Tag: Cafe Decoration
How to decorate with a coffee house cafe theme in your kitchen is easy to learn and implement. If you love all the different types of coffees, or just simply love the feel of your favorite morning stop, you can have a room that is inspired from your passion.
Choosing the colors when you want to know how to decorate with a coffee house cafe theme in your kitchen can be based on what you already have. When decorating with this style, and if you can completely remodel your kitchen, you can choose your favorite. But if you are stuck with what you have, almost any color can be made to fit. The trick is in the accessories and the finishing touches.
The first step, if you are able to, is to get a small table and chair set that sits one to four people. A wrought iron one, with a glass top, that is usually used outside fits well in this style. Throw a couple of comfortable seat cushions on the chairs to make it practical. The only centerpiece that you need is a sugar and creamer tray set in the center. If you want an extra touch of elegance, place a single flower in a bud vase to complete the look.
Next, have a small shelf within easy reach of the sitting area. Place a few favorite poetry books or novels there for morning enjoyment. Don’t forget a place to set your favorite newspaper on.
Having a home bar can be fun. It is a wonderful place to spend time with your family or having friends over to relax and enjoy a few cocktails. To make the most of your home bar, you should take the time to decorate it in a way that truly reflects your personality while at the same time creating a fun and relaxing. Check out these decorating ideas bar to get some ideas on how to decorate your bar.
Before you even think to start decorating, you should take a moment to consider how you plan to use space and what your personal style is. Looking for a feeling sports bar? Or maybe you are more Class A, feeling more upscale. Think bars, restaurants and clubs you’ve visited and see which ones stand out in your mind. Once you understand the style you like to decorate your bar will become much easier.
One of the most important parts of a bar of the house is the living room. You want everyone to be comfortable and relaxed. Bar stool at the bar are great, but you should also consider adding some additional seats near the bar if space permits. Lounge chairs covered in zebra print pleasure or brightly colored fabric can provide an eclectic feeling in your room.
For a sports bar, a large comfortable sofa with lots of space is an interesting option to give a few extra seats. When you choose your seats for your bar trying to find parts that are relatively easy to get up. There’s nothing worse than drinking a glass or two and find that you have sunk down into a sofa upholstered as it is difficult to escape!
The artwork that you chose for the walls will also depend heavily on the atmosphere you are trying to create. Vintage posters or framed prints framed in Nice can be a class, so timeless to decorate the walls. If space is on the small side consider hanging around some mirrors visually expand the size of the space. Always try to hang pictures or mirrors approximately at eye level for the average person to avoid having it look like it is too high or too low.
The accolade is a ceremony to confer knighthood that may take many forms including, for example, the tapping of the flat side of a sword on the shoulders of a candidate or an embrace about the neck.
In the first example, the “knight-elect” kneels in front of the monarch on a knighting-stool when the ceremony is performed. First, the monarch lays the flat side of the sword’s blade onto the accolade’s right shoulder. They then raise the sword gently just up over the apprentice’s head and places it then on his left shoulder. The new knight then stands up after being promoted, and the King or Queen presents him with the insignia of his new order.
There is some disagreement amongst historians on the actual ceremony and in what time period certain methods could have been used. It could have been an embrace or a slight blow on the neck or cheek. In knighting his son Henry, with the ceremony of the accolade, history records that William the Conqueror used the blow.
The blow, or colée, when first utilized was given with a naked fist. It was a forceful box on the ear or neck that one would remember. This was later substituted for by a gentle stroke with the flat part of the sword against the side of the neck. This then developed into the custom of tapping on either the right or left shoulder or both, which is still the tradition in Great Britain today.
An early Germanic coming-of-age ceremony, of presenting a youth with a weapon that was buckled on him, was elaborated in the 10th and 11th centuries as a sign that the minor had come of age. Initially this was a simple rite often performed on the battlefield, where writers of Romance enjoyed placing it. A panel in the Bayeux Tapestry shows the knighting of Harold by William of Normandy, but the specific gesture is not clearly represented. Another military knight (commander of an army), sufficiently impressed by a warrior’s loyalty, would strike a fighting soldier on the head or his back and shoulder with his hand and announce that he was now an official knight. Some words that might be spoken at that moment were Advances Chevalier au nom de Dieu.
