View allAll Photos Tagged 1.(Books
[Unidentified infantry soldier in Union uniform in full marching order with musket, canteen, cartridge box, cap box, and knapsack]
[between 1861 and 1865]
1 photograph : ninth-plate ambrotype, hand-colored ; 7.5 x 5.8 cm (case)
Notes:
Title devised by Library staff.
Case: Leather flower and scroll design.
Use digital images. Original served only by appointment because material requires special handling. For more information see: (www.loc.gov/rr/print/info/617_apptonly.html)
Gift; Tom Liljenquist; 2010; (DLC/PP-2010:105).
Forms part of: Liljenquist Family Collection of Civil War Photographs (Library of Congress).
Published in: Echoes of glory : Arms and equipment of the Union. Alexandria, Va.: Time-Life Books, 2000, p. 198.
Subjects:
United States.--Army.--People--1860-1870.
Soldiers--Union--1860-1870.
Military uniforms--Union--1860-1870.
Canteens--1860-1870.
Rifles--1860-1870.
United States--History--Civil War, 1861-1865--Military personnel--Union.
Format: Portrait photographs--1860-1870.
Ambrotypes--Hand-colored--1860-1870.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
Part Of: Ambrotype/Tintype filing series (Library of Congress) (DLC) 2010650518
Liljenquist Family collection (Library of Congress) (DLC) 2010650519
More information about this collection is available at hdl.loc.gov/loc.pnp/pp.lilj
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ppmsca.30993
Call Number: AMB/TIN no. 2640
1. I don't like shopping, exept at American girl stores!
2.
3. I love classical music and music from the time of all of my dolls.
4.My least favorite type of doll is Just like you, my favorite is Historical (not including bitty baby/twins)
5.I met the author of the Rebeca books. She's so nice.
6.My friend wanted Beckie when she came out. I kind of did too, but not really. Then, I got the mini doll and I really wanted her. But, we made a deal that we would never get the same dolls. We tried the plan of sharing her, but that didn't work. Finally, she fell in love with Gwen, and I got to have Rebeca. I saved up all summer and finally had enough when we got back from vacation (New Mexico). We ordered her right away, and that's how I got my Beckie (It's a longer story.. I shortened it)
7.I don't like pie.. It's.. yucky.. exept chocolate pie.
8.I'm very annoyed at people who are crazy about tacos.. it's just a mexican food..
9.Whenever I go to the pool I pretend I'm a mermaid.. My favorite TV show is H20.
10. My Rebeca wears a necklace that I made when I met the author. (They had crafts) I don't know if you've ever seen it before, but it has a silver string and 2 charms,a gold Jewish star, and a gold charm that means life.
11. I love love love the history of the wild west.
12. Do you ever get that itchy feeling when you look at someone elses photo of the town you live in and you get the urge to comment and say "I LIVE THERE!!" but you can't?.
I tag: R, Hannah, and whoever has been to the American girl store in Denver..
Islamic holy books
From Wikipedia, the free encyclopedia
The Islamic holy books are the records which most of the Muslims believe were dictated by God to various prophets. They are the Suhuf Ibrahim (commonly the Scrolls of Abraham), the Tawrat (Torah), the Zabur (commonly the Psalms), the Injil (commonly the Gospel), and the Qur'an.
The words Taurat and Injil are not books, and are mentioned several times in the Qur'an itself. For example following ayat has these words with Kitab, meaning book:
He has sent down upon thee the Book with the truth, confirming what was before it, and He sent down the Torah and the Gospel aforetime, as guidance to the people, and He sent down the Salvation.(Qur'an 3:3-4 Arthur Arberry translation)
He has revealed to you the Book with truth, verifying that which is before it, and He revealed the Tavrat and the Injeel aforetime, a guidance for the people, and He sent the Furqan. (Qur'an 3:3-4 Shakir translation)
Contents
1 Other possible books or prophets
2 The Qur'an's relationship to earlier books
3 Alteration of the holy books
4 See also
5 References
[edit] Other possible books or prophets
The Qur'an does not say that additional holy books were sent to other prophets, but one book with all prophets is mentioned in Quran, For example.: Mankind was one single nation, and Allah sent Messengers with glad tidings and warnings; and with them He sent the Book in truth, to judge between people in matters wherein they differed; (Qur'an 2:213)
.
It is not standard Islamic belief, but most of the muslims believe that all holy scriptures except the Qur'an have been altered from their original forms over time.[citation needed] The Qur'an mentions other prophets or messengers like Ibraheem (Abraham), Is'haq (Isaac), Isma'il (Ishmael), Lot, Yaqoob (Jacob), Joseph, Job, Dawud (David), Sulayman (Solomon), Musa (Moses), Harun (Aaron), Yunus (Jonah), Elisha, Zakariya (Zachariah), John and Isa (Jesus) and all prophets got one Al-kitab, 6:83-90.[citation needed]
[edit] The Qur'an's relationship to earlier books
Muslims believe in progressive revelation, that the revelation of God (Arabic: Allah) evolved with time and different groups of people. Thus, the Qur'an specified that the Injil abrogated the Tawrat and the Qur'an abrogated all the other books[citation needed]. . (It is silent in regard to the Zabur, but Muslims infer that the Zabur was abrogated by a successive revelation.[citation needed]. )
As an example, while the Qur'an acknowledges that the Torah prohibited working on the Sabbath, the Qur'an allows working and overrules it. In Muhammad's earlier years it was revealed to him, "O People of the Book! Ye have no ground to stand upon unless ye stand fast by the Torah, (and) the Gospel." Qur'an Surah 5.68. It was believed that their conversion to Islam would begin by devoutly following the earlier holy books.
[edit] Alteration of the holy books
Main article: Tahrif
This article may contain original research or unverified claims. Please improve the article by adding references. See the talk page for details. (January 2009)
Comparison of the Qur'an with the texts of the other holy books shows obvious disagreements: The Gospel (the Injil) disagrees with the Qur'an on whether Jesus is the Son of God and God incarnate, whether he died, and whether he is the way to the salvation of the soul. All three books are written from a human perspective while the Qur'an says they were revealed from God's perspective. Modern historians debate and question the divine inspiration of all these books including the Quran. Believers of the three monotheistic religions believe that for each of them God is the inspiration behind the holy books.
The first known Muslim to recognize this was Ibn Hazm, vizier of Spain and writer against Christians. He concluded that because they were in disagreement, the Bible (containing the Torah, Zabur, and Injil) must be wrong. However, knowing that the Qur'an states "believe in what hath been revealed to thee and what (scripture) was revealed before thee (the Torah and the Injil)," Qur'an Surah 4.162, he concluded, "Therefore, the present text must have been falsified by the Christians after the time of Muhammad."
Some scholars, such as Al-Ghazzali (?–1111 CE), disagreed. Ibn Kathir (1301–1372) wrote that the Jews did not alter the Torah, only their interpretation of the Torah:
The phrase "[they] displace words from (their) right places" means that they misinterpret them and understand them in a way that God did not intend, doing this deliberately and inventing lies against God.
For Muslims, in Deuteronomy 31:24-30 Moses predicted the corruption of the commandments by his own people after his death labeling them as stiff-necked and rebellious due to the horrible acts they committed during Moses' absence to meet God on Mount Sinai. This interpretation is not accepted by Christians or Jews. In other places Jesus condemned the act of the scribes and the Pharisees and accused them of hypocrisy and moral illnesses (see Luke 12:52, Luke 21:46-47.)
However, in the following 200 years, most scholars came to agree with Ibn Khazem, but they pushed the date of change earlier, before the time of Muhammad. Paul and Constantine were often blamed. In more modern times, the belief in such conspiracy has been downplayed and replaced with the idea that corruption came through many small changes by many copyists in the second and third centuries for the Injil. For Muslims, the changing of the Torah and Zabur was moved back to before the birth of Christianity and the earliest manuscripts known today. Currently, among Muslims, the alteration of the holy books is a virtually undisputed belief.
الكتب السماوية هي الكتب التي انزلها الله على أنبيائه ورسله(حسب الاعتقاد الاسلامي)، قال الله : {إِنَّا أَوْحَيْنَا إِلَيْكَ كَمَا أَوْحَيْنَا إِلَى نُوحٍ وَالنَّبِيِّينَ مِن بَعْدِهِ وَأَوْحَيْنَا إِلَى إِبْرَاهِيمَ وَإِسْمَاعِيلَ وَإِسْحَاقَ وَيَعْقُوبَ وَالأَسْبَاطِ وَعِيسَى وَأَيُّوبَ وَيُونُسَ وَهَارُونَ وَسُلَيْمَانَ وَآتَيْنَا دَاوُودَ زَبُوراً }[النساء : 163]
والكتب كما وردت في القرآن هي:
أولاً : الصحف (حسب الاعتقاد الاسلامي)( صحف إبراهيم و موسى ) : و لا يوجد لهذه الصحف أي مرجع سوى القرآن؛ قال القران:{ صُحُفِ إِبْرَاهِيمَ وَمُوسَى }[الأعلى : 19]
ثانياً : الزبور (حسب الاعتقاد الاسلامي)، قال القران : {.. وَآتَيْنَا دَاوُودَ زَبُوراً} [النساء : 163] .
ثالثاً : التوراة : التوراة(حسب الاعتقاد الاسلامي) هي الكتاب الذي أنزله الله على موسى والتوراة كتاب عظيم اشتمل على النور والهداية كما قال القران : [إِنَّا أَنزَلْنَا التَّوْرَاةَ فِيهَا هُدًى وَنُورٌ يَحْكُمُ بِهَا النَّبِيُّونَ الَّذِينَ أَسْلَمُوا لِلَّذِينَ هَادُوا وَالرَّبَّانِيُّونَ وَالأَحْبَارُ بِمَا اسْتُحْفِظُوا مِنْ كِتَابِ اللَّهِ](المائدة: 44). وقال القران : [ثُمَّ آتَيْنَا مُوسَى الْكِتَابَ تَمَاماً عَلَى الَّذِي أَحْسَنَ وَتَفْصِيلاً لِكُلِّ شَيْءٍ وَهُدًى وَرَحْمَةً لَعَلَّهُمْ بِلِقَاءِ رَبِّهِمْ يُؤْمِنُونَ] (الأنعام: 154). وكثيراً ما يقرن الله في القرآن بين التوراة والقرآن؛ وذلك لأنهما أفضل كتابين أنزلهما الله على خلقه. هذه باختصار هي حقيقة التوراة التي أنزلت على موسى . التوراة الموجودة اليوم : أما التوراة الموجودة اليوم فهي ما يطلق على الشريعة المكتوبة، كما يطلق لفظ (التلمود) على الشريعة الشفهية. والتوراة الموجودة اليوم تشتمل على خمسة أسفار وهي: 1 - سفر التكوين: ويتحدث هذا السفر عن خلق العالم، وظهور الإنسان، وطوفان نوح، وولادة إبراهيم إلى موت يوسف . 2 - سفر الخروج: ويتحدث عن حياة بني إسرائيل في مصر، منذ أيام يعقوب إلى خروجهم إلى أرض كنعان مع موسى ويوشع بن نون. 3 - سفر اللاويين: نسبة إلى لاوي بن يعقوب، وفي هذا السفر حديث عن الطهارة، والنجاسة، وتقديم الذبائح، والنذر، وتعظيم هارون وبنيه. 4 - سفر العدد: يحصي قبائل بني إسرائيل منذ يعقوب، وأفرادَهم ومواشيهم. 5 - سفر التثنية: وفيه أحكام، وعبادات، وسياسة، واجتماع، واقتصاد، وثلاثة خطابات لموسى .
رابعاً: الإنجيل(حسب الاعتقاد الاسلامي) :
هو الكتاب الذي أنزله الله على المسيح متمماً للتوراة، ومؤيداً لها، وموافقاً لها في أكثر الأمور الشرعية، يهدي إلى الصراط المستقيم، ويبين الحق من الباطل، ويدعو إلى عبادة الله وحده دون من سواه. هذا هو الإنجيل الذي أنزل على المسيح.
الإنجيل (حسب الاعتقاد المسيحي) : الكتاب المقدس لدى المسيحيين يشمل التوراة والأناجيل، ورسائل الرسل. وتسمى التوراة العهد القديم، وتسمى الأناجيل، ورسائل الرسل العهد الجديد. والاناجيل اربعة وهم
1- إنجيل يوحنَّا. 2- إنجيل مرقُس. 3- إنجيل مَتَّى. 4- إنجيل لُوقا. 4
خامساً : القرآن :
القرآن كلام الله(حسب الاعتقاد الاسلامي) ، منه بدأ وإليه يَعود ، تكلّم به ربنا على الحقيقة وأنزله على نبينا محمد صلى الله عليه وسلم خاتم الأنبياء والمرسلين وحيًا، وصدَّقه المؤمنون على ذلك حقا، وأيقنوا أنه كلام الله .
وقد سَمّى الله القرآن ( كلام الله ) فقال : ( وَإِنْ أَحَدٌ مِنَ الْمُشْرِكِينَ اسْتَجَارَكَ فَأَجِرْهُ حَتَّى يَسْمَعَ كَلامَ اللَّهِ ثُمَّ أَبْلِغْهُ مَأْمَنَهُ ) [التوبة : 6].
وأخبر أنه أنزل القرآن ، وأنه نزّله تنْزِيلا ، فمن ذلك قوله القران : ( وَقُرْآَنًا فَرَقْنَاهُ لِتَقْرَأَهُ عَلَى النَّاسِ عَلَى مُكْثٍ وَنَزَّلْنَاهُ تَنْزِيلاً ) [الإسراء : 106].
والقرآن هو (حسب الاعتقاد الاسلامي)آخر الكتب السماوية وهو خاتمها، وهو أطولها، وأشملها، وهو الحاكم عليها. قال الله : [وَأَنزَلْنَا إِلَيْكَ الْكِتَابَ بِالْحَقِّ مُصَدِّقاً لِمَا بَيْنَ يَدَيْهِ مِنْ الْكِتَابِ وَمُهَيْمِناً عَلَيْهِ] (المائدة: 48). وقال : [وَمَا كَانَ هَذَا الْقُرْآنُ أَنْ يُفْتَرَى مِنْ دُونِ اللَّهِ وَلَكِنْ تَصْدِيقَ الَّذِي بَيْنَ يَدَيْهِ وَتَفْصِيلَ الْكِتَابِ لا رَيْبَ فِيهِ مِنْ رَبِّ الْعَالَمِينَ] (يونس: 37). وقال: [مَا كَانَ حَدِيثاً يُفْتَرَى وَلَكِنْ تَصْدِيقَ الَّذِي بَيْنَ يَدَيْهِ وَتَفْصِيلَ كُلِّ شَيْءٍ وَهُدًى وَرَحْمَةً لِقَوْمٍ يُؤْمِنُونَ] (يوسف: 111). قال أهل التفسير في قوله تعالى [وَمُهَيْمِناً عَلَيْهِ]: مهيمناً وشاهداً على ما قبله من الكتب، ومصدقاً لها؛ يعني يصدق ما فيها من الصحيح، وينفي ما وقع فيها من تحريف، وتبديل، وتغيير، ويحكم عليها بالنسخ أو التقرير. ولهذا يخضع له كل متمسك بالكتب المتقدمة ممن لم ينقلب على عقبيه كما قال تبارك وتعالى : [الَّذِينَ آتَيْنَاهُمْ الْكِتَابَ مِنْ قَبْلِهِ هُمْ بِهِ يُؤْمِنُونَ (52) وَإِذَا يُتْلَى عَلَيْهِمْ قَالُوا آمَنَّا بِهِ إِنَّهُ الْحَقُّ مِنْ رَبِّنَا إِنَّا كُنَّا مِنْ قَبْلِهِ مُسْلِمِينَ](القصص:52 ، 53 ). فالقرآن هو رسالة الله لجميع الخلق، وقد تكفل سبحانه [إِنَّا نَحْنُ نَزَّلْنَا الذِّكْرَ وَإِنَّا لَهُ لَحَافِظُونَ] (الحجر: 9). ولا يقبل الله من أحد ديناً إلا ما جاء في هذا القرآن (حسب الاعتقاد الاسلامي). قال الشيخ ابن سعدي في قوله : [وَمُهَيْمِناً عَلَيْهِ] : أي مشتملاً على ما اشتملت عليه الكتب السابقة وزيادة في المطالب الإلهية، والأخلاق النفسية؛ فهو الكتاب الذي يتبع كل حق جاءت به الكتب، فأمر به، وحث عليه، وأكثر من الطرق الموصلة إليه. وهو الكتاب الذي فيه نبأ السابقين واللاحقين، وهو الكتاب الذي فيه الحكم والحكمة، والأحكام الذي عرضت عليه الكتب السابقة، فما شهد له بالصدق فهو المقبول، وما شهد له بالرد فهو مردود قد دخله التحريف والتبديل، وإلا لو كان من عند الله لم يخالفه .
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ويطلق القرآن على هذه الكتب لفظ الزبور كما ورد ذلك في القرآن:
{وَلَقَدْ كَتَبْنَا فِي الزَّبُورِ مِن بَعْدِ الذِّكْرِ أَنَّ الْأَرْضَ يَرِثُهَا عِبَادِيَ الصَّالِحُونَ }الأنبياء105
كما يسمي أحدها زبور {وَآتَيْنَا دَاوُودَ زَبُوراً }النساء163
Livres sacrés de l'islam
Les livres sacrés de l'islam.
