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Crown Books was founded in the Washington, D.C., metro area in 1977 by Robert Haft with money borrowed from his father, D.C. businessman Herbert Haft. The chain was organized under the umbrella of the Dart Group (not related to the current UK-based Dart Group), which also included Trak Auto, Shoppers Food Warehouse, Total Beverage, Dart Drug, and Combined Properties. Known for low prices, the chain gained fame in the 1980s and early 1990s for its clever advertising campaigns (such as Robert Haft sitting on large stacks of books with the caption "Books Cost Too Much, That's Why I Opened Crown Books.") At the beginning, Crown Books day-to-day operations were managed by Jose Gonzales (Vice President of Operations) and Jeanne Herrick (Vice President of Merchandising). Once the decision was made to expand into other areas the dynamic of Mr. Gonzales & Ms. Herrick was replicated into the California Market with the addition of Steve Young & Miriam Bass. Later Crown made the decision to enter the Chicago Market and that entry was managed by Richard Lowe & Rhonda Branch.
Crown Books grew rapidly, from its single store in 1977 to a regional chain of 196 stores at its height in 1993, close on the heels of Borders and poised to become the nation's second-largest book chain. While Classic Crown Books stores, which afforded customers between 2,000 and 3,000 square feet (280 m2) of book selection, had been the backbone of the company since its founding in 1977, they were gradually phased out in favor of the larger, more competitive, superstore format adopted by the company in 1990. Stocking up to 80,000 titles--10 times the number carried in Classic Crown stores--Super Crown Books locations supplemented the Classic Crown holdings with a large line of greeting cards, games, computer software, and an assortment of gift items. Each superstore provided between 12,000 and 35,000 square feet (3,300 m2) of retail space. Robert Haft showed great foresight in planning Crown Software in 1986, but his side projects made him late to the superstore scene which competitors Barnes & Noble and Borders had begun.
In 1993, the company was the third largest book chain in the United States, after Barnes & Noble and Borders, and had stores in Washington, D.C., Baltimore, Chicago, Philadelphia, Houston, Los Angeles, San Francisco, Sacramento, Seattle and Portland. With the advent of its Super Crown Books locations, as well as the boom in sales volume of competitors like Borders, Barnes & Noble, and Books-a-Million, the company reevaluated its Classic Crown locations and determined that several of the smaller stores would become increasingly unprofitable as the trend toward larger bookstores continued. In 1993, under the guidance of Glenn E. Hemmerle, president and CEO of the company from October 1992 through June 1994, Crown prepared the financial groundwork for closing several of its smaller stores.
A bitter divorce between Herbert Haft and his wife tore the family apart, and pitted Crown Books founder Robert Haft against his father. When Herbert tried to replace Robert as the head of Crown Books, the situation exploded and their back-and-forth exploits regularly made the front page of the Washington Post over the months between the fall of 1993 and the summer of 1994, becoming a regional media sensation. After Robert's firing, upper management positions were abandoned and refilled with some regularity, draining the company of both management skills and cash.
The family feud playing out among Haft family members appeared close to resolution by May 1994. However, four months later a jury awarded Robert M. Haft $34.1 million in compensation for a breach of contract by Dart Group and Crown Books. Several lawsuits and countersuits were filed by other members of the Haft family as each jockeyed for a controlling interest in family-controlled companies. By 1996 Crown found itself listed as co-plaintiff in a lawsuit brought against Herbert H. Haft by the Dart Group charging fraud and breach of fiduciary duty with regard to business transactions made during the course of Haft's divorce and resulting power struggle. Interestingly, Crown had been named as a co-defendant in similar lawsuits filed by shareholder groups as early as 1993.
Fortunately, a Standstill Order was entered in Delaware court in 1995, restricting certain relevant actions of the Dart Corporation until such time as all legal matters were resolved; by mid-1997 a conditional settlement had been reached with Herbert H. Haft whereby Haft would relinquish his position and voting rights in the Dart Group in exchange for approximately $41 million.
Wikipedia Quote
Betty Hendrix and Ed Hinkle. Caption: "1, 2 buckle my shoe." Part of a series - for more, view at DigitalNC. From the 1962 edition of The Davie County Clarion, Davie County High School's yearbook (p. 58).
View at DigitalNC: library.digitalnc.org/cdm/ref/collection/yearbooks/id/6384
Digital Collection: North Carolina High School Yearbooks
Contributing Institution: Davie County Public Library
Usage Statement: This item is presented for research and educational purposes only, and may not be distributed or republished without permission from Davie County Public Library.