The increasingly impressive ceremonies surrounding adoubement figured largely in the Romance literature, both in French and in Middle English, particularly those set in the Trojan War or around the legendary personage of Alexander the Great.
In the Netherlands the knights in the exclusive Military Order of William (the Dutch “Victoria Cross”) are striken on both shoulders with the palm of the hand, first by the Dutch monarch (if present) then by the other knights. The new knight does not kneel.
Spontaneity. With no pretense, or explanation, Ruth Palmer paints contemporary abstracts by feeling her way through the process and connecting to the soul of the subject, without concern for distinctions between representation and abstraction.
Born and raised in Edinburgh, Scotland, Palmer now resides in Calgary, Canada. While her primary influence is spiritual, based in Christianity; her art is also influenced by the richness of Manet’s impressionist works and what she deems the “colorful play and balance” of Kandinsky’s. Like Kandinsky, for whom spiritual influences counted heavily, there’s a certain intentional separation with Palmer’s art that allows viewers to participate in creating the artwork. The disunion is repaired when the painted form connects to the viewer’s soul.
Ruth’s works are extremely popular in print, particularly in the design market and hospitality industry. Her paintings and digital renderings can be enjoyed in many hotels and corporate offices worldwide. Recently Ruth was asked to create a collection for installation on one of Pullmantur’s new cruise ships and one of her best-selling pieces “Luscious Red” can be found in the new release of “The Spirituality Of Sex” by Wood Lake Publishing – a Canadian Christian Publisher.
Original paintings are currently in private collections throughout Canada, the United States, Australia, England and Scandinavia.
Samadhi in Hinduism, Buddhism, Sikhism and yogic schools is a higher level of concentrated meditation, or dhyāna. In the yoga tradition, it is the eighth and final limb identified in the Yoga Sūtras of Patañjali.
It has been described as a non-dualistic state of consciousness in which the consciousness of the experiencing subject becomes one with the experienced object, and in which the mind becomes still, one-pointed or concentrated though the person remains conscious. In Buddhism, it can also refer to an abiding in which mind becomes very still but does not merge with the object of attention, and is thus able to observe and gain insight into the changing flow of experience.
In Hinduism, samādhi can also refer to videha mukti or the complete absorption of the individual consciousness in the self at the time of death – usually referred to as mahasamādhi.
best sellers, Cafe Decoration, decorative art, figuratie art, in thoughts of you, italian art, jack vettriano, realistic figures
Bar Decoration, black and white posters, Cafe Decoration, College Art, contemporary, women photography, Young Woman Holding an Acoustic Guitar Behind Her Back
Described as “She-Who-Shapes-The-Sacred-Land” in ancient Hawaiian chants, the volcano goddess, Pele, was passionate, volatile, and capricious. In modern times, Pele has become the most visible of all the old gods and goddesses. Dwelling in the craters of the Big Island’s Kilauea Volcano, she has been sending ribbons of fiery lava down the mountainside and adding new land around the southeastern shore almost continuously since 1983.
Pele was born of the female spirit Haumea, or Hina, who, like all other important Hawai’i gods and goddesses, descended from the supreme beings, Papa, or Earth Mother, and Wakea, Sky Father. Pele was among the first voyagers to sail to Hawai’i, pursued, legends say, by her angry older sister, Na-maka-o-kaha’i because Pele had seduced her husband. Pele landed first on Kaua’i, but every time she thrust her o’o (digging stick) into the earth to dig a pit for her home, Na-maka-o-kaha’i, goddess of water and the sea, would flood the pits. Pele moved down the chain of islands in order of their geological formation, eventually landing on the Big Island’s Mauna Loa, which is considered the tallest mountain on earth when measured from its base at the bottom of the ocean.