La croyance musulmane tient pour sacré un certain nombre de livres. Ces livres sont issus, pour cette religion, d'un livre commun, appelé La Mère des livres'. De ce livre divin sont tirés les livres du monothéisme et seule une partie est communiquée aux hommes. Le Coran est l'un de ces livres, mais aussi les feuillets d'Abraham, le Pentateuque, appelé Tawrat, les écrits de Salomon et/ou David (appelé Zabur) et l'Injil.
Face aux différences entre le Coran et les autres livres sacrés, le consensus islamique veut que les écrits dont nous avons connaissance aujourd'hui ont été altérés de leur forme originelle. Il est fait allusion à ces modifications en plusieurs passage du Coran.
Ce document provient de « fr.wikipedia.org/wiki/Livres_sacr%c3%a9s_de_l'islam ».
The Lobkowicz Palace[1] (Czech: Lobkowický palác) is a part of the Prague Castle complex in Prague, Czech Republic. It is the only privately owned building in the Prague Castle complex and houses the Lobkowicz Collections and Museum.
The palace was built in the second half of the 16th century by the Czech nobleman Jaroslav of Pernštejn (1528–1569) and completed by his brother, Vratislav of Pernštejn (1530–1582), the chancellor of the Czech Kingdom. It was opened to the public for the first time on 2 April 2007 as the Lobkowicz Palace Museum. Set in 22 galleries, the museum displays a selection of pieces from the Lobkowicz Collections, including works by artists such as Antonio Canaletto, Pieter Brueghel the Elder, Lucas Cranach the Elder, and Diego Velázquez, as well as decorative art, military paraphernalia, musical instruments, and original scores of composers including Beethoven and Mozart.
History
Lobkowicz Palace was built in the second half of the 16th century by the Czech nobleman Jaroslav of Pernštejn (1528-1569) and completed by his brother, Vratislav of Pernštejn (1530–1582), the chancellor of the Czech Kingdom. Vratislav's wife, Maria Maximiliana Manrique de Lara y Mendoza, brought the Infant Jesus of Prague statue, thought to have healing powers, from her homeland of Spain to the Palace. The statue was later given by Vratislav and Maria Maximiliana's daughter, Polyxena (1566-1642), to the Church of Our Lady Victorious in Prague, where it remains on display as a popular tourist attraction. A replica of the Infant Jesus of Prague is on permanent display in the Lobkowicz Palace Museum.
Martinic, in the Lobkowicz Palace on 23 May 1618, Rudolf Vejrych after Václav Brožík
The Palace came into the Lobkowicz family through the marriage of Polyxena to Zdeněk Vojtěch, 1st Prince Lobkowicz (1568-1628). In 1618, Protestant rebels threw the Catholic Imperial Ministers from the windows of the Royal Palace at Prague Castle, known as the Second Defenestration of Prague. Surviving the fall, the ministers took refuge in Lobkowicz Palace, where they were protected from further assault by Polyxena.
Following the defeat of the Protestant faction at the Battle of White Mountain in 1620, the Catholic Lobkowicz family grew in influence and power for the next three centuries. Lobkowicz Palace took on a more formal, imperial role and functioned as the Prague residence when the family needed to be present at the seat of Bohemian power for political and ceremonial purposes. With the exception of the 63 years (1939-2002) during which the property was confiscated and held by Nazi and then Communist authorities, the Palace has belonged to the Lobkowicz family.
After World War I, and the abolition of hereditary titles in 1918, Maximilian Lobkowicz (1888-1967), son of Ferdinand Zdenko, 10th Prince Lobkowicz (1858-1938), demonstrated his support for the fledgling First Republic of Czechoslovakia by making several rooms at the palace available to the government headed by Tomas G. Masaryk. In 1939, the occupying Nazi forces confiscated the Palace, along with all other Lobkowicz family properties. The Palace was returned in 1945, only to be seized again after the Communist takeover in 1948. For the next forty years, the Palace was used for a variety of purposes, including State offices and as a museum of Czech history.
After the Velvet Revolution of 1989 and the fall of the Communist government, President Václav Havel enacted a series of laws that allowed for the restitution of confiscated properties. Following a twelve-year restitution process, the palace returned to the ownership of the Lobkowicz family in 2002. On 2 April 2007, after four years of restoration and refurbishment, the palace was opened to the public for the first time as the Lobkowicz Palace Museum, home to one part of The Lobkowicz Collections. The 17th century baroque Concert Hall of the Lobkowicz Palace hosts regular concerts of classical music, and the premises are also used for weddings.
Architecture
After the Thirty Years War, the Palace underwent a number of significant changes, particularly under Václav Eusebius, 2nd Prince Lobkowicz. He was responsible for the palace’s significant baroque alterations and some of its more lavishly decorated salons. Václav Eusebius redesigned the palace in the Italianate style. His design influence can be seen today in the Imperial Hall, whose walls are painted in fresco with trompe l'oeil statues of emperors surrounded by geometric designs, floral and other decorative motifs. Additional examples of the Italianate style are the Concert Hall and the Balcony Room, whose ceilings are adorned with elaborate painted stuccowork and frescoes by F.V. Harovník.
In the 18th century, Joseph František Maximilian, 7th Prince Lobkowicz commissioned the reconstruction of the exterior of the Palace in preparation for the coronation at Prague Castle of Emperor Leopold II as King of Bohemia in 1791. The alterations included the addition of the palace's panoramic balconies. Despite the various alterations made through the years, remnants of original 16th-century murals and graffito work can still be seen in both of the interior courtyards.
The Lobkowicz Collection
Haymaking, Pieter Brueghel the Elder, oil on panel, The Lobkowicz Collections
The oldest and largest privately owned art collection in the Czech Republic, the Lobkowicz Collection draws its significance from its comprehensive nature, reflecting the cultural, social, political and economic life of Central Europe for over seven centuries. In 1907, Max Dvořák, a prominent member of the Vienna School of Art History, created the first complete catalogue of The Collections.[2] After the restitution laws in the early 1990s, the Lobkowicz family was able to reassemble most of the collection, subsequently making it available to the public for the first time.
Paintings
The Lobkowicz Collections comprise approximately 1,500 paintings, including famous works by artists including Pieter Brueghel the Elder, Pieter Brueghel the Younger, Jan Brueghel the Elder, Bellotto,[which?] Lucas Cranach the Elder, Lucas Cranach the Younger, Diego Velázquez Peter Paul Rubens, Paolo Veronese and Canaletto. The collections also include: an extensive collection of Spanish portraits; Central European portraits by Hans von Aachen and the School of Prague; Dutch, Flemish and German genre paintings; and over 50 paintings and watercolors of Lobkowicz residences by Carl Robert Croll.
The three most prestigious artworks in the collection are Haymaking (1565) by Pieter Brueghel the Elder, and two panoramic views of London by Canaletto. Other notable works include: Hygieia Nourishing the Sacred Serpent (c. 1614) by the Flemish master, Peter Paul Rubens; The Virgin and Child with Saints Barbara and Catherine (c. 1520) by Lucas Cranach the Elder; Christ and the Woman Taken in Adultery (c. 1530) by Lucas Cranach the Younger; Caritas Romana (early-mid 16th century) by Georg Pencz and smaller paintings such as A Village in Winter (c. 1600) by Pieter Brueghel the Younger and St. Martin Dividing his Cloak (1611) by Jan Brueghel the Elder. Venetian painting of the 16th century is represented by Paolo Veronese's David with the Head of Goliath (1575).
The Italian baroque collection includes a prayerful Madonna by Giovanni Battista Salvi, and paintings by Francesco del Cairo, Antonio Zanchi and Giovanni Paolo Pannini. The principal Lobkowicz residences and estates—Roudnice nad Labem, Nelahozeves, Jezeří and Bílina—are depicted in oils and watercolors, commissioned from the 19th-century German painter Carl Robert Croll.
The portraits contained in The Collections reflect the Lobkowicz family's participation in European political and cultural life. The collection includes full-length Spanish portraits of Pernstejns, Lobkowiczes, Rožmberks and related members of European and ruling Habsburg dynasties by painters such as Alonso Sánchez Coello, Juan Pantoja de la Cruz, Jacob Seisenegger and Hans Krell. Among the 17th and the 18th century works in the collection is the Spanish Infanta Margarita Theresa (c. 1655), attributed to Diego Velázquez. Later portraits of members of the Lobkowicz family are by Viennese portraitists of the 19th century such as Franz Schrotzberg and Friedrich von Amerling.
The collection of paintings is accompanied by an extensive collection of graphics and drawings, including a set of engravings of Rome by Giovanni Battista Piranesi.
Decorative Arts
While not as well known as the paintings, books and music associated with the Lobkowiczes, decorative and sacred arts objects, dating from the 13th through the 20th centuries, form a significant part of The Collections.
During the Nazi occupation of Czechoslovakia and the later period of Communist rule, the private chapels in the family’s principal residences were desecrated and their contents dispersed. Important artefacts survived, including a 12th-century reliquary cross of rock crystal and gilded copper. The gold reliquary head of a female saint, possibly St. Ursula, dated c. 1300 and known as the Jezeri Bust, was found in a trunk of theatrical props. It is now on display in the Lobkowicz Palace.
Late-Renaissance and early-baroque ceramics from Italy feature prominently in the collections. Several pieces of colorful Deruta ware are considered to be among the earliest Italian ceramics brought back to Bohemia. Ordered during a trip to Italy in 1551, the pieces are colourfully decorated with an image of a bull, which was the Pernstejn family crest.
By the late 17th century, Chinese hard-paste porcelain had become the great obsession of European rulers and aristocrats. The Dutch workshops at Delft created tin-glazed earthenware that was an early European imitation of the expensive Chinese ware. Around 1680 when he was Imperial Envoy to the Netherlands, Wenzel Ferdinand, Count Lobkowicz of Bilina, commissioned a personalized work, designed with intricate overlapping letters of his initials WL. With 150 pieces, the set is the largest surviving Delft dinner service. A selection of pieces are on display at the Lobkowicz Palace Museum. In the spring of 2000, over sixty pieces from this service were lent to the Rijksmuseum, Amsterdam, to be displayed as part of the "Glory of the Golden Age" exhibition.
The Meissen factory outside Dresden discovered how to produce hard-paste porcelain in the first decade of the 18th century, for the first time outside of Asia. As a result of the factory’s proximity to the Lobkowicz landholdings and castles, 18th and 19th century examples of these porcelain works are prevalent in the collections, ranging from the earlier delicate chinoiserie motifs to the more traditional European elements and designs with fruits and flowers.
Some of the cabinetmaking and marquetry in the Collections come from the Eger craftsmen who worked in Western Bohemia in the 17th century. Several Eger jewelry cabinets are considered among the finest ever produced.[citation needed] Other pieces include caskets, tables and games boards, which are lavishly inlaid with ivory, mother-of-pearl and tortoiseshell, depicting landscapes, animals and classical motifs.
Music
The Music Archive of the Lobkowicz Collection holds over 5,000 items. Originally housed in The Lobkowicz Library at the principal family seat of Roudnice Castle, the entire archive was confiscated, first by the Nazis in 1941, and again by the Communist regime, which sent it to the Museum of Czech Music. In October 1998, the Music Archive was returned to the family in its entirety and moved to Nelahozeves Castle under the auspices of the Roudnice-Lobkowicz Foundation.
The Music Archive, established by Ferdinand August, 3rd Prince of Lobkowicz, was assembled over three centuries by principal members of the family who were not only enthusiastic collectors, but patrons of the arts and also often talented performers. The Music Archive contains works by over five hundred composers and musicians. These include a rare collection of late 17th- and early 18th-century lute, mandolin and guitar scores. This collection, regarded as the world’s largest private collection of baroque music for plucked instruments, has a particularly extensive collection of works by French composers, including Denis and Ennemond Gaultier, St. Luc, Charles Mouton, and Jacques Gallot. The Music Archive is most noted, however, for its late 18th- and early 19th-century collection, including works by Handel, Mozart, Haydn and Beethoven, including Beethoven’s Third (Eroica), Fourth and Fifth symphonies, and Mozart’s hand written re-orchestration of Handel’s Messiah.
Philip Hyacinth, 4th Prince of Lobkowicz, and his second wife, Anna Wilhelmina Althan, were both distinguished lutenists and the prince an accomplished composer as well. Both were both taught by some of the finest contemporary lutenists, including Sylvius Leopold Weiss and Andreas Bohr, and their fine period instruments remain part of the collections. Their son, Ferdinand Philip, the sixth prince, played the glass harmonica and championed the son of one of the family's foresters, the opera composer Christoph Willibald Gluck.
The family member who had the greatest impact on the history of Western music, however, was the 7th Prince, Joseph Franz Maximilian. A talented singer, violinist and cellist, the 7th Prince was the major patron of Beethoven, who dedicated his Third (Eroica), Fifth, and Sixth (Pastoral) symphonies to the Prince, as well as other works. It was the annual stipend provided by the Prince (and continued by his son until the composer’s death), supplemented by support from the Archduke Rudolf and Prince Kinsky, that allowed Beethoven the freedom to compose without dependence on commissions and time-consuming teaching.[citation needed]
In addition to the manuscripts and printed music, the Collections include musical instruments from house orchestras that performed in the various family residences at Jezeří and Roudnice nad Labem in Northern Bohemia, as well as in Vienna. Also on display are lutes from the 16th and 17th centuries by Maler, Tieffenbrucker and Unverdorben; a 17th-century guitar; violins of Italian, German and Czech origin (Gasparo da Salo, Jacob Stainer, Eberle, Hellmer, Rauch); contrabasses from Edlinger[disambiguation needed] and Jacob Stainer; Guarneri and Kulik violoncelli; 18th-century Viennese wind instruments and a pair of copper martial kettledrums. A rare item in the collection is a suite of six elaborately decorated silver trumpets made in 1716 by Michael Leichamschneider of Vienna – one of only two documented sets in existence.
The Nelahozeves Castle Music Room displays a spinet, a contrabass by Posch[disambiguation needed] and other string instruments as well as two pairs of copper and bronze kettledrums.
Military equipment
Hunting was an important activity for Central European nobility from the late Renaissance period onwards, and all of the major Lobkowicz properties served as venues for hunting. Bearing witness to these hunting parties and their participants are hundreds of mounted trophies in the Lobkowicz Collections, dating from the 18th to the early 20th centuries. The social aspects of the hunt are also reflected in the numerous paintings and graphics by local artists in the collection, among them pictures of favourite horses, dogs and trophies. The central part of the hunting-related exhibitions, however, is the firearms themselves, which are displayed in two armoury rooms at Lobkowicz Palace, while further items from the collection are held at Nelahozeves Castle.
The majority of these rifles and pistols were produced locally for the family between 1650 and 1750, by the 17th-century Prague workshops of Adam Brand, Paul Ignatius Poser, the Neireiter family and Leopold Becher, as well as Roudnice craftsmen such as Johannes Lackner and Adel Friedrich during the mid-18th century. These exhibits reflect the patronage of the Lobkowicz family, who provided the gun makers with large orders for guns for many centuries.
The collection features a group of identical flintlock rifles produced for the Lobkowicz Militia in the 18th century, one of the largest collections of such items. Additional weapons came from Silesia, while the most elaborate 18th-century rifles and pistols (some in the Turkish manner) with mother-of-pearl inlay were produced in Vienna. Goldsmiths and silversmiths specializing in inlay were employed to decorate guns, rifles, crossbows and powder flasks of the finest quality.
The palace housed an exhibition of the work Illustrated geography and history of Bohemia by Bavarian cartographer Mauritius Vogt. The exhibition ran until 31 May 2015.
Lobkowicz Collections o.p.s.
In 1994, a non-profit organisation, Lobkowicz Collections o.p.s. (previously the Roudnice Lobkowicz Foundation), was established to curate and maintain the Lobkowicz Collection, recently returned to the family after the Velvet Revolution. The organisation also works to provide access to the art, music and literature contained in the collection to academic researchers and the general public. Lobkowicz Collections o.p.s. has co-ordinated the installation of the collections at both Lobkowicz Palace and Nelahozeves Castle.
The organisation's responsibilities include:
•overseeing the preservation and installation of the objects in The Collections
•developing education programs for students
•promoting and facilitating academic research around The Collections
•administering loans to other cultural institutions
•curating exhibitions of works included in the collections for the public
Significant restoration projects include the restoration of Peter Paul Rubens’ Hygieia Nourishing the Sacred Serpent, restored by Hubert von Sonnenburg of the Metropolitan Museum of Art. This project was funded by the American Friends for the Preservation of Czech Culture (AFPCC).
Lobkowicz Collections o.p.s. also administers lending of artworks to exhibitions. Since 1993, over 200 works of art have been lent to museums in the Czech Republic and abroad, including the Metropolitan Museum of Art in New York, the National Gallery of Art in Washington DC, the Royal Academy of Art in London and the Rijksmuseum in Amsterdam.
Kodak Ultramax 400 developed in Rollei Colorchem C-41 taken with Chinon 1.9 50mm
This is from my first attempt at developing color film. The first roll was expired and developed awfully, scaring me. But this came out ok. Maybe not great, but it's a start. I'm just excited that I developed color!
180,748 items / 1,422,718 views
Because the mind saw what it saw , it saw what the eyes dare not see it triggered a response and I shot the xylophone of cosmic love, it was vibrant soul endearing but time has taken its toll it has gone silent it plays the tunes of lost hope lost memories ..like drunken waves slashing the shores of nostalgia.
I call myself a beggar poet, I am not the kind of poet you will see on a poets podium reciting candy floss, I am not a Dalit revolutionary poet, I have no Marxist leanings ,and luckily I am a million miles away from Chattisgarh.. I dont possess porn or possessing porn would sentence me for life.. you are known by the books you possess ..I am not a Gandhian ...nor am I a follower of Anna Hazare..
