin and nature of the dark energy is not known, but it is frequently thought to be a property of Space itself. Less than 5% of our Universe is composed of the so-called “ordinary” atomic matter. Atomic matter accounts for literally all of the elements listed in the familiar Periodic Table. “Ordinary” atomic matter is truly extraordinary–it composes literally all of the Universe that human beings on Earth find familiar. It is also the stuff of stars, and stars brought life into the Cosmos. We are such stuff as stars are made of.

Modern scientific cosmology began with Albert Einstein who applied his two theories of Relativity–Special Relativity (1905)and General Relativity (1915)–to the Universe. At the start of the 20th century, it was thought that our Milky Way Galaxy was the entire Universe, and that the Universe was eternal and static. But now we know differently. There are billions and billions of galaxies, and our Universe is dynamic–not static. The Universe was born approximately 13.8 billion years ago–and because it had a definite beginning, it might also end.

The large-scale structure of the Universe, as revealed by the mysterious Cosmic Web, may have been born with no true physical differences between areas of higher density and areas of lower density. This is a possibility because if the current large-scale structure of the Universe is really the result of random fluctuations on the quantum level, occurring in the neonatal Universe, this is precisely what the most straightforward models suggest. According to this viewpoint, some domains of the primordial Universe received a much greater density of matter than others simply as the result of chance. The distribution of wealth in the neonatal Universe was random–some regions were lucky, some were not.

The Strange Case Of The Pushy Void

The existence of the newly discovered pushy Void was earlier proposed by astronomers at the Institute for Astronomy at the University of Hawaii in Manoa. However, obtaining important observation confirmation of the absence of galaxies proved to be a difficult endeavor. Until the 2017 study, observations primarily focused on the detailed distribution of galaxies–that is, where the galaxies are situated, and how much pull they inflict on our Milky Way Galaxy. In this recent study, the team of astronomers, led by Dr. Yehuda Hoffman of the Hebrew University’s Racah Institutes of Physics in Israel, working with colleagues in the United States and France, tried an alternative approach. Rather than observing the positions of galaxies, they used the motions of the galaxies instead. The astronomers created a 3-dimensional map of the galaxy flow field, and used this to calculate the underlying mass distribution that is composed of both luminous matter and the ghostly dark matter. This method revealed the overdense regions that pull on our Galaxy–as well as the underdense regions that give it a big push.

The region of the Universe that is traveling coherantly away from the pushy Void and toward the gravitational attractors is enormous–reaching across more than a billion light years. This amounts to a tenth of the radius of the entire observable Universe. The Laniakea supercluster of galaxies that was discovered by the same team, and described in a 2014 Nature paper, is embedded within this flow in a way that has been compared to a “cork in a stream.”

“Through 3-d mapping the flow of galaxies through space, we found that our Milky Way Galaxy is speeding away from a large, previously unidentified, region of low density that we call the Dipole Repeller, as well as towards the known Shapley Concentration. It has become apparent that push and pull are of comparable importance at our location,” Dr. Hoffman explained in a January 30, 2017 University of Hawaii Press Release.

“There was a hint of the Void from studies of the distribution of rich clusters of galaxies that emit X-rays, discussed in articles over a decade ago by Dale Kocevski, Harald Ebeling and myself at the University of Hawaii, but the statistics were not sufficient to be convincing,” commented Dr. Brent Tully in the same Press Release. Dr. Tully is of the University of Hawaii Institute for Astronomy.

The researchers, by identifying the Dipole Repeller, were able to explain both the direction of our Galaxy’s motion and its velocity relative to the rest of the Universe. They expect that ultra-sensitive surveys in the future at optical, near-infrared, and radio wavelengths will directly identify the few galaxies expected to lie in this Void, and directly confirm the Void associated with the Dipole Repeller.

This study appears in the January 30, 2017 issue of Nature Astronomy.

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Source by Judith E Braffman-Miller

Japanese Street Fashion- a Blend of Contemporary and Traditional Trends


Fashion is a blend which comes to us again and again after having some changes in the style of people of ancient times. Japanese street fashion has come with flying colors. Youth has welcomed it because it is a blend of traditional and contemporary trends. They are not losing their traditional trend which is directly related with their culture rather they are accepting a new one. Being fashionable does not mean relating yourself with designers’ clothes and accessories, its all about feeling good from within as well as looking good. Fashion enhances your confidence level as well as it shows that you are up-dated.

Japanese street fashion has different style and trends. Youth like to be up-dated according to the era in their dressing patterns and make-up. Bright colours, eccentric patterns, hand-made garments, heavy jewellery, mixing and matching jeans and tank tops with traditional wear like kimonos, are in fashion now a days. Youth of Japan can be seen wearing Lolita, Kogal, Cosplay, Ganguro styles on streets showing the changes they are adopting as globalization is making all the trends mixed up.

All these styles have different look and different purposes. For instance, Lolita style has many subcultures Punk Lolita, Gothic Lolita etc. both give a different look. With Punk Lolita chains, beads, lace and wristbands are popular accessories along with pink and peach colour prints; whereas Gothic Lolita gives the look of Victorian age having dark colours, black make-up, heavy brooches, and ribbons. Another style is Ganguro in which the art of dressing is similar to North American. It consists of light or dark tanned bodies, bleached or dyed hair, summer dresses and platforms. All this gives a look of western style. As western countries are developed and known as fashionable countries around the world, people try to westernize themselves.

One more style is the Kogal style which is mostly used by the Japanese women to show their various tastes through the wealth they have. Some rich parents also spend on their daughters to adorn them with this extravagant style. They keep latest mobile and other accessories with them. They adorn themselves with big boots, skirts pinned very high, dramatic make-up and the latest in American fashion brands. Cosplay attire also requires a lot of money to be spent and can be seen in amusement parks, nightclubs and many high profile Cosplay parties. These dresses are influenced with Hollywood movies and characters like manga, anime, fantasy movies and video games. All these trends let you be with modern era and you can choose one for yourself also, according to your needs and pocket.

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uxcell 5-Piece Painting Knife Set

uxcell 5-Piece Painting Knife Set

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Every artist needs a good selection of palette knives. This 5-piece stainless steel set offers assorted shapes and styles at a reasonable price. Use to mix paint such as acrylics and oils for canvas painting, but also excellent for applying paints using thick paint palette knife techniques. Features natural wood handles and stainless steel blades.Product Name : Artist Painting Spatula Set; Material : Stainless Steel, Wood
Color : Silver Tone, Dark Brown
Size : Longest one:8.75″ in Length, Shortest One: 6.85″ in Length
Net Weight : 83g
Package Content : 5 x Artist Painting Spatula Cutter Set
Versatile 5-Piece palette knife set
Assorted shapes and styles for a variety of techniques
Stainless steel blades with wood handles
Primary use is to mix colors
Also excellent for thick paint applications



Immobilienmakler Heidelberg

Makler Heidelberg


Immobilienmakler Heidelberg

Makler Heidelberg


Der Immoblienmakler für Heidelberg Mannheim und Karlsruhe
Wir verkaufen für Verkäufer zu 100% kostenfrei
Schnell, zuverlässig und zum Höchstpreis