The Angel - Marvel Timely Super Hero - The House of Slaughter vintage 1940s 40s 1942 golden age comic comicbook comics book vampire villain story stories pop culture pulp fiction violence danger action adventure strip magazine Halloween page one 1
Some background:
The VF-1 was developed by Stonewell/Bellcom/Shinnakasu for the U.N. Spacy by using alien Overtechnology obtained from the SDF-1 Macross alien spaceship. Its production was preceded by an aerodynamic proving version of its airframe, the VF-X. Unlike all later VF vehicles, the VF-X was strictly a jet aircraft, built to demonstrate that a jet fighter with the features necessary to convert to Battroid mode was aerodynamically feasible. After the VF-X's testing was finished, an advanced concept atmospheric-only prototype, the VF-0 Phoenix, was flight-tested from 2005 to 2007 and briefly served as an active-duty fighter from 2007 to the VF-1's rollout in late 2008, while the bugs were being worked out of the full-up VF-1 prototype (VF-X-1).
The space-capable VF-1's combat debut was on February 7, 2009, during the Battle of South Ataria Island - the first battle of Space War I - and remained the mainstay fighter of the U.N. Spacy for the entire conflict. Introduced in 2008, the VF-1 would be out of frontline service just five years later, though.
The VF-1 proved to be an extremely capable craft, successfully combating a variety of Zentraedi mecha even in most sorties which saw UN Spacy forces significantly outnumbered. The versatility of the Valkyrie design enabled the variable fighter to act as both large-scale infantry and as air/space superiority fighter. The signature skills of U.N. Spacy ace pilot Maximilian Jenius exemplified the effectiveness of the variable systems as he near-constantly transformed the Valkyrie in battle to seize advantages of each mode as combat conditions changed from moment to moment.
The basic VF-1 was deployed in four minor variants (designated A, D, J, and S) and its success was increased by continued development of various enhancements including the GBP-1S "Armored" Valkyrie, FAST Pack "Super" Valkyrie and the additional RÖ-X2 heavy cannon pack weapon system for the VF-1S for additional firepower.
The FAST Pack system was designed to enhance the VF-1 Valkyrie variable fighter, and the initial V1.0 came in the form of conformal pallets that could be attached to the fighter’s leg flanks for additional fuel – primarily for Long Range Interdiction tasks in atmospheric environment. Later FAST Packs were designed for space operations.
After the end of Space War I, the VF-1 continued to be manufactured both in the Sol system and throughout the UNG space colonies. Although the VF-1 would be replaced in 2020 as the primary Variable Fighter of the U.N. Spacy by the more capable, but also much bigger, VF-4 Lightning III, a long service record and continued production after the war proved the lasting worth of the design.
The versatile aircraft also underwent constant upgrade programs. For instance, about a third of all VF-1 Valkyries were upgraded with Infrared Search and Track (IRST) systems from 2016 onwards, placed in a streamlined fairing on the upper side of the nose, just in front of the cockpit. This system allowed for long-range search and track modes, freeing the pilot from the need to give away his position with active radar emissions, and it could also be used for target illumination and guiding precision weapons.
Many Valkyries also received improved radar warning systems, with receivers, depending on the systems, mounted on the wing-tips, on the fins and/or on the LERXs. Improved ECR measures were also mounted on some machines, typically in conformal fairings on the flanks of the legs/engine pods.
After joining the global U.N. Spacy union, Germany adopted the VF-1 in late 2008, it replaced the Eurofighter Typhoon interceptors as well as Tornado IDS and ECR fighter bombers. An initial delivery of 120 aircraft was completed until 2011, partially delayed by the outbreak of Space War One in 2009. This initial batch included 85 VF-1A single seaters, fourteen VF-1J fighters for commanders and staff leaders, and twenty VF-1D two-seaters for conversion training over Germany (even though initial Valkyrie training took place at Ataria Island). These machines were erratically registered under the tactical codes 26+01 to 26+99. Additionally, there was a single VF-1S (27+00) as a personal mount for the General der Luftwaffe.
The German single-seaters were delivered as multi-role fighters that could operate as interceptors/air superiority fighters as well as attack aircraft. Beyond the standard equipment they also carried a passive IRST sensor in front of the cockpit that allowed target acquisition without emitting radar impulses, a LRMTS (Laser Rangefinder and Marked Target Sensor) under the nose, a Weapon Delivery and Navigation System (WDNS) and an extended suite of radar warning sensors and ECM jammers.
After Space War I, attritions were replaced with a second batch of VF-1 single seaters in 2015, called VF-1L (for “Luftwaffe”). These machines had updated avionics and, among modifications, a laser target designator in a small external pod under the cockpit. About forty VF-1 survivors from the first batch were upgraded to this standard, too, and the VF-1Ls were registered under the codes 27+01 – 90.