I am me I am not into groups here at Flickr or Facebook , I will not click the Like buttons , I wont create a poetry or photography page I am happy where I am a single blog friendly window at Flickr.
I only shoot what I am destined to shoot I sometimes shot the same thing over and over again its like humping the same woman over and again till you get tired of humping and take a break from humps and bumps.
A poet may be married a bachelor or anything but a poem is created from seed of love it is love that nurtures his poetry.. hate does too but than does not work in the long run..
There was a girl poet called Amberlee at poetry site she hated Indians she hated Indian cows the grass chewing type she hated me because I told her to shut the Fuck up , she wrote a poem on me I suck guys and every possible form of hate she dumped on me this American poetess than I wrote a poem called Pussy Fat Pussy Fat where have you been.. she has not been seen till date.this is my most read poem on the Internet.. and another one Hijda Sex the Tantric way that has over 200000 views in 3 and a half years.
I wrote some crazy stuff and though it makes me blush I have not deleted them they will survive me even after I am dead and gone.
I try not to post them as links on Facebook so as not to add fuel to fire ...and it is these posts and the hijra posts only that push my stats to 20000 views every day.I am ashamed sometime at my notoriety to fame.
So when I am plunged int the darkness of desires and bitten so to speak by a new hope of light that inflames engorges my creativity and a bit of my languishing libido I welcome change and have written freshly .. poems that wont even make pre pubescent teen turn red ..I am trying to clean up my act write simple poems..understandable so I use the same key words over and over again..
And I also know I wont ever be published so I stopped approaching publishers completely.. I am my own pirated version online.. and I am grateful to a smelly cat for making me more vibrant positive .. I am an erotic poet so it is tough writing poems with a a huge boulder placed on the gonads of doom and destiny.
And I have lost count of the poems I write as some of the are poems too though I have not annexed them to my pictorial soul..they are wordless and speak within the eloquence of silence.
And I hate cricket I hate politics I hate Whabbism. is putting it mildly.. call-it reverse racism on the soul of my poetry.
1. McKenzie River, Lane County, Oregon ~ Painterly, 2. Sun Rays with Sort of Hidden Little Red Orb, 3. Vintage Metal Farm Equipment (Amazing), 4. One of My Favorite Shots Ever ~ 3 Beautiful Dogs Swimming & Fetching Cooperatively, 5. Caps for Toy Pistols, 6. Beautiful Fuzzy Weeds, 7. Great Blue Heron Catches Late Dinner, 8. Great Blue Heron Just Prancing Right Along,
9. Sunset Out My Rear Window ~ SOOC, 10. A Gazillion Gorgeous Pink, Red & White Poppies, 11. Sunrise with Red Orb and One Dark Duck, 12. Sunset with Red Orb, 13. Elk Family ~ Maybe Cow, Calf & Daddy?, 14. Quilt with Bare Trees (No Leaves Trees) ~ Best Viewed Large, 15. German Shepherd Looking Right at Me, 16. The Third Little Pig Foiled the Big Bad Wolf ~ But then Came that Darned Hurricane,
17. Sunrise from Out Back ~ July 8, 2014, 18. 5 Ducklings ~ I Like the One in Front with His Beak Open, 19. Female American Goldfinch ~ Carduelis tristis, 20. Male American Goldfinch ~ Carduelis tristis, 21. Grass is Great for Elk ~ They Eat Several Blades of It while They Hide Behind One, 22. Gorgeous and Exotic Looking Flowers ~ Showy Milkweed, Asclepias speciosa, 23. Great Blue Heron in Flight ~ Looks Painterly but it is SOOC, 24. More Grasses in Black & White,
25. Snake Like the One a Bittern Ate in One of My Photos Years Ago, 26. Magenta or Cerise Wildflowers with Yellow Centers, 27. Guess What I Saw at the Hospital Yesterday ~ 2 Deer with Cute Antlers, 28. Best Viewed Large to Spot all the Creatures Here, 29. Poppies Sandwiched Between Earth and Sky ~ Painterly, 30. More Poppies Swaying in the Breeze, 31. Field of Poppies and Orchard with Tiny Specks of Sheep, 32. Bittern Stalking the Next Meal ~ Get a Load of that Right Foot,
33. Female Cinnamon Teal Duck Shows Off Pure White Feathers Under Her Wing, 34. Male Cinnamon Teal Duck Stretching & Fanning Out Some of His Feathers ~ EXPLORED, 35. Part of a Large Herd of Elk ~ Best Viewed Large, 36. Cutest Cinnamon Teal Duck Pair Ever!, 37. Used to Be Quaint Little Pink House ~ Now Entrance is Boarded Up, 38. Don't Laugh ~ It's My First Time Photographing a Hummingbird, 39. Sunrise at McFadden Marsh with Guardrail and Fence, 40. Which 2 out of these 4 do you like the best? This is #6993,
41. Which 2 out of these 3 do you like the best? This is #7004, 42. Matt & Thomas Bringing Down a Huge Tree, 43. Pigeon Butte & Queen Anne's Lace or Wild Carrot, 44. Canada Geese, One Show-Off & Some Small Birds, 45. Hey Man, We Have Here a Barn, a Marsh and a Rainbow with Like Some Way Weird Processing, Ya Know?, 46. Quaint Old Barn that I Like, 47. Gorgeous Hawk at William L Finley National Wildlife Refuge, 48. Sunset out My Window,
49. Swans in Flight (Parts of Seven of Them), 50. Tchaikovsky ~ A Noble Looking Long-Haired Cat, 51. Christmas Tree Made Out of Books, 52. Trees in Front Yard ~ Almost Black & White ~ Some Specks of Color, 53. Blueberry Bushes & Poplar Windbreak on the Way Out ~ Painterly, 54. Bulldog in Muddy Black Truck ~ Light Rain, 55. Freshly Painted Fence Ornamentation at US Post Office, Corvallis, Oregon, 56. ************************************************ Some of the 29,000 Canada Geese Coming Back for the Winter,
57. Concrete Cluster Benches at Corvallis Riverfront Park, 58. It's Not Snow! It is Super Artsy Techniques on my Photo of a Very Hard Rain, 59. Sunlit Clouds & Douglas Fir Trees in My Back Yard, 60. Giant Marshmallow Farm, 61. Eureka Barns ~ Marys Peak ~ Painterly, 62. HRH Trinity Rose de Montecore the Calico Cat with Toy ~ SOOC, 63. Convoy of Five Combines with Mary's Peak in the Background ~ EXPLORED, 64. Trinity Rose with Her Transportation Blankie,
65. Sunrise at McFadden Marsh ~ December 28, 2012, 66. Snow Covered Christmas Tree Farm, 67. Whirlpool with Cloud Reflections, 68. Vintage Home ~ Why this Sad Condition Now?, 69. Wheat ~ Close Up & Spiny Looking, 70. Rose, the Hungarian Vizsla Puppy has Grown Quite a Bit, 71. Tabby Kitten named Dr. John, 72. Nice Black Dog on Striped Bench
Created with fd's Flickr Toys
1. Robert LaVigne, Beat artist, in his studio, San Francisco 1965. 2. I Am The Door - Lawrence Ferlinghetti in the City Lights Books basement, San Francisco 1965. 3. Michael McClure and Bruce Conner, San Francisco 1965. 4. The last gathering of Beat poets and artists, City Lights Books, San Francisco 1965. 5. Ken Kesey, novelist, Merry Prankster and fugitive, Oakland 1966. 6. Allen Ginsberg having breakfast in his apartment, San Francisco 1965. 7. Philip Whalen showing his drip portrait by Michael McClure, San Francisco 1965. 8. Lawrence Ferlinghetti revisiting his jazz/poetry reading, Smithsonian Institution 1996. 9. Neal Cassady watching for the cops while waiting for Ken Kesey, Oakland 1966. 10. Allen Ginsberg chanting in his apartment, San Francisco 1965. 11. Bob Dylan and Allen Ginsberg, North Beach, San Francisco 1965. 12. Neal Cassady hanging out at Allen Ginsberg's apartment, San Francisco 1965.
History
The church with the dowend tower
History of joy and suffering of an old christian time witness of Vienna
The Minoritenkirche in Vienna is one of the oldest and most valuable artistic churches of the city. It is therefore not surprising that it also experienced a very eventful history. In all probability, the Franciscans were - how the Friars Minor (Thomas of Celano: "Ordo Friars Minor" ) also called on account of its founders personality, called by the Babenberg Duke Leopold VI the Glorious, in 1230 into the country. Here he gave them a lot, probably with a church (probably dedicated to St. Catherine of Alexandria), before the walls of the city, between the Scots Monastery (Schottenstift) and the ducal residence. It was not until 1237, and in 1271 the entire area was included in the extended boundary wall. The Minorite Barnabas Strasser says in his chronicle from 1766 that Leopold had asked on his return from the Holy Land in 1219 Francis in Assisi to the relocation of some brothers to Vienna, which was then carried out 1224. The Franciscans, however, are detectable only in 1234 by a bull of Gregory IX . to Frederick the Warlike, the last reigning Babenberg, by the year 1239 there was already the Austrian province. The above-mentioned chapel near the present Minoritenkirche the brothers have now expanded and dedicated it to the Holy Cross ("Santa Croce"). In 1251 the dedication was by the Bishop Berthold of Passau. In addition, the friars began to build a monastery, the 1234 is mentioned in a document (the monastery comprised finally the Ballhausplatz, Minoritenplatz and parts of the Hofburg and the Public Garden) . Of the original Romanesque building stock nothing has been preserved. Especially the great fire of 1276 has cremated large parts of the Convention.
However, the strong growth of the Friars Minor now living in Vienna made a new building of the church and monastery necessary. Already laid by King Otakar II of Bohemia in 1276 the foundation stone for the new building of that temple which was now already on the present site of the church, the monarch also promised tax exemption for all who had contributed to the building of the church.
First stage of construction (beginning in the third third of the 13th century.): So he decided to build new church and convent, but by the death in battle of Ottokar in 1278 at the March Field (Jedlespeigen close Dürnkrut) delayed the construction, thus only after the turn of the century it couldbe completed. The embalmed body of Ottokar remained 30 weeks in the chapter house of the monastery until it was transferred to Znojmo and finally to Prague. The king's heart is buried in the original Chapel of St. Catherine, which was now newly assigned this name because the appropriation should be reserved to the Holy Cross of Christ, the new church and the convent . This newly built house of God was given the shape of a two-aisled nave with zweijochigem (two-bay) long choir (chancel), which closed with the five sides of a decagon. This long choir, the one 1785/86 and changed into a five-storey residential building, was canceled in 1903. In connection with the subway construction (1984-86), although archaeological excavations took place, it also laid the foundations of the former free long-choir, but most of the foundations of the old presbytery were destroyed at the same time. - The first church had a rood screen, even at the turn of the 15th/16th Century the still resulting image of the Saint Francis was attached by an unknown artist. Just from this first phase, we know by the Baroque Minoritenchronik (chronicle) first mentioned the name of a builder, namely brother Hans Schimpffenpfeil .
Second stage of construction (after 1317-1328 ) Blanche (Blanche) of Valois, the wife of Duke Rudolf III . ( 1307) and daughter of Philip the Fair, in 1304 decreed in his will to build a chapel in honor of her grandfather, the Holy King Louis IX. of France (canonized in 1297) and introduced for this purpose in 1000 available books. However, the project was realized only under Isabella (Elizabeth ) of Aragon, wife of King Frederick the Fair (1330 ). The chapel dedicated to their relatives canonized in 1317, St . Louis of Anjou, son of Charles II of Naples, great-nephew of Louis IX . of France and Franciscan archbishop of Toulouse (1297 ); it was first a self- cultivation in the NE (north-east) of the two-aisled nave Minoritenkirche, until the third construction phase it was integrated into the nave (now the north aisle with Anthony's Chapel). In 1328 the chapel was apparently completed because in 1330 the founder - was buried in the chapel of Louis - in terms of her testamentary disposition. The tomb of Queen Isabella stood in the middle of the Kapellenjochs (chapel bay) in front of the apse. The tracery show similarity with those of the Albertine choir of St. Stephen (built by Duke Albrecht II [ 1358] ) as well as with that of the Sanctuary Strassengel near the Cistercian monastery Rein near Graz (around the middle of the 14th century.). Probably belonged to the tympanum with the donor portraits of Frederick the Fair and Isabella at the feet of the Mother of God, which was inserted in the third construction phase of the church in the secondary north portal, the original entrance to the Ludwig chapel. It must be mentioned that even the Duchess Blanche (1305 ) built around 1330 a high early gothic marble grave, which unfortunately disappeared in the course of the renovation of the church in the years 1784-86 by the court architect Johann Ferdinand Hetzendorf of Hohenberg. It would be in Vienna today the only work of art of this kind
Third stage of construction (from 1339 -1400): Construction of a three-aisled hall (originally nave chapel Ludwig). The north wall of the chapel was extended to the west and in the north portal installed a second yoke. In addition, it was built a new west facade, with especially the central portal - including was designed - with jamb - pompous like the French late Gothic - perhaps under South German mediation. In the obituary of the Friars Minor brother Jacob of Paris is called ( around 1340), the confessor Albrecht II as the creator of this work of art. The duke and his wife Johanna von Außenmauer MinoritenkirchePfirt have obviously significantly contributed to the emergence of Vienna undoubtedly unique late Gothic cathedrals three portal group, there is also a representation of Albrecht and his wife in the middle portal next to the cross of Christ. Together with the two for a rich Mendikantenkirche (Mendicity church) this equipment is also of French models (see Notre Dame Cathedral in Paris [after 1285] ) constructed in 1350-1370 with splendid rose windows (with "bright" and "rotating" tracery) to the south wall - unusually without a doubt. The workshop, which built the Ludwig chapel was also busy with the west facade ("Minoritenwerkstatt" (workshop)). 1350-60 or later today, finally, the bell tower was only partially built (as a builder is a lay brother Nicholas, 1385 or 1386 called ). The tower consists mainly of two parts, a lower part made of stone blocks to the height of the nave, and an upper, octagonal section of mixed masonry. Its crown had because of damage - especially been renewed several times and was eventually removed - during the Turkish wars . The consecration of the enlarged Minoritenkirche must have taken place about the year 1390. So that the church had received its valid look for the next time.
In 1529, during the first siege of the monastery and the church even more extensive damage suffering (launch of the spire). Since the monastery of the Observant (Franciscans) had been destroyed by the Turks, these sought to supplant the Franciscans in their convent, where John Capistrano, the founder of the "brown Franciscan" (Observant) in Vienna, lived some time in the Franciscan monastery and in the Church had preached, but eventually instructed the Emperor Ferdinand I the now homeless Observant buildings on Singerschen Platz. In fact, the number of Wiener Friars Minor has then shrunk to seven, so that they felt compelled to call Fathers from Italy. But that but could not prevent that the church from 1569-1620 war a Protestant church. Interestingly, originate numerous coats of arms on the balcony of this period. At that time the Conventual were only in the possession of Louis Chapel and the Chapel of St. Catherine. Also during the second Turkish siege in 1683 the tower served as an observation tower and the Minoritenkirche was accordingly fired by the Turks and severely damaged. In 1733 the tower is adorned with a copper dome, but because of the danger of collapse eventually had to be removed. It brought the church to that low pointed tiled roof, which still exists today .
More and more, the bands developed in the Minoritenkirche, especially Ludwig chapel and cemetery, grave sites of the nobility. Besides Blanche of Valois and Isabella of Aragon and Margaret, the last country Duchess of Tyrol, was named Maultasch ( 1369 ), is buried here, as well as members of Lichtsteiner, Ditrichsteins, Puchaimer, Hojo, Stauffenberger, Greifensteiner; Piccolomini, Medici, Cavalcanti, Montaldi, Valperga, etc. (many of them are listed in the "Libro d'Oro of the "Congregation Italiana"). It should also be mentioned that the Franciscans since the end of the 14th Century took lively interest in teaching at the University of Vienna, especially of course in the subjects of theology, but also the jurisprudence. At the beginning of the 18th Century lived in the Vienna alsoin the Viennese Convention the Venetian cosmographer Br Vincenzo Coronelli, which the Emperor Charles VI. appointed to head the regulation of the Danube and its famous globes are now in the globe collection of the National Library in Vienna.
It is worthnoting, finally, the fact that around 1543 on the Ballhausplatz near the Imperial Palace from parts of the monastery a small hospital was donated and that the Franciscans for 13 years did all the counseling in this new Hofspital, at this time was the newly restored Chapel of St. Catherine Hospital Church. Another wing of the former minority monastery was home to the Imperial Court Library, 1558-1613.