Even Na-maka-o-kaha’i could not send the ocean’s waves high enough on Mauna Loa to drown Pele’s fires, so Pele established her home on its slopes. Here, she welcomed her brothers. A cliff on nearby Kilauea Mountain is sacred to her eldest brother, Ka-moho-ali’i, king of the sharks and the keeper of the gourd that held the water of life, which gave him the power to revive the dead. Out of respect for this brother, to this day, Pele never allows clouds of volcanic steam to touch his cliff.
Her other brothers also still appear on the Big Island mountain; Kane-hekili as thunder, Ka-poho-i-kahi-ola as explosions, Ke-ua-a-kepo in showers of fire, and Ke-o-ahi-kama-kaua in spears of lava that escape from fissures during eruptions.
Of all her siblings, Pele favored her youngest sister Hi’iaka, the most. Pele, Hi’iaka and another sister, Laka, goddess of hula, were all patronesses of the dance, but Hi’iaka was said to have hatched from an egg that Pele kept warm during the long canoe ride to Hawai’i by transporting it in her armpit.
After Hi’iaka grew to womanhood on the Big Island, Pele traveled in spirit form to the north shore of Kaua’i to witness a dance performance at a pahula, or dance platform, that still exists near Ke’e Beach. Here she manifested herself as a desirable young woman, and quickly fell in love with a handsome young chief named Lohi’au. She dallied with Lohi’au for several days, but eventually her spirit had to return to her sleeping body on the Big Island.
Upon awakening, Pele sent Hi’iaka to convince Lohi’au to come to her. The sisters extracted vows from each other: Hi’iaka promised not to encourage Lohi’au should he become attracted to her and in return, Pele promised to contain her fires and lava flows so as not to burn a grove of flowering ohi’a trees where Hi’iaka danced with her friend Hopoe.
On Kaua’i, Hi’iaka found that Lohi’au had died of grief after Pele disappeared, but the graceful younger sister was able to restore his spirit to his body, bringing him back to life. Together, the two of them began the journey to the Big Island, but Pele’s suspicious nature got the best of her. Because forty days had passed since Hi’iaka had set out on her assigned mission, Pele decided she had been betrayed, and so sent a flood of lava into Hi’iaka’s ‘ohi’a-lehua grove, killing Hopoe in the process. When Hi’iaka saw the smoldering trees and her dancing friend entombed in lava, she flung herself into the arms of Lohi’au. In retribution, Pele set lose another stream of lava, which killed the mortal Lohi’au, but Hi’iaka, a goddess, could not be destroyed.
The legend has a happy ending, however, as yet another brother of Pele’s, Kane-milo-hai, reached out and caught Lohi’au’s spirit when he saw it floating past his canoe. He restored the spirit to Lohi’au’s body, and once again, the chief was brought back to life. Hi’iaka and Lohi’au returned to Kaua’i to live contentedly.
Legends about Pele, her rivals and her lovers abound. Most of the lovers she took were not lucky enough to escape with their lives when she hurled molten lava at them, trapping them in odd misshapen pillars of rock that dot volcanic fields to this day.
One lover who proved a match for Pele was Kamapua’a, a demi-god who hid the bristles that grew down his back by wearing a cape. The pig god could also appear as a plant or as various types of fish. He and Pele were at odds from the beginning; she covered the land with barren lava, he brought torrents of rain to extinguish her fires and called the wild boars to dig up the land, softening it so seeds could grow.
Pele and Kamapua’a raged against each other until her brothers begged her to give in, as they feared Kamapua’a’s storms would soak all the fire sticks and kill Pele’s power to restore fire. In Puna, at a place called Ka-lua-o-Pele, where the land seems torn up as if a great struggle had taken place, legend says Kamapua’a finally caught and ravaged Pele. The two remained tempestuous lovers, it is said, until a child was born, then Kamapua’a sailed away and Pele went back to her philandering ways.
Pele’s greatest rival was Poliahu, goddess of snow-capped mountains, and a beauty who, like Pele, seduced handsome mortal chiefs. Pele’s jealousy flamed after she had a fling with a fickle young Maui chief named ‘Ai-wohi-ku-pua, as he was traveling to the Big Island to court a mortal chiefess, Laie. Paddling along the Hana Coast, ‘Ai-wohi-ku-pua saw Pele in human form as a beauty named Hina-i-ka-malama, riding the surf.