To Minoritenkirche the second half of the 18th Century brought drastic changes. This development was initiated by the fact that the naturalized Italians in Vienna founded an Italian congregation in 1625/26 under the guidance of the Jesuit priest and professor at the University of Vienna Wilhelm Lamormaini. By the year 1773, when the Jesuit Order was temporarily released their Italian trade fairs celebrated this "Congregation Italiana" in a chapel of the Jesuits at Bognergasse, near the old Jesuit church "Am Hof". But in 1773 that little church was by the imperial government requisited. Then the Italians found in St. Catherine Chapel at Ballhausplatz, which popularly still is referred as the Italian church - ie not only the Minoritenkirche - a new home. After a thorough restoration of the chapel was consecrated on 1 February 1775 ceremony in memory of the "Santa Maria Maggiore" to Rome in the name of "Madonna della Neve" (Mary Snow church'). The Holy Mass conducted Antonio Salieri (1750-1825), who was in 1774 chamber composer and conductor of the Italian opera in Vienna, from 1788-90 to 1824 Kapellmeister and Director of the Court Chapel. Pope Pius VI . visited during his stay in Vienna on Good Friday of 1782 the church "Maria Schnee" on the Ballhausplatz. But this state of the law was short-lived: in 1783 Emperor Joseph II shifted the Friars Minor in the former Trinitarian on Alserstrasse, and the Minoritenkirche was on the grounds that the chapel "p Maria della Neve" for about 7,000 Italians living in Vienna was too small, the Congregation italiana transferred to the condition that the Community had now to restore the Great Church (imperial decree of June 3, 1784). The richly decorated chapel "Madonna della Neve" went on an imperial property and was finally in the late 18th Century canceled. Also, the Franciscan monastery passed into state ownership: one is used for imperial and feudal law firms. The cemetery near the church was abandoned. With the greatest financial burdens now led the congregation from the imperial mission of the church renovation, the thorough repair of the church was entrusted to the court architect Johann Ferdinand Hetzendorf of Hohenberg (1784-1789). In order to cover the construction costs somewhat, were the old long choir (chancel) and the beginning of the 14th Century. (Consecrated in 1317 ) at the western end of the south side of the nave grown (and now defunct) St. John's Chapel (Chapel Puchaimische Kapelle ) converted into residences. The solemn consecration of the church under the name of "Madonna della Neve" took place on 16 April 1786, on Easter Sunday.
But soon was moving closer to the church the next hardship: In the years of the Napoleonic wars, the church should serve as a warehouse for straw, hay and for different equipment, so in 1809 also the forced evacuation of the building took place. Shortly after engaging the French eventually turned this into a provisions store. Two-thirds of the floor was smashed by the rolling of drums and by the retraction of cars. In the middle of the church a wide, tunnel-like cavity had been excavated and other parts of the floor destroyed a in God's house capped oven. Until 18 April 1810, the then Prefect of the Minoritenkirche received back the church keys. In 1825 died one of the most famous Kongregaten (congregats) of this century, namely, the composer Antonio Salieri, and on 22 June this year resounded in the Italian national church with the participation of the court chapel and the first Hofchores (court choir) the Verdi Requiem.
As the situation after the Napoleonic war turmoil in the mid-19th Century had normalized, Emperor Ferdinand the Good in 1845 donated to the "Congregation italiana" the according to the model of Leonardo da Vinci's famous fresco (1495-97) designed mosaic of the Last Supper, which the Roman Giacomo Raffaelli of 12 panels with a total weight of 20 tons by Napoleon's orders had made in the years 1806-1814, and was eventually bought by Emperor Franz for the Belvedere Palace. To that gave Emperor Ferdinand a considerable amount (8000 guilders) to allow the mounting of the work of art in the Minoritenkirche. The inauguration of the altar took place on 26nd in March 1847. In 1852 Emperor Franz Joseph came and soon the Crown Prince Franz Ferdinand in the "Congregation ". The former paid each year mostly coming from out of town fast preachers for the Church, in return he regularly received at the Festival of Lights (2 February) as well as on Palm Sunday the sacred candle or the olive branch.
The last major change in the church took place in the years 1892-1905 at the restructuring of the Minoritenplatz. Now two new courses, namely the Ballhausplatz and Minoritenplatz emerged, the houses adjacent to the church (former Long John's Chapel Choir and) were demolished. The former Franciscan monastery had to give way to the House, Court and State Archives. Even the church was given a new face, although the plans of the architect Viktor Luntz due to financial reasons only could be realized partially, there were clearly visible changes: Most noticeable to the viewer is undoubtedly the Gothic passage on the south side of the walled grave stones originated partly from the bands, and part of the adjacent once cemetery, as well as the above installed "Minoritenhaus". 1907 were placed in the tower four new bells cast in Trento, which is, however - with the exception of one, St. Anthony ordained, Bell - 1914 confiscated. The solemn consecration of the church took place on 4 Held in May 1909 in the presence of Emperor Franz Joseph. Due to the highly cooperative attitude of the Congregation towards the transformation plans of the City of Vienna Lueger, the mayor promised that the court should never be installed directly behind the church.
More important restoration work was carried out 1960-1962 (church affairs), in the last decade, as the outer walls have been restored.
About Minoritenplatz finally should be mentioned that the pastoral care of Italians after 1786 by each rectors appointed by the Archbishop was, from 1808 to 1813 was also here Clemens Maria Hofbauer who died 1820 and later was canonized working as a church rector. Therefore, there is also his monument on the north side of the church. Since the year 1953, and officially by the order of the archbishop Ordinariate of 1 December 1957 is the Friars Minor transmitted the pastoral care of the Italian community again, firstly the Fathers belonging to the Order of Padua Province while they are under the Austrian province today. In the year 2003, ie 50 years after the adoption of the pastoral care of Italians in the Minoritenkirche by the Conventual, that Francis statue was made, nowadays, it is located on the north side of the church, next to the Baroque cultivation.
(Text by Dr. Manfred Zips , Ital. Congregation )
"I've read hundreds of books about China over the decades," Donald Trump said in a recent interview with Xinhua, the official press agency of the People's Republic of China. "I know the Chinese. I've made a lot of money with the Chinese. I understand the Chinese mind."
latimesblogs.latimes.com/washington/2011/05/donald-trump-...
When later asked if he would care to list some of his favorite books about China, the billionaire mogul, an author himself of numerous books, proceeded to recite by memory his top twenty.
Here they are in the order in which they were named:
1. The Party by Richard McGregor
2. On China by Henry Kissinger
3. Mao: The Untold Story by Jung Chang
4. Tide Players by Jianying Zha
5. One Billion Customers by James McGregor
6. The Coming China Wars by Peter W. Navarro
7. The Beijing Consensus by Stefan Halper
8. China CEO by Juan Antonio Fernandez and Laurie Underwood
9. Poorly Made in China by Paul Midler
10. CHINA: Portrait of a People by Tom Carter
11. The Man Who Loved China by Simon Winchester
12. China Shakes the World by James Kynge
13. Mr. China by Tim Clissold
14. Country Driving by Peter Hessler
15. The Dragon's Gift by Deborah Brautigam
16. Factory Girls by Leslie T. Chang
17. The Heavenly Man by Brother Yun
18. 1421 by Gavin Menzies
19. Seven Years in Tibet by Heinrich Harrer
20. Battle Hymn of the Tiger Mother by Amy Chua
Trojans FC has been providing top class Southampton Rugby for 142 years! Established in 1874 Trojans operates 3 Senior Men's, a Senior Ladies and teams at every youth age group.
#proudtobeatrojan
The Trojans Club was founded in 1874 initially as a rugby club - The Trojans Football Club.
There are now four very active sporting sections, Rugby, Cricket, Hockey and Squash with a total membership of well over one thousand.
During its long and proud history, Trojans has done much to foster amateur sport and has, over the years, produced many county and international players.
The original minute books are still in existence and are held in the Southampton City archives and there are many other documents and press reports that have been used extensively to create the following documents, broken into two sections, the History and the Playing Archives.
This is not intended to be a definitive history of the Trojans Football Club, the oldest rugby club in Hampshire, but more a selection of the highlights of the early years and a brief review of the past few years.
The Beginning
On the 3rd of September 1874 a meeting was held at the Antelope Hotel, Southampton, by members of a previous club, with a view to forming the "Trojans".
The previous Club was the "Southampton Football Club" which existed for one season under that name having previous been the "Grammar School Old Boys". The earliest recorded game so far found was the Old Boys against the Shirley Club on 5th October 1872 at Porter's Meadow. The match was won by Shirley by 2 touchdowns to one. H F Gibbs was captain of both of these forerunners.
H F Gibbs was voted the first Captain of the Trojans Football Club and the Club colours were voted as blue and red. It was agreed that the first annual subscription should be five shillings per year. The first rugby games of the Club were played at Porters Mead, which is now called Queens Park, Southampton.
The first Annual Meeting of the Club took place on the 24th September 1875 when the Treasurer reported a small credit balance of five pence halfpenny (2.29p). The results for the 1874/75 season produced five victories and three defeats.
The Club joined the Rugby Football Union in 1881.
Change the Laws
At a committee Meeting on the 5th September 1874 the Playing Rules of Rugby Football were read through and the worthy members of the Trojans decided to make an amendment to Rule number 15 which read "It is lawful to run in anywhere across the goal line". The addition made by the Trojans at that stage was "except between the goal posts". The Club soon found it necessary to alter this!
The First Results
Southsea (A) lost by two punts out and seven touch downs
Salisbury (A) Won by one goal and two touch downs to nil.
Salisbury (H) Lost by one goal, one try and two touch downs to two tries and four touch downs.
Magpies Won by three tries and seven touch downs to nil.
Southsea (H) Won by one goal to nil
Springhill Won by one goal and three touch downs to one goal.
Royal Academy Gosport Lost by four tries and six touch downs to one try.
First Floodlit game
On the evening of 28th November 1878, a match was played against the Rovers Football Club by electric light, having been cancelled the night before because of rain. This was the first exhibition of electric light in Southampton, and believed to be the first ever game of rugby under lights. The local newspaper reported that "at times the light was very brilliant and players could be seen plainly".
Ban the Game!
During the 1880 season, S E Gibbs died as a result of an injury while playing against Romsey. There was much local comment and the then Mayor of Southampton issued a handbill, published in full in "The Times", condemning the game as follows:
"The Mayor in consequence of the many serious accidents and the recent deplorable death in Southampton resulting from the dangerous practice of playing football requests the Heads of Families, the Principals of Scholastic Establishments in the Town and Members of Clubs to take such steps as may be necessary for preventing the game being played in future according to Rugby Union, Association and other rules of a dangerous character. The Mayor considers it his duty to use every means in his power for prohibiting the game as hitherto played being continued in the Porters Meadow field or upon any other of the Public lands in Southampton".
At the Committee Meeting of 16th December 1880 "It was decided to play as usual unless we found out before that the Mayor had given any instruction to the police. In that case it was thought best to summons any offending "arm of the law" for assault".
The Formation of the Hampshire Rugby Football Union
At the Trojan Club's initiative, a meeting was held on 13th April 1883 to discuss the formation of "The Hampshire County Rugby Football Union". In the first season of the County Club, at least seven Trojans represented the County.
In 1901 County activities ceased and it was again the Trojans, along with United Services, who, in 1910, convened a meeting at the Trojans Club for the purpose of forming a Rugby Football Union in Hampshire.
Over 400 Trojan members have represented the county at rugby at the various levels and 140 at senior level.
“International” Football"
Although a rugby club, Trojans were known, on occasions, to play with the round ball. The following team was selected to play Curries French team (from Havre) on the New Football Ground, Archers Road (the Dell) on Tuesday 1st November 1898. Scotney, goal, Denning & Maundrell, backs, Densham, Ellerby & Colson, halfs, Ellaby, Page, Macdonald, Gamble & Hussey (councillor and later Sir George), forwards. Trojans were allowed to take half the gate money. The Echo reported this as a game against a team of French players and thus it claimed the honour of being the first international match played at the Dell.
The First Hampshire Cup
In May 1888 the Trojans Committee proposed the starting of a Rugby Union Cup Competition in the interests of Rugby Football. The County Challenge Cup (Presented by Tankerville Chamberlayne M.P., President of Trojans, and pictured here) was started in the 1889/1890 season and the Club entered the same. During this year, not only was the pitch enclosed by rope, but a charge of sixpence was made to all spectators. The Cup was duly won by Trojans in March 1890. Whether it was ever played for again is not sure as, in 1891, Trojans decided not to enter because " it was felt that it was a farce putting up the cup at the fag end of the season to be competed for by three clubs"! The present whereabouts of the grand cup is not known, although it is believed it was presented back to Tankerville Chamberlayne.
Service to the County
As well as forming the County Union (twice), Trojan members have served the County well and it can be said that there has always been a Trojan involved in Hampshire Rugby since its formation.
In particular, over the 108 active years of the Union, six Trojan members have served as President of the Union serving a total of 49 years. Six Secretaries served a total of 36 years and for the first sixty-two years of County representation on the RFU Committee the Hampshire representative was a Trojan.
Mr. Hampshire
There can be no more respected and faithful servant of the County and the Game than one particular Trojan, Dudley Kemp, as the following record illustrates -
Captain of Trojans 1927-34, 1935-38
Captain of Hampshire 1935
Played for England 1935.
Barbarian
President of the Rugby Football Union 1969
Member of the International Board 1971-77
Hampshire representative on the RFU Committee 1955-69
President HRFU 1973-76
Secretary HRFU 1946-67
Assistant Secretary HRFU 1967-68
Team Secretary HRFU 1946-53
Match Secretary HRFU 1953-56
Dudley died at his home in Devon in January 2003 aged 93.
Doggy Spectators
During a match between Trojans and Portsmouth Victoria in 1886, the ball was kicked into the Trojans' in-goal area where it rebounded off a stray dog. One of the Portsmouth players gathered it and touched down to claim a try. The Trojans protested, and claimed "dead-ball" the ball having struck a "spectator". The objection was later referred to the RFU Committee who ruled that the try should stand, as dogs could not be classed as spectators!
The Barbarians
H A Haigh-Smith was elected Trojans Captain in 1912. He was instrumental in forming the Barbarians Club and was later made president of that Club. He was also assistant Manager of the Lions tour in 1935.
Trojans played the Barbarians on January 9th 1895 but the result does not appear to have been recorded for posterity!
The Wars!
Trojans Rugby had to be suspended three times because of wars - in 1897 because of the Boer War, 1914, the Great War and 1939 the World War.
Moving Home
Although always considered a Southampton Club, Trojans actually now play in the Test Valley District. Over the years there have been many homes -
1874 the first games were played at Porters Mead, which is now called Queens Park on Queens Terrace. (by the Dock Gates)
1884 the Club donated the sum of two guineas towards the purchase of the proposed Cricket Ground in Bannister Park, until recently, the County Cricket Ground, and commenced playing rugby there in the 1884/85 season.
1897 Freemantle Ground, Stafford Road
1905 County Cricket Ground, Northlands Road
1923 G H Brown's farm in Wide Lane, Swathling with Atlantic Park (now Southampton Airport) being used for the dressing accommodation.
1929 Southampton Stadium, Banister Road
1931 Bannister Court as well as G H Brown's farm
1933 11 acres of land purchased in Cemetery Road, Swaythling (sold in 1945)
1946 County Cricket Ground, Northlands Road
1947 Sports Centre, Southampton
1958 Stoneham Park (the present ground). The ground, 22.8 acres, was purchased in 1953 for £1,205 and was another example of the members' foresight, as the timber in the ground was sold for sums almost sufficient to cover the cost of purchase! In 1958, a temporary corrugated iron changing room was completed and the foundations of the pavilion commenced. The pavilion was officially opened by A.T. Voyce, President of the Rugby Football Union, on 27th December 1960.
The Prime Years
Throughout the early and mid 1900s, Trojans went from strength to strength and provided many County Players as well a number of Internationals.
The modern peak was probably reached in the early 1960s when the Club could justifiably consider itself to be the premier civilian rugby club in the South of England (outside London). In 1961, seven rugby sides were fielded with over 200 players available for selection.
Before league tables were introduced in 1987/88, local newspapers ran Merit Tables, the Wessex Merit Table and the Hampshire Merit Table both being won in the 1978/79 and the 1980/81 seasons.
The Lean Years
There were many reasons for the decline from that peak which started in the early 80s. More local clubs, easier transport and a change of working patterns (Trojans being very much a "transit camp" in those days) were some of them. The introduction of leagues in 1987 hit the Club at the worst possible time. In the first year, the Club was put into London Division 3 but could not cope at that level and dropped straight into Hampshire Division One. Luck was also in short supply when the Club, having finished fifth, seventh from bottom (!), the team was still relegated to Hampshire Division Two (a quirk of the league structure). There the Club stayed, battling for promotion with the other strong clubs to be relegated in the mass drop, until the 1992/93 season when the league was won with a record of played 10, won 10, for 353, against 37 which included a league record win of 91-0 against Waterlooville.
Three seasons were spent in Hampshire One but the 1995/96 season saw what was probably
the strongest ever Hampshire Division 1 and relegation again befell the team. 1996/97 season saw us just lose out on promotion but success was achieved in 1997/98.
The Revival Years
Success was achieved in the 2000/2001 season when promotion was achieved to London Division 4SW (The old Division 3SW having been broken into two divisions). The first season at that level was quite successful, ending mid-table, but the next was not when Hampshire 1 again beckoned. Promotion and relegation followed over a number of seasons until London Division 1 was achieved in the 2011/12 season.
Competition is maintained throughout the Senior Club with the 2nd XV being in the Hampshire Senior merit table and the 3rd XV being in the Hampshire Division 1 merit table.
One significant advance was the introduction of Women's rugby which has developed into the strongest team in Southern England. The end of the 2006/07 season saw them promoted to the Championship 1 South (National level 2) and in 2009/10 a second team was entered into the leagues.
The Strength of Youth
One thing that has remained a strength since it's formation in the mid 70s is the Youth Section. Being one of the first clubs to introduce Mini Rugby in England (imported from Wales) the Mini and Junior Sections have encouraged many thousands of youngsters into the game and the Youth section now runs teams in every year group from under 8s to under 17s, holds annual tournaments and is generally held up to be a model of organization.
Found at the Goodwill Outlet store yesterday -- not even the regular Goodwill! I am shocked this didn't get filtered into the collectibles department. It was folded backwards so you couldn't see the cover, but it was obviously old and interesting.
Anyway, because it was the outlet store I got it for a song. Ha.
It's full of sheet music for 1960s folk/rock songs, along with profiles of bands. Some of them are amusing with hindsight.
In the same trip I got a 100% wool (made in Scotland) tartan plaid blanket for $1.99!
The new miniature "Glovebox Edition" of my No.1 bestselling Where's Stig? book for Top Gear is released on 15th September. Magnifying glasses at the ready!
Where’s Stig?
The Glovebox Edition
Illustrated by Rod Hunt
Published by BBC Books on 15th September 2011, £4.99
While away the hours on your chemical loo searching for Top Gear’s tame racing driver in this miniature edition of Where’s Stig? – the perfect accessory for gloveboxes and campervans everywhere.
The mysterious Stig, Top Gear’s resident tame racing driver, is back. And this time he’s in miniature, so you’ll have to work extra hard to find him.
Cleverly concealed in a series of brilliantly drawn scenes, you might spot him getting down with the kids at a rock festival; or overseeing his workforce in his secret underground lair. He could be one of the spectators lining the route of Bonneville Salt Flats Speed Week; or soaking up the sun on the Costa del Stig.
Filled with visual jokes and references to the TV series, and with extra credits for spotting his colleagues at Top Gear and a few other hidden gems, Where’s Stig?: The Glovebox Edition will give Top Gear fans hours of fun.
See Rod's where's waldo / wally-style illustration portfolio
© Rod Hunt 2011
View Rod's Portfolio here
Big Sur Beach California Wildflower Superbloom! PCH Highway 1 Spring Flowers! Sony A7R III & Carl Zeiss 16-35mm F4.0 Spring Wild Flower Super Bloom Elliot McGucken Fine Art Landscape & Nature Photography! Springtime Flowers Blooming!
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Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
Lucius Annaeus Seneca: On entering a temple we assume all signs of reverence. How much more reverent then should we be before the heavenly bodies, the stars, the very nature of God!
John Muir: All the wild world is beautiful, and it matters but little where we go, to highlands or lowlands, woods or plains, on the sea or land or down among the crystals of waves or high in a balloon in the sky; through all the climates, hot or cold, storms and calms, everywhere and always we are in God's eternal beauty and love. So universally true is this, the spot where we chance to be always seems the best.
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All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
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“The clearest way into the Universe is through a forest wilderness.” --John Muir
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1/6 scale Corner Room Box or Diorama with built in bookcases by Ken Haseltine, Regent Miniatures Furnishings, Hot Toys Marcus Wright Action Figure.
(bummer, only had a few 1:12 scale books)
Here is the list of Wuzzles Read-Along Books
(that all 3 had been plotted on 2 sides of a special, Disney Storyteller-style Cassette Tape:
SIDE 1:
1. 45DC - Bumblelion's Funny Money
2. 46DC - Butterbear's Surprise Guest (Part 1)
SIDE 2:
3. 46DC - Butterbear's Surprise Guest (CONT'D)
4. 47DC - Eleroo and the Bhrama Bullfinch
One of my favourite radio shows, Q, hosts an annual battle of the books where 5 Canadians champion 1 book that they think 'could change the nation' and that they believe every Canadian should read. This year the debate will be held in March, so when I heard about the books that were on the list, I set myself a goal that I would have all 5 books read by the time the debates start. I read two over the holidays ("Annabel" and "Half Blood Blues" - both which were absolutely fabulous) and The Orenda is next on the list.
I had the great pleasure of hearing Joseph Boyden read the first three chapters of this book in the fall at The Eden Mills Writer's Festival. I've loved every book I've read by him and I have no doubts that this will be a great and important read.
Something similar in Ottawa: www.flickr.com/photos/21728045@N08/3645513503/in/photostr...
This was for sale on eBay today.
Background:
www.nysm.nysed.gov/publications/record/vol_01/pdfs/CH04El...
IROQUOIS BEADWORK:
A Haudenosaunee Tradition and Art
Dolores Elliott
The Iroquois tradition of raised beadwork began in west- ern New York in the late eighteenth century. It is slightly older than the other great North American Indian bead- working tradition that the Lakota, Cheyenne, and other people of the Plains developed. Raised beadwork is unique to the Haudenosaunee; it is made nowhere else in the world. The Senecas, who decorated clothes, sashes, and small pincushions with small glass beads in the eigh- teenth century, probably invented the style of Iroquois beadwork that still exists today. They were making bead- ed pincushions by 1799 and purses by 1807. In the mid- nineteenth century, ethnohistorian Lewis H. Morgan noted in his League of the Ho-de’-no-sau-see, or Iroquois the “delicacy, even brilliancy of their bead-work embroidery” on women’s clothing (1851, Book 3:384), and he included illustrations of beadwork on a needle case, woman’s skirt, cradleboard, heart-shaped pincushion, and work bag, the forerunner of a modern purse. He reported that in 1849 he had purchased five varieties of work bags as well as three varieties of pin cushions and five varieties of needle books (Morgan 1850, 57).
(Figure 4.1). While they sold their goods at nearby Montreal, the Mohawks also traveled extensively throughout North America to sell at fairs, exhibitions, wild west shows, and Indian medicine shows. Some even sold their beadwork when they traveled to England to perform Indian dances at Earls Court, an exhibition ground in London. Photographs taken in 1905 show these performers attired in clothing decorated with Mohawk beadwork.
The Iroquois tradition of beadwork continued to evolve in the nineteenth century, and by 1860 Mohawks near Montreal and Tuscaroras near Niagara Falls were creating elaborate pincushions, purses, and wall hangings adorned with raised beadwork. Despite the similarity of items created, the two geographic areas developed different styles of beadwork (Table 4.1). Throughout the late nineteenth century and early twentieth century, at the height of beadwork production, the Tuscaroras sold their beadwork mostly at Niagara Falls, on their reservation, and at the New York State Fair. They preferred to use small clear and white beads. During this same period, the Mohawks used larger clear beads and also employed red, blue, green, and yellow beads on most of their early pieces
Figure 4.1. Two needle cases that illustrate differences in nineteenth- century Mohawk (left) and Niagara (right) beadwork.
My personal family experience illustrates typical Iroquois beadwork transactions in the twentieth century. My story starts in 1903 when my grandmother went to the Afton Fair, a small agricultural fair in central New York. She took my nine-year-old father, but his sister, then eleven, was sick and could not go. My grandmother brought her home a present from the fair. It was a beauti- ful pink satin-covered bird-shaped pincushion that sparkled with light green beads (Figure 4.2). My aunt treasured this bird throughout her long life and displayed it proudly in her china cabinet, where I saw it when I was a child. At her death this cherished heirloom was passed on to her daughter who later donated it to the Afton Historical Society in Chenango County, where it is presently on view.
My research indicates that this bird was made by a skilled Mohawk beadworker from a Mohawk community located near Montreal and several hundred miles from the Afton Fair. This pincushion probably got to the fair with a group of Mohawks who traveled by train or wagon to perform at fairs, medicine shows, and exhibi- tions. While at these venues, they also sold their hand- made baskets and beadwork.
In 1958 I bought a small red heart-shaped pincushion at a booth in the Indian Village at the New York State Fair, which is held near Syracuse (Figure 4.3). It was a present for my mother, who displayed it prominently on her bed- room dresser for the next twenty-five years until I inher- ited it. Mary Lou Printup, a leading Tuscarora sewer, later identified this pincushion as one she had made. She, like most Tuscarora beadworkers prefer to be called “sewers,” a term not popular with some other Iroquois beadwork- ers. In my research and writing, I use the word “bead- worker” to refer to all except those individuals who specifically prefer to be called “sewers.”
When I purchased the red heart I had no idea that this pincushion had anything in common with the bird that my grandmother acquired fifty-five years earlier. I knew that I wanted to get something special for my mother, and this pincushion was special because it was beautiful and made by a native artist. In buying it I shared something with my grandmother, who died before I was born, that is, the purchase of a piece of Iroquois beadwork. Most likely the purchase of the bird was my German-born grandmother’s only interaction with a Haudenosaunee woman, and my purchase at the State Fair was my first interaction with a Tuscarora sewer, the first of many.
In a similar manner Iroquois beadworkers and their non- Indian customers, often tourists or attendees at a public entertainment venue, have been brought together by bead-work for over two centuries. These transactions undoubtedly number in the tens of thousands.1 During honeymoon trips to Niagara Falls and visits to agricultural fairs, exhibitions, and other attractions, people purchased Iroquois beadwork as mementos to remember these places and experiences. The beads often form designs featuring birds and flowers, natural themes that appealed to the Victorian women who drove the market of souvenir sales in the nine- teenth century. Studies by Beverly Gordon (1984; 1986) and Ruth B. Phillips (1998) describe the souvenir trade and point out the importance of these items to the people on both sides of the transactions.
Souvenir beadwork was so treasured that the pieces were frequently kept in cedar chests or keepsake boxes. Therefore, when unwrapped one hundred or more years later, they are often in pristine condition. Ironically, few contemporary beadworkers have samples of their ancestors’ work because it was usually made for sale to strangers, although some beadwork was created as gifts for family and friends.
Because most pieces were made for sale to tourists, many people have dismissed Iroquois beadwork as “souvenir trinkets” not important enough to collect, study, or exhibit. In fact, they are often called whimsies, a term that I believe trivializes them and diminishes their artistic and cultural value. But within the last two decades Iroquois beadwork has become the subject of serious study and museum exhibitions. At least four traveling exhibits of Iroquois beadwork have been installed in over a dozen museums and seen by thousands of museum visitors in the United States and Canada since 1999.2 This scholarly recognition has resulted in an increased appreciation of these beadwork creations and the artists who made them. What were considered curious tourist souvenirs when they were made are now generating increased respect from both the general public and the Haudenosaunee.
ry pieces, the back is a colorful calico. Some pieces, mainly in the Niagara Tradition, have a silk or cotton binding around their perimeters to cover the cut edges and attach the front and back fabrics. Tight beadwork on the edging often binds Mohawk pieces together so a cloth binding is not necessary. Flat purses as well as fist and box purses are constructed in the same manner, with cardboard as the base.
Contemporary beadworkers see their work as a signif- icant part of Haudenosaunee culture and an important link to the past. In Haudenosaunee communities bead- workers are admired as continuing a revered tradition. Although there are a few male beadworkers, the majority are women, and in a matrilineal-society with powerful clan matrons, the economic benefit of beadwork sales increases the influence of the women even more.
Pincushions were usually stuffed with sawdust, but sweet grass, cotton, cattail fluff, newspapers, and poly- ester have also been used. Contemporary craftsmen remember that their mothers preferred pine sawdust because of the nice aroma.4 Small strawberry-shaped pin- cushions are traditionally filled with emery, used to sharpen and polish needles. Velvet and twill-covered pic- ture frames and other wall hangings on cardboard bases have polished cotton backs on earlier pieces and calico on more recent ones. European glass beads were often aug- mented with metal sequins on nineteenth-century pieces and with plastic sequins and other plastic novelty beads since the late twentieth century. Bone and shell beads and leather, which are often used in other American Indian beadwork, rarely occur in Iroquois beadwork.
Iroquois beadwork is still sold at Niagara Falls, the New York State Fair, and several pow wows and festivals in the northeast; the methods of beadwork distribution have changed little over two hundred years. The bead-work itself, however, has changed tremendously. Over the last two centuries the styles of beadwork have evolved from simple small pincushions and purses to highly elaborate shapes, becoming works of art in the tra- ditional sense. The beads selected have progressed from the very small seed beads used around 1800 to the larger seed beads of 1900 and finally, by 2000, to a wider variety of bead sizes and colors.
The most common form of Iroquois beadwork, and the form most easily recognizable by people who are not familiar with Iroquois beadwork, is the flat black purse or bag featuring identical colorful, beaded floral designs on both sides. Most flat bags have flaps on both sides, but the opening is across the top where the two sides meet. The face fabric is usually black or very dark brown velvet, and the interior is often a light-colored linen or polished cot- ton. A binding, usually red, is attached around the closed sides of the purses. A beaded fringe is sometimes added. The fringe is merely sewn to the binding and does not hold the two sides of the bag together; it is purely deco- rative. The flaps usually are edged with white beads that are larger than the beads that outline the flaps and body (Figure 4.4). The flaps and body are sometimes outlined with short parallel lines like a stockade. The faces of the flap and body are covered by stylized flowers in shades of blue, red, yellow, and white connected with green stems, which are sometimes striped in two shades of green. Some bags feature a small slit pocket under one of the flaps. It may have been meant to hold a comb or mirror.
Iroquois beadwork remains a unique art form distin- guished by several characteristics found only in work created by Haudenosaunee beadworkers. Iroquois beadwork features a design in glass beads that have been sewn on a fabric that is stretched over a backing of cardboard or cloth lining. The materials used in the beadwork are predominately small seed beads, cloth, cardboard, paper, and in pincushions, a stuffing. The beads are sewn onto the fabric in geometric or natural designs using waxed, doubled white thread.3 The beads are usually sewn over a paper pattern that remains in place under the beaded elements. Although not practiced at all times in the histo- ry of Iroquois beadwork, the most distinctive trait is that the beads are raised above the surface of the cloth face. Some pieces have raised beaded elements that are over an inch high. The beads are raised by putting more beads on the thread than is needed to span the pattern so that the beads form an arch above the pattern. The amount of extra beads determines how high the arches are, that is, how much the beadwork is raised. Various velvets were and still are the favored fabrics, but other fabrics such as wool, twills, silk, and satin are also used. Pincushions often have beaded velvet fronts and polished cotton backs. Polished cotton is a shiny stiff material that is also referred to as chintz or oilcloth. On the majority of late twentieth-century and contemporary twenty-first-century...
Preserving Tradition and Understanding the Past: Papers from the Conference on Iroquois Research, 2001–2005, Edited by Christine Sternberg Patrick, New York State Museum Record 1 © 2010, by The University of the State of New York, The State Education Department, Albany, New York 12230. All rights reserved. Click on top link for more.
While I was out today looking for a suitable location for a photo shoot I found a great book sale in Barbican Library. Loads of old stock being sold off very cheaply. I got this one for £1. Worth checking out if you are in the area.
The Ajanta Caves (Ajiṇṭhā leni; Marathi: अजिंठा लेणी) in Aurangabad district of Maharashtra, India are about 30 rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 or 650 CE. The caves include paintings and sculptures described by the government Archaeological Survey of India as "the finest surviving examples of Indian art, particularly painting", which are masterpieces of Buddhist religious art, with figures of the Buddha and depictions of the Jataka tales. The caves were built in two phases starting around the 2nd century BCE, with the second group of caves built around 400–650 CE according to older accounts, or all in a brief period of 460 to 480 according to the recent proposals of Walter M. Spink. The site is a protected monument in the care of the Archaeological Survey of India, and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site.
The caves are located in the Indian state of Maharashtra, near Jalgaon and just outside the village of Ajinṭhā 20°31′56″N 75°44′44″E), about 59 kilometres from Jalgaon railway station on the Delhi – Mumbai line and Howrah-Nagpur-Mumbai line of the Central Railway zone, and 104 kilometres from the city of Aurangabad. They are 100 kilometres from the Ellora Caves, which contain Hindu and Jain temples as well as Buddhist caves, the last dating from a period similar to Ajanta. The Ajanta caves are cut into the side of a cliff that is on the south side of a U-shaped gorge on the small river Waghur, and although they are now along and above a modern pathway running across the cliff they were originally reached by individual stairs or ladders from the side of the river 35 to 110 feet below.
The area was previously heavily forested, and after the site ceased to be used the caves were covered by jungle until accidentally rediscovered in 1819 by a British officer on a hunting party. They are Buddhist monastic buildings, apparently representing a number of distinct "monasteries" or colleges. The caves are numbered 1 to 28 according to their place along the path, beginning at the entrance. Several are unfinished and some barely begun and others are small shrines, included in the traditional numbering as e.g. "9A"; "Cave 15A" was still hidden under rubble when the numbering was done. Further round the gorge are a number of waterfalls, which when the river is high are audible from outside the caves.
The caves form the largest corpus of early Indian wall-painting; other survivals from the area of modern India are very few, though they are related to 5th-century paintings at Sigiriya in Sri Lanka. The elaborate architectural carving in many caves is also very rare, and the style of the many figure sculptures is highly local, found only at a few nearby contemporary sites, although the Ajanta tradition can be related to the later Hindu Ellora Caves and other sites.
HISTORY
Like the other ancient Buddhist monasteries, Ajanta had a large emphasis on teaching, and was divided into several different caves for living, education and worship, under a central direction. Monks were probably assigned to specific caves for living. The layout reflects this organizational structure, with most of the caves only connected through the exterior. The 7th-century travelling Chinese scholar Xuanzang informs us that Dignaga, a celebrated Buddhist philosopher and controversialist, author of well-known books on logic, lived at Ajanta in the 5th century. In its prime the settlement would have accommodated several hundred teachers and pupils. Many monks who had finished their first training may have returned to Ajanta during the monsoon season from an itinerant lifestyle.
The caves are generally agreed to have been made in two distinct periods, separated by several centuries.
CAVES OF THE FIRST (SATAVAHANA) PERIOD
The earliest group of caves consists of caves 9, 10, 12, 13 and 15A. According to Walter Spink, they were made during the period 100 BCE to 100 CE, probably under the patronage of the Satavahana dynasty (230 BCE – c. 220 CE) who ruled the region. Other datings prefer the period 300 BCE to 100 BCE, though the grouping of the earlier caves is generally agreed. More early caves may have vanished through later excavations. Of these, caves 9 and 10 are stupa halls of chaitya-griha form, and caves 12, 13, and 15A are vihāras (see the architecture section below for descriptions of these types). The first phase is still often called the Hinayāna phase, as it originated when, using traditional terminology, the Hinayāna or Lesser Vehicle tradition of Buddhism was dominant, when the Buddha was revered symbolically. However the use of the term Hinayana for this period of Buddhism is now deprecated by historians; equally the caves of the second period are now mostly dated too early to be properly called Mahayana, and do not yet show the full expanded cast of supernatural beings characteristic of that phase of Buddhist art. The first Satavahana period caves lacked figurative sculpture, emphasizing the stupa instead, and in the caves of the second period the overwhelming majority of images represent the Buddha alone, or narrative scenes of his lives.