He paused for a brief affair. Then he went on to the Big Island, where Poliahu seduced him. He convinced his personal goddess to release him from his promise to his first love, and went back to Kaua’i with the snow goddess. Pele (as Hina-i-ka-malama) chased after them, eventually winning back the fickle chief, but Poliahu was so vindictive, she blasted the lovers with cold and heat until they separated, and ‘Ai-wohi-ku-pua was left with no lover at all.
According to Hawaiian historian David Malo in his book “Hawaiian Antiquities,” in old Hawai’i, some gods and goddesses, including Pele, were believed to be akua noho, gods who talked. They could take possession of an earthly being, who became the god’s kahu. Malo writes, “The kahu of the Pele deities also were in the habit of dressing their hair in such a way as to make it stand out at great length, then, having inflamed and reddened their eyes, they went about begging for any articles they took a fancy to, making the threat, ‘If you don’t grant this request, Pele will devour you.’ Many people were imposed upon in this manner, fearing Pele might actually consume them.” Naturally, people who had seen others destroyed in Pele’s fiery lava flows, were terrorized by such a kahu.
Pele has continued to intrigue contemporary men. Not long after the old religion was abolished in 1819, the high chiefess Kapi’olani defied Pele by eating ‘ohelo berries at the edge of Halema’uma’u caldera without first offering them to or requesting Pele’s permission. In open defiance, Kapi’olani threw stones into the molten lava below. When she was not harmed, she insisted it proved Pele had no power and it was time for Hawaiian people to accept Christianity as their religion.
In 1823, when Reverend William Ellis became the first white man to visit Kilauea, most Hawaiians accompanying the expedition were still in awe of the volatile goddess. The hungry missionaries began to eat ‘ohelo berries, but were quickly warned to give Pele an offering. Ellis wrote, “We told them …that we acknowledged Jehovah as the only divine proprietor of the fruits of this earth, and felt thankful to Him for them, especially in our present circumstances.”…We traveled on, regretting that the natives should indulge in notions so superstitious.”
At the crater, the Hawaiian guides “turned their faces toward the place where the greatest quantity of smoke and vapor issued, and, breaking the (‘ohelo) branch they held in their hand in two, they threw one part down the precipice, saying:
E Pele, eia ka ‘ohelo ‘au;
(Oh, Pele, here are your branches)
e taumaha aku wau ‘ia ‘oe
(I offer some to you)
e ‘ai ho’i au tetahi
(some I also eat).
To this day, tales of Pele’s power and peculiarities continue. Whispered encounters with Pele include those of drivers who pick up an old woman dressed all in white accompanied by a little dog on roads in Kilauea National Park, only to look in the mirror to find the back seat empty. Pele’s face has mysteriously appeared in photographs of fiery eruptions, and most people who live in the islands-whether Christian, Buddhist, Shinto, or other-speak respectfully of the ancient goddess. After all, she has destroyed more than 100 structures on the Big Island since 1983, and perhaps even more awesome than that, she has added more than 70 acres of land to the island’s southeastern coastline.
Karen Dupré was born in L.A. County, California. She is a self-taught artist whose first inspiration stemmed from her interest in horses. This fascination quickly led her to translate the splendor of these animals and other wildlife through drawing. Karen has broadened her repertoire to include landscapes, still-life imagery and figures, while never abandoning the wildlife that first sparked her imagination.
Throughout her imagery, one can find a certain sense of harmony. This tranquility is partly a result of her gentle brushstrokes and her talent to illustrate the play of light in both nature and man-made objects. Dupré’s work is adept at capturing a fleeting moment in time and seemingly transporting the viewer there. The artist’s unique style demonstrates her ability to transcend traditional parameters and to constantly challenge herself in finding new avenues of expression.
Cafe Decoration, decorative art prints, Fashion Art, fashion posters, Female Artists, Figurative Art, panther posters, time to shop, time to shop poster, wild animals