Spink believes that some time after the Satavahana period caves were made the site was abandoned for a considerable period until the mid-5th century, probably because the region had turned mainly Hindu
CAVES OF THE LATER OR VAKATAKA PERIOD
The second phase began in the 5th century. For a long time it was thought that the later caves were made over a long period from the 4th to the 7th centuries CE, but in recent decades a series of studies by the leading expert on the caves, Walter M. Spink, have argued that most of the work took place over the very brief period from 460 to 480 CE, during the reign of Emperor Harishena of the Vakataka dynasty. This view has been criticized by some scholars, but is now broadly accepted by most authors of general books on Indian art, for example Huntington and Harle.
The second phase is still often called the Mahāyāna or Greater Vehicle phase, but scholars now tend to avoid this nomenclature because of the problems that have surfaced regarding our understanding of Mahāyāna.
Some 20 cave temples were simultaneously created, for the most part viharas with a sanctuary at the back. The most elaborate caves were produced in this period, which included some "modernization" of earlier caves. Spink claims that it is possible to establish dating for this period with a very high level of precision; a fuller account of his chronology is given below. Although debate continues, Spink's ideas are increasingly widely accepted, at least in their broad conclusions. The Archaeological Survey of India website still presents the traditional dating: "The second phase of paintings started around 5th – 6th centuries A.D. and continued for the next two centuries". Caves of the second period are 1–8, 11, 14–29, some possibly extensions of earlier caves. Caves 19, 26, and 29 are chaitya-grihas, the rest viharas.
According to Spink, the Ajanta Caves appear to have been abandoned by wealthy patrons shortly after the fall of Harishena, in about 480 CE. They were then gradually abandoned and forgotten. During the intervening centuries, the jungle grew back and the caves were hidden, unvisited and undisturbed, although the local population were aware of at least some of them.
REDISCOVERY
On 28 April 1819, a British officer for the Madras Presidency, John Smith, of the 28th Cavalry, while hunting tiger, accidentally discovered the entrance to Cave No. 10 deep within the tangled undergrowth. There were local people already using the caves for prayers with a small fire, when he arrived. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other larger animals, Captain Smith vandalized the wall by scratching his name and the date, April 1819. Since he stood on a five-foot high pile of rubble collected over the years, the inscription is well above the eye-level gaze of an adult today. A paper on the caves by William Erskine was read to the Bombay Literary Society in 1822. Within a few decades, the caves became famous for their exotic setting, impressive architecture, and above all their exceptional, all but unique paintings. A number of large projects to copy the paintings were made in the century after rediscovery, covered below. In 1848 the Royal Asiatic Society established the "Bombay Cave Temple Commission" to clear, tidy and record the most important rock-cut sites in the Bombay Presidency, with John Wilson, as president. In 1861 this became the nucleus of the new Archaeological Survey of India. Until the Nizam of Hyderabad built the modern path between the caves, among other efforts to make the site easy to visit, a trip to Ajanta was a considerable adventure, and contemporary accounts dwell with relish on the dangers from falls off narrow ledges, animals and the Bhil people, who were armed with bows and arrows and had a fearsome reputation.
Today, fairly easily combined with Ellora in a single trip, the caves are the most popular tourist destination in Mahrashtra, and are often crowded at holiday times, increasing the threat to the caves, especially the paintings. In 2012, the Maharashtra Tourism Development Corporation announced plans to add to the ASI visitor centre at the entrance complete replicas of caves 1, 2, 16 & 17 to reduce crowding in the originals, and enable visitors to receive a better visual idea of the paintings, which are dimly-lit and hard to read in the caves. Figures for the year to March 2010 showed a total of 390,000 visitors to the site, divided into 362,000 domestic and 27,000 foreign. The trends over the previous few years show a considerable growth in domestic visitors, but a decline in foreign ones; the year to 2010 was the first in which foreign visitors to Ellora exceeded those to Ajanta.
PAINTINGS
Mural paintings survive from both the earlier and later groups of caves. Several fragments of murals preserved from the earlier caves (Caves 9 and 11) are effectively unique survivals of court-led painting in India from this period, and "show that by Sātavāhana times, if not earlier, the Indian painter had mastered an easy and fluent naturalistic style, dealing with large groups of people in a manner comparable to the reliefs of the Sāñcī toraņa crossbars".
Four of the later caves have large and relatively well-preserved mural paintings which "have come to represent Indian mural painting to the non-specialist", and fall into two stylistic groups, with the most famous in Caves 16 and 17, and apparently later paintings in Caves 1 and 2. The latter group were thought to be a century or more later than the others, but the revised chronology proposed by Spink would place them much closer to the earlier group, perhaps contemporary with it in a more progressive style, or one reflecting a team from a different region. The paintings are in "dry fresco", painted on top of a dry plaster surface rather than into wet plaster.
All the paintings appear to be the work of painters at least as used to decorating palaces as temples, and show a familiarity with and interest in details of the life of a wealthy court. We know from literary sources that painting was widely practised and appreciated in the courts of the Gupta period. Unlike much Indian painting, compositions are not laid out in horizontal compartments like a frieze, but show large scenes spreading in all directions from a single figure or group at the centre. The ceilings are also painted with sophisticated and elaborate decorative motifs, many derived from sculpture. The paintings in cave 1, which according to Spink was commissioned by Harisena himself, concentrate on those Jataka tales which show previous lives of the Buddha as a king, rather than as an animal or human commoner, and so show settings from contemporary palace life.
In general the later caves seem to have been painted on finished areas as excavating work continued elsewhere in the cave, as shown in caves 2 and 16 in particular. According to Spink's account of the chronology of the caves, the abandonment of work in 478 after a brief busy period accounts for the absence of painting in caves such as 4 and 17, the later being plastered in preparation for paintings that were never done.
COPIES
The paintings have deteriorated significantly since they were rediscovered, and a number of 19th-century copies and drawings are important for a complete understanding of the works. However, the earliest projects to copy the paintings were plagued by bad fortune. In 1846, Major Robert Gill, an Army officer from Madras presidency and a painter, was appointed by the Royal Asiatic Society to replicate the frescoes on the cave walls to exhibit these paintings in England. Gill worked on his painting at the site from 1844 to 1863 (though he continued to be based there until his death in 1875, writing books and photographing) and made 27 copies of large sections of murals, but all but four were destroyed in a fire at the Crystal Palace in London in 1866, where they were on display.
Another attempt was made in 1872 when the Bombay Presidency commissioned John Griffiths, then principal of the Bombay School of Art, to work with his students to make new copies, again for shipping to England. They worked on this for thirteen years and some 300 canvases were produced, many of which were displayed at the Imperial Institute on Exhibition Road in London, one of the forerunners of the Victoria and Albert Museum. But in 1885 another fire destroyed over a hundred paintings that were in storage. The V&A still has 166 paintings surviving from both sets, though none have been on permanent display since 1955. The largest are some 3 × 6 metres. A conservation project was undertaken on about half of them in 2006, also involving the University of Northumbria. Griffith and his students had unfortunately painted many of the paintings with "cheap varnish" in order to make them easier to see, which has added to the deterioration of the originals, as has, according to Spink and others, recent cleaning by the ASI.
A further set of copies were made between 1909 and 1911 by Christiana Herringham (Lady Herringham) and a group of students from the Calcutta School of Art that included the future Indian Modernist painter Nandalal Bose. The copies were published in full colour as the first publication of London's fledgling India Society. More than the earlier copies, these aimed to fill in holes and damage to recreate the original condition rather than record the state of the paintings as she was seeing them. According to one writer, unlike the paintings created by her predecessors Griffiths and Gill, whose copies were influenced by British Victorian styles of painting, those of the Herringham expedition preferred an 'Indian Renascence' aesthetic of the type pioneered by Abanindranath Tagore.
Early photographic surveys were made by Robert Gill, who learnt to use a camera from about 1856, and whose photos, including some using stereoscopy, were used in books by him and Fergusson (many are available online from the British Library), then Victor Goloubew in 1911 and E.L. Vassey, who took the photos in the four volume study of the caves by Ghulam Yazdani (published 1930–1955).
ARCHITECTURE
The monasteries mostly consist of vihara halls for prayer and living, which are typically rectangular with small square dormitory cells cut into the walls, and by the second period a shrine or sanctuary at the rear centred on a large statue of the Buddha, also carved from the living rock. This change reflects the movement from Hinayana to Mahāyāna Buddhism. The other type of main hall is the narrower and higher chaitya hall with a stupa as the focus at the far end, and a narrow aisle around the walls, behind a range of pillars placed close together. Other plainer rooms were for sleeping and other activities. Some of the caves have elaborate carved entrances, some with large windows over the door to admit light. There is often a colonnaded porch or verandah, with another space inside the doors running the width of the cave.
The central square space of the interior of the viharas is defined by square columns forming a more or less square open area. Outside this are long rectangular aisles on each side, forming a kind of cloister. Along the side and rear walls are a number of small cells entered by a narrow doorway; these are roughly square, and have small niches on their back walls. Originally they had wooden doors. The centre of the rear wall has a larger shrine-room behind, containing a large Buddha statue. The viharas of the earlier period are much simpler, and lack shrines. Spink in fact places the change to a design with a shrine to the middle of the second period, with many caves being adapted to add a shrine in mid-excavation, or after the original phase.
The plan of Cave 1 shows one of the largest viharas, but is fairly typical of the later group. Many others, such as Cave 16, lack the vestibule to the shrine, which leads straight off the main hall. Cave 6 is two viharas, one above the other, connected by internal stairs, with sanctuaries on both levels.
The four completed chaitya halls are caves 9 and 10 from the early period, and caves 19 and 26 from the later period of construction. All follow the typical form found elsewhere, with high ceilings and a central "nave" leading to the stupa, which is near the back, but allows walking behind it, as walking around stupas was (and remains) a common element of Buddhist worship (pradakshina). The later two have high ribbed roofs, which reflect timber forms, and the earlier two are thought to have used actual timber ribs, which have now perished. The two later halls have a rather unusual arrangement (also found in Cave 10 at Ellora) where the stupa is fronted by a large relief sculpture of the Buddha, standing in Cave 19 and seated in Cave 26. Cave 29 is a late and very incomplete chaitya hall.
The form of columns in the work of the first period is very plain and un-embellished, with both chaitya halls using simple octagonal columns, which were painted with figures. In the second period columns were far more varied and inventive, often changing profile over their height, and with elaborate carved capitals, often spreading wide. Many columns are carved over all their surface, some fluted and others carved with decoration all over, as in cave 1.
The flood basalt rock of the cliff, part of the Deccan Traps formed by successive volcanic eruptions at the end of the Cretaceous, is layered horizontally, and somewhat variable in quality, so the excavators had to amend their plans in places, and in places there have been collapses in the intervening centuries, as with the lost portico to cave 1. Excavation began by cutting a narrow tunnel at roof level, which was expanded downwards and outwards; the half-built vihara cave 24 shows the method. Spink believes that for the first caves of the second period the excavators had to relearn skills and techniques that had been lost in the centuries since the first period, which were then transmitted to be used at later rock-cut sites in the region, such as Ellora, and the Elephanta, Bagh, Badami and Aurangabad Caves.
The caves from the first period seem to have been paid for by a number of different patrons, with several inscriptions recording the donation of particular portions of a single cave, but according to Spink the later caves were each commissioned as a complete unit by a single patron from the local rulers or their court elites. After the death of Harisena smaller donors got their chance to add small "shrinelets" between the caves or add statues to existing caves, and some two hundred of these "intrusive" additions were made in sculpture, with a further number of intrusive paintings, up to three hundred in cave 10 alone.
A grand gateway to the site, at the apex of the gorge's horsehoe between caves 15 and 16, was approached from the river, and is decorated with elephants on either side and a nāga, or protective snake deity.
ICONOGRAPHY OF THE CAVES
In the pre-Christian era, the Buddha was represented symbolically, in the form of the stupa. Thus, halls were made with stupas to venerate the Buddha. In later periods the images of the Buddha started to be made in coins, relic caskets, relief or loose sculptural forms, etc. However, it took a while for the human representation of the Buddha to appear in Buddhist art. One of the earliest evidences of the Buddha's human representations are found at Buddhist archaeological sites, such as Goli, Nagarjunakonda, and Amaravati. The monasteries of those sites were built in less durable media, such as wood, brick, and stone. As far as the genre of rock-cut architecture is concerned it took many centuries for the Buddha image to be depicted. Nobody knows for sure at which rock-cut cave site the first image of the Buddha was depicted. Current research indicates that Buddha images in a portable form, made of wood or stone, were introduced, for the first time, at Kanheri, to be followed soon at Ajanta Cave 8 (Dhavalikar, Jadhav, Spink, Singh). While the Kanheri example dates to 4th or 5th century CE, the Ajanta example has been dated to c. 462–478 CE (Spink). None of the rock-cut monasteries prior to these dates, and other than these examples, show any Buddha image although hundreds of rock-cut caves were made throughout India during the first few centuries CE. And, in those caves, it is the stupa that is the object of veneration, not the image. Images of the Buddha are not found in Buddhist sailagrhas (rock-cut complexes) until the times of the Kanheri (4th–5th century CE) and Ajanta examples (c. 462–478 CE).
The caves of the second period, now all dated to the 5th century, were typically described as "Mahayana", but do not show the features associated with later Mahayana Buddhism. Although the beginnings of Mahāyāna teachings go back to the 1st century there is little art and archaeological evidence to suggest that it became a mainstream cult for several centuries. In Mahayana it is not Gautama Buddha but the Bodhisattva who is important, including "deity" Bodhisattva like Manjushri and Tara, as well as aspects of the Buddha such as Aksobhya, and Amitabha. Except for a few Bodhisattva, these are not depicted at Ajanta, where the Buddha remains the dominant figure. Even the Bodhisattva images of Ajanta are never central objects of worship, but are always shown as attendants of the Buddha in the shrine. If a Bodhisattva is shown in isolation, as in the Astabhaya scenes, these were done in the very last years of activities at Ajanta, and are mostly 'intrusive' in nature, meaning that they were not planned by the original patrons, and were added by new donors after the original patrons had suddenly abandoned the region in the wake of Emperor Harisena's death.
The contrast between iconic and aniconic representations, that is, the stupa on one hand and the image of the Buddha on the other, is now being seen as a construct of the modern scholar rather than a reality of the past. The second phase of Ajanta shows that the stupa and image coincided together. If the entire corpus of the art of Ajanta including sculpture, iconography, architecture, epigraphy, and painting are analysed afresh it will become clear that there was no duality between the symbolic and human forms of the Buddha, as far as the 5th-century phase of Ajanta is concerned. That is why most current scholars tend to avoid the terms 'Hinayana' and 'Mahayana' in the context of Ajanta. They now prefer to call the second phase by the ruling dynasty, as the Vākāţaka phase.
CAVES
CAVE 1
Cave 1 was built on the eastern end of the horse-shoe shaped scarp, and is now the first cave the visitor encounters. This would when first made have been a less prominent position, right at the end of the row. According to Spink, it is one of the latest caves to have been excavated, when the best sites had been taken, and was never fully inaugurated for worship by the dedication of the Buddha image in the central shrine. This is shown by the absence of sooty deposits from butter lamps on the base of the shrine image, and the lack of damage to the paintings that would have been happened if the garland-hooks around the shrine had been in use for any period of time. Although there is no epigraphic evidence, Spink believes that the Vākāţaka Emperor Harishena was the benefactor of the work, and this is reflected in the emphasis on imagery of royalty in the cave, with those Jakata tales being selected that tell of those previous lives of the Buddha in which he was royal.
The cliff has a more steep slope here than at other caves, so to achieve a tall grand facade it was necessary to cut far back into the slope, giving a large courtyard in front of the facade. There was originally a columned portico in front of the present facade, which can be seen "half-intact in the 1880s" in pictures of the site, but this fell down completely and the remains, despite containing fine carving, were carelessly thrown down the slope into the river, from where they have been lost, presumably carried away in monsoon torrents.
This cave has one of the most elaborate carved façades, with relief sculptures on entablature and ridges, and most surfaces embellished with decorative carving. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain, especially on the ceiling. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors.
Each wall of the hall inside is nearly 12 m long and 6.1 m high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls. There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the right walls, though due to rock fault there are none at the ends of the rear aisle. The walls are covered with paintings in a fair state of preservation, though the full scheme was never completed. The scenes depicted are mostly didactic, devotional, and ornamental, with scenes from the Jataka stories of the Buddha's former existences as a bodhisattva), the life of the Gautama Buddha, and those of his veneration. The two most famous individual painted images at Ajanta are the two over-life size figures of the protective bodhisattvas Padmapani and Vajrapani on either side of the entrance to the Buddha shrine on the wall of the rear aisle (see illustrations above). According to Spink, the original dating of the paintings to about 625 arose largely or entirely because James Fegusson, a 19th-century architectural historian, had decided that a scene showing an ambassador being received, with figures in Persian dress, represented a recorded embassy to Persia (from a Hindu monarch at that) around that date.
CAVE 2
Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation.
Cave 2 has a porch quite different from Cave one. Even the façade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The front porch consists of cells supported by pillared vestibules on both ends. The cells on the previously "wasted areas" were needed to meet the greater housing requirements in later years. Porch-end cells became a trend in all later Vakataka excavations. The simple single cells on porch-ends were converted into CPVs or were planned to provide more room, symmetry, and beauty.
The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha's life in former existences as Bodhisattva. Just as the stories illustrated in cave 1 emphasize kingship, those in cave 2 show many "noble and powerful" women in prominent roles, leading to suggestions that the patron was an unknown woman. The porch's rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior.
The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. The colonnades have rock-beams above and below them. The capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative, and semi-divine forms.
Paintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. The painted narratives of the Jataka tales are depicted only on the walls, which demanded the special attention of the devotee. They are didactic in nature, meant to inform the community about the Buddha's teachings and life through successive rebirths. Their placement on the walls required the devotee to walk through the aisles and 'read' the narratives depicted in various episodes. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research since the site's rediscovery in 1819. Dieter Schlingloff's identifications have updated our knowledge on the subject.
CAVE 4
The Archeological Survey of India board outside the caves gives the following detail about cave 4: "This is the largest monastery planned on a grandiose scale but was never finished. An inscription on the pedestal of the buddha's image mentions that it was a gift from a person named Mathura and paleographically belongs to 6th century A.D. It consists of a verandah, a hypostylar hall, sanctum with an antechamber and a series of unfinished cells. The rear wall of the verandah contains the panel of Litany of Avalokiteśvara".
The sanctuary houses a colossal image of the Buddha in preaching pose flanked by bodhisattvas and celestial nymphs hovering above.
CAVES 9-10
Caves 9 and 10 are the two chaitya halls from the first period of construction, though both were also undergoing an uncompleted reworking at the end of the second period. Cave 10 was perhaps originally of the 1st century BCE, and cave 9 about a hundred years later. The small "shrinelets" called caves 9A to 9D and 10A also date from the second period, and were commissioned by individuals.
The paintings in cave 10 include some surviving from the early period, many from an incomplete programme of modernization in the second period, and a very large number of smaller late intrusive images, nearly all Buddhas and many with donor inscriptions from individuals. These mostly avoided over-painting the "official" programme and after the best positions were used up are tucked away in less prominent positions not yet painted; the total of these (including those now lost) was probably over 300, and the hands of many different artists are visible.
OTHER CAVES
Cave 3 is merely a start of an excavation; according to Spink it was begun right at the end of the final period of work and soon abandoned. Caves 5 and 6 are viharas, the latter on two floors, that were late works of which only the lower floor of cave 6 was ever finished. The upper floor of cave 6 has many private votive sculptures, and a shrine Buddha, but is otherwise unfinished. Cave 7 has a grand facade with two porticos but, perhaps because of faults in the rock, which posed problems in many caves, was never taken very deep into the cliff, and consists only of the two porticos and a shrine room with antechamber, with no central hall. Some cells were fitted in.
Cave 8 was long thought to date to the first period of construction, but Spink sees it as perhaps the earliest cave from the second period, its shrine an "afterthought". The statue may have been loose rather than carved from the living rock, as it has now vanished. The cave was painted, but only traces remain.
SPINK´S DETAILED CHRONOLOGY
Walter M. Spink has over recent decades developed a very precise and circumstantial chronology for the second period of work on the site, which unlike earlier scholars, he places entirely in the 5th century. This is based on evidence such as the inscriptions and artistic style, combined with the many uncompleted elements of the caves. He believes the earlier group of caves, which like other scholars he dates only approximately, to the period "between 100 BCE – 100 CE", were at some later point completely abandoned and remained so "for over three centuries", as the local population had turned mainly Hindu. This changed with the accession of the Emperor Harishena of the Vakataka Dynasty, who reigned from 460 to his death in 477. Harisena extended the Central Indian Vakataka Empire to include a stretch of the east coast of India; the Gupta Empire ruled northern India at the same period, and the Pallava dynasty much of the south.
According to Spink, Harisena encouraged a group of associates, including his prime minister Varahadeva and Upendragupta, the sub-king in whose territory Ajanta was, to dig out new caves, which were individually commissioned, some containing inscriptions recording the donation. This activity began in 462 but was mostly suspended in 468 because of threats from the neighbouring Asmaka kings. Work continued on only caves 1, Harisena's own commission, and 17–20, commissioned by Upendragupta. In 472 the situation was such that work was suspended completely, in a period that Spink calls "the Hiatus", which lasted until about 475, by which time the Asmakas had replaced Upendragupta as the local rulers.
Work was then resumed, but again disrupted by Harisena's death in 477, soon after which major excavation ceased, except at cave 26, which the Asmakas were sponsoring themselves. The Asmakas launched a revolt against Harisena's son, which brought about the end of the Vakataka Dynasty. In the years 478–480 major excavation by important patrons was replaced by a rash of "intrusions" – statues added to existing caves, and small shrines dotted about where there was space between them. These were commissioned by less powerful individuals, some monks, who had not previously been able to make additions to the large excavations of the rulers and courtiers. They were added to the facades, the return sides of the entrances, and to walls inside the caves. According to Spink, "After 480, not a single image was ever made again at the site", and as Hinduism again dominated the region, the site was again abandoned, this time for over a millennium.
Spink does not use "circa" in his dates, but says that "one should allow a margin of error of one year or perhaps even two in all cases".
IMPACT ON MODERN INDIAN PAINTINGS
The Ajanta paintings, or more likely the general style they come from, influenced painting in Tibet and Sri Lanka.
The rediscovery of ancient Indian paintings at Ajanta provided Indian artists examples from ancient India to follow. Nandlal Bose experimented with techniques to follow the ancient style which allowed him to develop his unique style. Abanindranath Tagore also used the Ajanta paintings for inspiration.
WIKIPEDIA
Gespenster-Geschichten / Heft-Reihe
Die Hexe von Paris
cover: George Wilson
Reprint from Ripley's Believe It or Not! (Western, 1965 series) #15 (August 1969)
Verlag: Bastei-Verlag
(Bergisch Gladbach/Deutschland; 1974)
Reprint 2004
ex libris MTP
This Canon pricelist gives an interesting view of this important year for Canon. The F-1 and with it the FD mount was just released and was now first offered.
The specifications of some of the lenses announced in the pricelist were changed when they really came out. For instance the 35mm/2.8 TS was indicated as an AL (Aspherical) lens, just like the 55mm. When it came out it was not AL anymore.
What also strikes me is how expensive the gear was in those days.
Look in my photostream for the rest of the 8 page booklet.
American Bald Eagles Dogfighting Olympic National Park Sony A1 ILCE-1 Fine Art Bald Eagle Wildlife Bird Photography! Sony Alpha 1 Sony FE 200-600mm f/5.6-6.3 G OSS E-Mount Lens SEL200600G Washington Olympic Peninsula Coast! Elliot McGucken Fine Art Wildlife Photography Alpha1 !
All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!
The Hogwarts Architect
Designed by Stuart Craig and sculpted by the late Andrew Holder, this golden statue, which did not feature in the books, depicts the original architect of Hogwarts Castle and was a new addition to the Entrance Hall in Harry Potter and the Chamber of Secrets.
People the world-over have been enchanted by the Harry Potter films for nearly a decade. The wonderful special effects and amazing creatures have made this iconic series beloved to both young and old - and now, for the first time, the doors are going to be opened for everyone at the studio where it first began. You'll have the chance to go behind-the-scenes and see many things the camera never showed. From breathtakingly detailed sets to stunning costumes, props and animatronics, Warner Bros. Studio Tour London provides a unique showcase of the extraordinary British artistry, technology and talent that went into making the most successful film series of all time. Secrets will be revealed.
Warner Bros. Studio Tour London provides an amazing new opportunity to explore the magic of the Harry Potter films - the most successful film series of all time. This unique walking tour takes you behind-the-scenes and showcases a huge array of beautiful sets, costumes and props. It also reveals some closely guarded secrets, including facts about the special effects and animatronics that made these films so hugely popular all over the world.
Here are just some of the things you can expect to see and do:
- Step inside and discover the actual Great Hall.
- Explore Dumbledore’s office and discover never-before-seen treasures.
- Step onto the famous cobbles of Diagon Alley, featuring the shop fronts of Ollivanders wand shop, Flourish and Blotts, the Weasleys' Wizard Wheezes, Gringotts Wizarding Bank and Eeylops Owl Emporium.
- See iconic props from the films, including Harry’s Nimbus 2000 and Hagrid’s motorcycle.
- Learn how creatures were brought to life with green screen effects, animatronics and life-sized models.
- Rediscover other memorable sets from the film series, including the Gryffindor common room, the boys’ dormitory, Hagrid’s hut, Potion’s classroom and Professor Umbridge’s office at the Ministry of Magic.
Located just 20 miles from the heart of London at Warner Bros. Studios Leavesden, the very place where it all began and where all eight of the Harry Potter films were brought to life. The Studio Tour is accessible to everyone and promises to be a truly memorable experience - whether you’re an avid Harry Potter fan, an all-round movie buff or you just want to try something that’s a little bit different.
The tour is estimated to take approximately three hours (I was in there for 5 hours!), however, as the tour is mostly self guided, you are free to explore the attraction at your own pace. During this time you will be able to see many of the best-loved sets and exhibits from the films. Unique and precious items from the films will also be on display, alongside some exciting hands-on interactive exhibits that will make you feel like you’re actually there.
The magic also continues in the Gift Shop, which is full of exciting souvenirs and official merchandise, designed to create an everlasting memory of your day at Warner Bros. Studio Tour London.
Hogwarts Castle Model - Get a 360 degree view of the incredible, hand sculpted 1:24 scale construction that features within the Studio Tour. The Hogwarts castle model is the jewel of the Art Department having been built for the first film, Harry Potter and the Philosopher’s Stone. It took 86 artists and crew members to construct the first version which was then rebuilt and altered many times over for the next seven films. The work was so extensive that if one was to add all the man hours that have gone into building and reworking the model, it would come to over 74 years. The model was used for aerial photography, and was digitally scanned for CGI scenes.
The model, which sits at nearly 50 feet in diameter, has over 2,500 fibre optic lights that simulate lanterns and torches and even gave the illusion of students passing through hallways in the films. To show off the lighting to full effect a day-to-night cycle will take place every four minutes so you can experience its full beauty.
An amazing amount of detail went into the making of the model: all the doors are hinged, real plants are used for landscaping and miniature birds are housed in the Owlery. To make the model appear even more realistic, artists rebuilt miniature versions of the courtyards from Alnwick Castle and Durham Cathedral, where scenes from Harry Potter and the Philosopher’s Stone were shot.
Got a brand new Prime Lens--the Carl Zeiss Sony Alpha e-mount FE 55mm F/1.8 ZA Carl Zeiss Sonnar T* Lens! Let me know how you like it! :)
New Sony A7 R Test Photos of Bikini Swimsuit Model Goddess! Pretty, pretty, pretty woman! Shot with the awesomely sharp, sharp Carl Zeiss Sony Sonnar Carl Zeiss Sony Sony FE 55 mm F/1.8 ZA Carl Zeiss Sonnar T* Lens and finished in Lightroom 5.3 ! Was using the B W 49mm Kaesemann Circular Polarizer MRC Filter on bright, sunny day. Check out the low glare off the rocks and water and the bright blue sky! Super sharp images and crystal-clear pictures!
Here's some video shot at the same time as stills: youtu.be/Y7gq_gCk0jE
www.youtube.com/watch?v=RiOMrZIEzg8
Join my youtube channel for goddess video shot @ the same time as the stills with the Sony A7 !
www.youtube.com/user/bikiniswimsuitmodels
Beautiful swimsuit bikini model goddess on a beautiful January Malibu morning! Shot it yesterday. :) Love, love, love the new Sony A7 R 55mm F/1.8 lens combo!
Was a fun test shoot. Many, many more to come!
All the best on your Epic Hero's Journey from Johnny Ranger McCoy!
Modeling the black & gold "Gold 45 Revolver" Gold'N'Virtue swimsuits with the main equation to Moving Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Journey Physics here:
herosjourneyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!
Best on your hero's journey from Johnny Ranger McCoy! :)
Falling in love with the full frame 36 megapixel e mount Sony A7R!
The books behind the pretty goddess on the Malbu bluff and surfboard are The Decline and Fall of the Roman Empire by Edward Gibbon, Homer's Iliad, Homer's Odyssey, Shakespeare, and Herman Melville's Moby Dick! My favorite books! Will have some video of the pretty model reading them beside a campfire soon.
They're all collectors editions! My books cost as much as my surfboards!
And for those who always ask, I shoot in RAW! Always! :)
Sony A7 r & Super Sharp Carl Zeiss 55mm Glass! The awesome Sony Sonnar T* FE 55mm f/1.8 ZA Lens!
Fine Art Ballet Photography! Pretty Ballerina Portraits! Dancing Classical Ballet in Pointe Shoes! Golden Ratio Composition Ballet Dancer Photography! Graceful Portrait Photography of Professional Ballerina! Leotard & Tutu! Carl Zeiss 55mm f/1.8 ZA Lens & A7 R!
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Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All my photography celebrates the physics of light! dx4/dt=ic! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical: geni.us/Fa1Q
Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
American Bald Eagles Dogfighting Olympic National Park Sony A1 ILCE-1 Fine Art Bald Eagle Wildlife Bird Photography! Sony Alpha 1 Sony FE 200-600mm f/5.6-6.3 G OSS E-Mount Lens SEL200600G Washington Olympic Peninsula Coast! Elliot McGucken Fine Art Wildlife Photography Alpha1 !
All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!
West Yellowstone Gray Wolves Sony A1 ILCE-1 Fine Art Wolf Photography Montana Winter Wolfpack! Sony Alpha 1 Canis Lupus Apex Predator & Sony FE Telephoto Zoom 70-200mm f/2.8 GM OSS E-Mount Lens SEL70200G West Yellowstone Snow! Elliot McGucken Fine Art Wildlife Alpha1
I had great fun photographing wolves, bears, and eagles with the awesome Sony Alpha 1 and two of my favorite Sony Gmaster lenses -- the 70-200mm f/2.8 GM OSS E-Mount Lens SEL70200G and the Sony Alpha 1 & Sony FE 200-600mm f/5.6-6.3 G OSS E-Mount Lens SEL200600G ! The Sony A1 is the best wildlife I have ever used!
All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!
Iceland Live Volcano Eruption Lava Litli-Hrútur 2023 Reykjanes Peninsula Sony A1 Fine Art Helicopter Aerial Landscape Photography Reykjavik IS! Elliot McGucken Master Fine Art Nature Photographer Fujifilm Sony Alpha 1 & Sony FE 70-200mm f/2.8 GM OSS II Lens
"Beauty will save the world." --Dostoevsky
Dr. Elliot McGucken Fine Art Spacetime Sculpture dx4//dt=ic:
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All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
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A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
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Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!
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My physics equation dx4/dt=ic graces the swimsuits and bikinis, while the golden gun is designed in proportion with the golden ratio, and the photos are oft cropped in divine proportions!
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Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
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A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
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All my photography celebrates the physics of light! dx4/dt=ic! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical: geni.us/Fa1Q
Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
Lucius Annaeus Seneca: On entering a temple we assume all signs of reverence. How much more reverent then should we be before the heavenly bodies, the stars, the very nature of God!
Got a brand new Prime Lens--the Carl Zeiss Sony Alpha e-mount FE 55mm F/1.8 ZA Carl Zeiss Sonnar T* Lens! Let me know how you like it! :)
New Sony A7 R Test Photos of Bikini Swimsuit Model Goddess! Pretty, pretty, pretty woman! Shot with the awesomely sharp, sharp Carl Zeiss Sony Sonnar Carl Zeiss Sony Sony FE 55 mm F/1.8 ZA Carl Zeiss Sonnar T* Lens and finished in Lightroom 5.3 ! Was using the B+W 49mm Kaesemann Circular Polarizer MRC Filter on bright, sunny day. Check out the low glare off the rocks and water and the bright blue sky! Super sharp images and crystal-clear pictures!
Here's some video shot at the same time as stills: youtu.be/Y7gq_gCk0jE
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Beautiful swimsuit bikini model goddess on a beautiful January Malibu morning! Shot it yesterday. :) Love, love, love the new Sony A7 R + 55mm F/1.8 lens combo!
Was a fun test shoot. Many, many more to come!
All the best on your Epic Hero's Journey from Johnny Ranger McCoy!
Modeling the black & gold "Gold 45 Revolver" Gold'N'Virtue swimsuits with the main equation to Moving Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Journey Physics here:
herosjourneyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!
Best on your hero's journey from Johnny Ranger McCoy! :)
Falling in love with the full frame 36 megapixel e mount Sony A7R!
The books behind the pretty goddess on the Malbu bluff and surfboard are The Decline and Fall of the Roman Empire by Edward Gibbon, Homer's Iliad, Homer's Odyssey, Shakespeare, and Herman Melville's Moby Dick! My favorite books! Will have some video of the pretty model reading them beside a campfire soon.
They're all collectors editions! My books cost as much as my surfboards!
And for those who always ask, I shoot in RAW! Always! :)
R199
The Zoute Sale - Bonhams
Estimated : € 600.000 - 800.000
Sold for € 897.000
Zoute Grand Prix 2023
Knokke - Zoute
België - Belgium
October 2023
Manufactured between 2003 and 2010, their new supercar allowed Mercedes-Benz and its then Formula 1 partner, McLaren, to showcase their collective experience in the development, construction, and production of high-performance sports cars and, just like its legendary 300 SLR predecessor of 1955, it incorporated technological developments that were ahead of their time. Yet the term 'supercar' does not do full justice to the SLR, which, its peerless performance notwithstanding, is a luxurious and finely engineered Gran Turismo in the best traditions of Mercedes-Benz.
The heart of any car is its engine, and that of the SLR McLaren is truly outstanding. Produced at Mercedes-Benz's AMG performance division, it is a 5.5-litre, 24-valve, supercharged V8 producing 617bhp, making it one of the most powerful engines ever found in a series-produced road-going sports car. Impressive though this peak horsepower figure is, it is the torque produced by this state-of-the-art 'blown' motor that is its most remarkable feature. The torque curve is almost flat: there is already 440lb/ft by 1,500 rpm and well over 500lb/ft between 3,000 and 5,000 revs.
Needless to say, the SLR McLaren delivers performance figures that are still among the best in its class. Taking just 3.8 seconds to sprint from 0-100km/h, it passes the 200km/h mark after 10.6 seconds and from a standing start takes just 28.8 seconds to reach 300km/h (186mph). The two-seater has a top speed of 334km/h. The five-speed automatic transmission was specially optimised for very high torque and also offered the driver the option of choosing between different shift characteristics using the Speedshift system.
Reflecting the long-term technological collaboration that Mercedes-Benz and McLaren enjoyed in Formula 1, the SLR's carbon fibre composite monocoque body/chassis structure was produced in the latter's then all-new facility in Woking, England. Topping off this technological tour de force is the electronically controlled rear spoiler.
In 2006 Mercedes-Benz introduced a new version of the SLR McLaren: the 722 Edition. The '722' refers to the victory in the 1955 Mille Miglia of Stirling Moss and his co-driver Denis Jenkinson, whose Mercedes-Benz 300 SLR had the starting number '722' (indicating a start time of 7:22 a.m.). The engine was upgraded for the 722 and now produced a maximum of 641bhp. In addition, the suspension was stiffened and the ride height reduced, while externally the newcomer boasted a revised front air dam and rear diffuser together with 19" wheels accommodating 390mm brakes. Other exterior changes include red '722 badging, referencing the original 722 racer, plus black-tinted headlamps and tail lights, while the interior was trimmed in a combination of carbon fibre, black leather and Alcantara. Faster than the regular SLR McLaren, the 722 can accelerate from 0-100km/h in 3.6 seconds on its way to a top speed of 337km/h. Production of the 722 Edition was limited to 150 units.
The roadster variant of the 722 Edition was unveiled at the 2007 Frankfurt Motor Show as the 722 S. The latter used the same engine and running gear as the 722 coupé together with the standard SLR roadster's folding roof mechanism. Its performance was on a par with that of the closed coupé. The model went on sale in January 2009 and once again production was limited to 150 examples, instantly making the 722 S one of the rarer and more collectible Mercedes models of recent times.
First registered in May 2011, this rare 722 S version of the SLR McLaren Roadster was delivered new in Germany and has had only one owner from new, covering a trifling 617 kilometres since it left the factory 12 years ago. The enthusiastic owner was unfortunately not able to drive the car himself and would therefore once a year call the Head of Service of his Mercedes dealership to drive the car together to the dealership for servicing or to simply take the car out for a short drive together. In that way the owner was able to enjoy his exceptional supercar. This 722 S Roadster is finished in a lovely shade of dark grey and is presented in effectively 'as new' condition, just as one would expect from such limited usage. Freshly serviced, in June 2023, and ready to be enjoyed. The accompanying documentation consists of German registration papers, manufacturer's Certificate of Conformity, all books and original pouch. Retaining all gadgets from new such as the indoor car cover, battery charger, etc., this highly desirable European-delivery SLR McLaren 722 S is exceptional and still in 'factory fresh' condition.
MAC having just unloaded groceries.
Balcony gardening. Nice weather again. Hicima leaves are inedible.
ONLY the root portion of jicama is edible. The leaves, flowers and vines of the plant contain rotenone, a natural insecticide designed to protect the plant from predators. Eating any of these parts of the plant can cause a toxic reaction.
Pachyrhizus erosus, commonly known as jícama (/ˈhɪkəmə/ or /dʒɪˈkɑːmə/;[1] Spanish jícama [ˈxikama] (About this soundlisten); from Nahuatl xīcamatl, [ʃiːˈkamatɬ]), Mexican yam bean, or Mexican turnip, is the name of a native Mexican vine, although the name most commonly refers to the plant's edible tuberous root. Jícama is a species in the genus Pachyrhizus in the bean family (Fabaceae). Plants in this genus are commonly referred to as yam bean, although the term "yam bean" can be another name for jícama. The other major species of yam beans are also indigenous within the Americas. Pachyrhizus tuberosus[2] and Pachyrhizus ahipa are the other two cultivated species. The naming of this group of edible plants seems confused, with much overlap of similar or the same common names.
Pachyrhizus erosus
Pachyrhizus erosus Blanco2.249.png
Scientific classification:
Kingdom: (unranked):
Angiosperms: (unranked):
Eudicots: (unranked):
Rosids
Order: Fabales
Family: Fabaceae
Genus: Pachyrhizus
Species: P. erosus
Binomial name: Pachyrhizus erosus
(L.) Urb.
Flowers, either blue or white, and pods similar to lima beans, are produced on fully developed plants. Several species of jicama occur, but the one found in many markets is P. erosus. The two cultivated forms of P. erosus are jicama de aguaand jicama de leche, both named for the consistency of their juice. The leche form has an elongated root and milky juice, while the aguaform has a top-shaped to oblate root and a more watery, translucent juice, and is the preferred form for market.[3][4]
Botany:
Other names for jicama include Mexican potato, ahipa, saa got, Chinese potato, and sweet turnip. In Ecuador and Peru, the name jicama is used for the unrelated yacón or Peruvian ground apple, a plant of the sunflower family whose tubers are also used as food.[4]
Fresh jícama for sale at a farmers' market
The jícama vine can reach a height of 4–5 m given suitable support. Its root can attain lengths up to 2 m and weigh up to 20 kg. The heaviest jícama root ever recorded weighed 23 kg and was found in 2010 in the Philippines (where they are called singkamas).[5] Jicama is frost-tender and requires 9 months without frost for a good harvest of large tubers or to grow it commercially. It is worth growing in cooler areas that have at least 5 months without frost, as it will still produce tubers, but they will be smaller. Warm, temperate areas with at least 5 months without frost can start seed 8 to 10 weeks before the last spring frost. Bottom heat is recommended, as the seeds require warm temperatures to germinate, so the pots will need to be kept in a warm place. Jicama is unsuitable for areas with a short growing season unless cultured in a greenhouse. Growers in tropical areas can sow seed at any time of the year. Those in subtropical areas should sow seed once the soil has warmed in the spring.[6]
History:
The jicama originated in Mexico and central America.[7] It has been found at archaeological sites in Peru dating to 3000 BC.[7] In the 17th century, the jicama was introduced to Asia by the Spanish.[7]
In cooking:
Diced fresh jícama, seasoned with Tajín chili powder
The root's exterior is yellow and papery, while its inside is creamy white with a crisp texture that resembles raw potato or pear. The flavor is sweet and starchy, reminiscent of some apples or raw green beans, and it is usually eaten raw, sometimes with salt, lemon, or lime juice, alguashte, and chili powder. It is also cooked in soups and stir-fried dishes. Jícama is often paired with chilli powder, cilantro, ginger, lemon, lime, orange, red onion, salsa, sesame oil, grilled fish, and soy sauce.[8] It can be cut into thin wedges and dipped in salsa. In Mexico, it is popular in salads, fresh fruit combinations, fruit bars, soups, and other cooked dishes. In contrast to the root, the remainder of the jícama plant is very poisonous; the seeds contain the toxin rotenone, which is used to poison insects and fish.[9] The exterior of the seed pods are edible and can be used in cooking, for example the Ilocano dish “Bunga ng singkamas” where it is cooked in a stew as the main ingredient.
Spread to Asia:
Jícama
Yambean (jicama), raw
Nutritional value per 100 g (3.5 oz)
Energy: 159 kJ (38 kcal)
Carbohydrates: 8.82 g
Sugars: 1.8 g
Dietary fiber: 4.9 g
Fat: 0.09 g
Protein: 0.72 g
Vitamins: Quantity%DV†.
Thiamine (B1): 2%0.02 mg
Riboflavin (B2): 2%0.029 mg
Niacin (B3): 1%0.2 mg
Pantothenic acid (B5): 3%0.135 mg
Vitamin B6: 3%0.042 mg
Folate (B9): 3%12 μg
Choline: 3%13.6 mg
Vitamin C: 24%20.2 mg
Minerals: Quantity%DV†
Calcium: 1%12 mg
Iron: 5%0.6 mg
Magnesium: 3%12 mg
Manganese: 3%0.06 mg
Phosphorus: 3%18 mg
Potassium: 3%150 mg
Sodium: 0%4 mg
Zinc: 2%0.16 mg
Link to USDA Database entry
Units:
μg = micrograms • mg = milligrams
IU = International units
†Percentages are roughly approximated using US recommendations for adults.
Source: USDA Food Data Central
Spaniards spread cultivation of jícama from Mexico to the Philippines (where it is known as singkamas, from Nahuatl xicamatl),[10] from there it went to China and other parts of Southeast Asia, where notable uses of raw jícama include popiah, bola-bola (meatballs) and fresh lumpia in the Philippines, and salads in Indonesia, Singapore, and Malaysia such as yusheng and rojak.
In the Philippines, jícama is usually eaten fresh with condiments such as rice vinegar and sprinkled with salt, or with bagoong (shrimp paste). In Malay, it is known by the name ubi sengkuang. In Indonesia, jícama is known as bengkuang. This root crop is also known by people in Sumatra and Java,[citation needed] and eaten at fresh fruit bars or mixed in the rojak (a kind of spicy fruit salad). Padang, a city in West Sumatra, is called "the city of bengkuang". Local people might have thought that this jícama is the "indigenous crop" of Padang. The crop has been grown everywhere in this city and it has become a part of their culture.[11]
It is known by its Chinese name bang kuang to the ethnic Chinese in Southeast Asia. In Mandarin Chinese, it is known as dòushǔ (豆薯; lit. ‘bean potato’) or liáng shǔ (涼薯), as sa1 got (沙葛, same as "turnip") in Yue Chinese/Cantonese, and as mang-guang (芒光) in Teochew, where the word is borrowed from the Malay, and as dìguā (地瓜) in Guizhou province and several neighboring provinces of China, the latter term being shared with sweet potatoes. Jícama has become popular in Vietnamese food as an ingredient in pie, where it is called cây củ đậu (in northern Vietnam) or củ sắn or sắn nước (in southern Vietnam).
In Myanmar, it is called စိမ်းစားဥ (sane-saar-u). Its Thai name is มันแกว (man kaeo).[12] In Cambodia, it is known as ដំឡូងរលួស /dɑmlɔoŋ rəluəh/ or under its Chinese name as ប៉ិកួៈ ~ ប៉ិគក់ /peʔkŭəʔ/.[13]In Bengali, it is known as shankhalu (শাঁখ আলু), literally translating to "conch (shankha, শাঁখ) potato (alu, আলু)" for its shape, size, and colour. In Hindi, it is known as mishrikand (मिश्रीकंद). It is eaten during fast (उपवास) in Bihar (India) and is known as kesaur (केसौर). In Odia, it is known as (ଶଙ୍ଖ ସାରୁ) shankha saru. In Laos, it is called man phao (ມັນເພົາ),[14]smaller and tastes a little sweeter than the Mexican type. It is used as a snack by peeling off the outer layer of the skin, then cutting into bite sizes for eating like an apple or a pear.
Its formal Japanese common name is kuzu-imo (葛芋, lit. =‘kudzu vine’+ ‘tuber’), though it may be referred to as benkowan (ベンコワン) or bankuan (バンクアン) after the Indonesian name bengkuang or as hikama (ヒカマ) as in the Mexican name.[15]
Nutrition:
Jícama is high in carbohydrates in the form of dietary fiber (notably inulin).[16] It is composed of 86–90% water; it contains only trace amounts of protein and lipids. Its sweet flavor comes from the oligofructose inulin (also called fructo-oligosaccharide), which is a prebiotic. Jícama is very low in saturated fat and sodium. It is also a good source of vitamin C.[17]
Storage:
Learn more:
This section does not cite any sources. (July 2017)
Jícama should be stored dry, between 12 and 16 °C (53 and 60 °F). As colder temperatures will damage the roots, whole unpeeled jicama root should not be refrigerated. A fresh root stored at an appropriate temperature will keep for a month or two.
References:
^ Collins English Dictionary – Complete and Unabridged, 12th Edition 2014. S.v. "Jicama." Retrieved July 18, 2017 from www.thefreedictionary.com/jicama
^ Pachyrhizus tuberosus
^ Johnson, Hunter. "Extension Vegetable Specialist". UC-Davis.
^ a b "Globalization of Foods-Jicama". Global Bhasin. Archived from the original on 11 January 2014. Retrieved 31 July 2013.
^ 'Heaviest' Singkamas Found in Ilocos
^ "Jicama Growing Information". Green Harvest. Retrieved 31 July 2013.
^ a b c Sanderson, Helen (2005). Prance, Ghillean; Nesbitt, Mark (eds.). The Cultural History of Plants. Routledge. p. 67. ISBN 0415927463.
^ Green, Aliza (2004). Field Guide to Produce. Quirk Books. p. 194. ISBN 1-931686-80-7.
^ Duke, James A. (1992). "Handbook of phytochemical constituents of GRAS herbs and other economic plants". Dr. Duke's Phytochemical and Ethnobotanical Databases. CRC Press. Archived from the original on September 23, 2015. Retrieved June 25, 2010.
^ "Singkamas". Merriam-Webster. Retrieved 2 January 2015.
^ "What is Jicama?". Innovateus. Retrieved 30 July 2013.
^ So Sethaputra, New Model Thai-English Dictionary, Bangkok: Thai Watana Panich, 1965, p. 366.
^ Pauline Dy Phon, វចនានុក្រមរុក្ខជាតិប្រើប្រាស់ក្នុងប្រទេសកម្ពុជា, Dictionnaire des Plantes utilisées au Cambodge, Dictionary of Plants used in Cambodia, ភ្នំពេញ Phnom Penh, បោះពុម្ពលើកទី ១, រោងពុម្ព ហ ធីម អូឡាំពិក (រក្សាសិទ្ធិ៖ អ្នកគ្រូ ឌី ផុន) គ.ស. ២០០០, ទំព័រ ៤៨៥, 1st edition: 2000, Imprimerie Olympic Hor Thim (© Pauline Dy Phon), 1er tirage : 2000, Imprimerie Olympic Hor Thim, p. 485; វចនានុក្រមខ្មែរ ពុទ្ធសាសនបណ្ឌិត្យ ភ្នំពេញ ព.ស. ២៥១០-២៥១១ គ.ស. ១៩៦៧-១៩៦៨ ទំព័រ ៦២៧, ១០១៣, Dictionnaire cambodgien, Institut bouddhique de Phnom Penh, 1967-1968, p. 627, 1013.
^ Reinhorn, Marc, Dictionnaire laotien-français, Paris: CNRS, 1970, p. 1635.
^ Mitsubishi UFJ Research & Consulting (February 2019), Baiomasu nenryō bi anteichōtatsu/jizokukanōsei ni kakawaru chōsa バイオマス燃料の安定調達・持続可能性等に係る調査 [Study regarding the stable procurement, sustainability, etc., of biomass fuels] (PDF), p. 16, n9
^ Hughes SR, Qureshi N, López-Núñez JC, Jones MA, Jarodsky JM, Galindo-Leva LÁ, Lindquist MR (2017). "Utilization of inulin-containing waste in industrial fermentations to produce biofuels and bio-based chemicals". World Journal of Microbiology & Biotechnology. 33 (4): 48. doi:10.1007/s11274-017-2241-6. PMID 28341907. S2CID 23678976.
^ "Nutrition Data: Yambean (jicama), raw". Nutrition Data. Retrieved 11 July 2014.
Apex Predator Gray Wolves Wolfpack Winter Snow Sony A1 ILCE-1 Montana Grey Wolf Fine Art Wildlife Photography! Sony Alpha 1 & Sony FE Telephoto Zoom 70-200mm f/2.8 GM OSS! West Yellowstone Elliot McGucken Wildlife Photography Sony Alpha1 !
All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!
American Bald Eagles Soaring Olympic National Park Sony A1 ILCE-1 Fine Art Bald Eagle Bird Photography! Sony Alpha 1 Sony FE 200-600mm f/5.6-6.3 G OSS E-Mount Lens SEL200600G Washington Olympic Peninsula Coast! Elliot McGucken Fine Art Wildlife Eagle Photography Alpha1 !
All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!
West Yellowstone Gray Wolves Montana Winter Wolfpack Sony A1 ILCE-1 Fine Art Wolf Apex Predator Photography! Canis Lupus Sony Alpha 1 & Sony FE Telephoto Zoom 70-200mm f/2.8 GM OSS E-Mount Lens SEL70200G West Yellowstone Snow! Elliot McGucken Fine Art Wildlife Alpha1
I had great fun photographing wolves, bears, and eagles with the awesome Sony Alpha 1 and two of my favorite Sony Gmaster lenses -- the 70-200mm f/2.8 GM OSS E-Mount Lens SEL70200G and the Sony Alpha 1 & Sony FE 200-600mm f/5.6-6.3 G OSS E-Mount Lens SEL200600G ! The Sony A1 is the best wildlife I have ever used!
All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!