The VF-1 was without doubt the most recognizable variable fighter of Space War I and was seen as a vibrant symbol of the U.N. Spacy even into the first year of the New Era 0001 in 2013. At the end of 2015 the final rollout of the VF-1 was celebrated at a special ceremony, commemorating this most famous of variable fighters. The VF-1 Valkryie was built from 2006 to 2013 with a total production of 5,459 VF-1 variable fighters with several variants (VF-1A = 5,093, VF-1D = 85, VF-1J = 49, VF-1S = 30, VF-1G = 12, VE-1 = 122, VT-1 = 68)
However, the fighter remained active in many second line units and continued to show its worthiness years later, e. g. through Milia Jenius who would use her old VF-1 fighter in defense of the colonization fleet - 35 years after the type's service introduction!
General characteristics:
All-environment variable fighter and tactical combat Battroid,
used by U.N. Spacy, U.N. Navy, U.N. Space Air Force
Accommodation:
Pilot only in Marty & Beck Mk-7 zero/zero ejection seat
Dimensions:
Fighter Mode:
Length 14.23 meters
Wingspan 14.78 meters (at 20° minimum sweep)
Height 3.84 meters
Battroid Mode:
Height 12.68 meters
Width 7.3 meters
Length 4.0 meters
Empty weight: 13.25 metric tons;
Standard T-O mass: 18.5 metric tons;
MTOW: 37.0 metric tons
Power Plant:
2x Shinnakasu Heavy Industry/P&W/Roice FF-2001 thermonuclear reaction turbine engines, output 650 MW each, rated at 11,500 kg in standard or in overboost (225.63 kN x 2)
4x Shinnakasu Heavy Industry NBS-1 high-thrust vernier thrusters (1 x counter reverse vernier thruster nozzle mounted on the side of each leg nacelle/air intake, 1 x wing thruster roll control system on each wingtip);
18x P&W LHP04 low-thrust vernier thrusters beneath multipurpose hook/handles
Performance:
Battroid Mode: maximum walking speed 160 km/h
Fighter Mode: at 10,000 m Mach 2.71; at 30,000+ m Mach 3.87
g limit: in space +7
Thrust-to-weight ratio: empty 3.47; standard T-O 2.49; maximum T-O 1.24
Design Features:
3-mode variable transformation; variable geometry wing; vertical take-off and landing; control-configurable vehicle; single-axis thrust vectoring; three "magic hand" manipulators for maintenance use; retractable canopy shield for Battroid mode and atmospheric reentry; option of GBP-1S system, atmospheric-escape booster, or FAST Pack system
Transformation:
Standard time from Fighter to Battroid (automated): under 5 sec.
Min. time from Fighter to Battroid (manual): 0.9 sec.
Armament:
2x internal Mauler RÖV-20 anti-aircraft laser cannon, firing 6,000 pulses per minute
1x Howard GU-11 55 mm three-barrel Gatling gun pod with 200 RPG, fired at 1,200 rds/min
4x underwing hard points for a wide variety of ordnance, including
12x AMM-1 hybrid guided multipurpose missiles (3/point), or
12x MK-82 LDGB conventional bombs (3/point), or
6x RMS-1 large anti-ship reaction missiles (2/outboard point, 1/inboard point), or
4x UUM-7 micro-missile pods (1/point) each carrying 15 x Bifors HMM-01 micro-missiles,
or a combination of above load-outs
The kit and its assembly:
This fictional VF-1 is more or less “only” a camouflage experiment, spawned by a recent discussion about the German Luftwaffe’s so-called “Norm ‘81” paint scheme that was carried by the F-4Fs during the Eighties and the early Nineties. It is one of the most complex standardized paint scheme I am aware of, consisting of no less than six basic shades of grey and applied in two different patterns (early variant with angled/splinter camouflage, later this was changed into more organic shapes).
I have built a fictional post-GDR MiG-21 with the Norm ’81 scheme some years ago, but had always been curious how a Macross VF-1 would look with it, or how it could be adapted to the F-14esque airframe?
Concerning the model, it’s another vintage ARII VF-1, in this case a VF-1J, built OOB and with the landing gear down and an open canopy. However, I added some small details like the sensors in front of the cockpit, RHAWS sensors and bulges for ECM equipment on the lower legs (all canonical). The ordnance was subtly changed, with just two AMM-1 missiles on each outer pylon plus small ECM pods on the lo hardpoint (procured from an 1:144 Tornado). The inner stations were modified to hold quadruple starters for (fictional) air-to-ground missiles, left over from a Zvezda 1:72 Ka-58 helicopter and probably depicting Soviet/Russian 9M119 “Svir” laser-guided anti-tank missiles, or at least something similar. At the model’s 1:100 scale they are large enough to represent domestic alternatives to AGM-65 Maverick missiles – suitable against Zentraedi pods and other large ground targets. The ventral GU-11 pod was modified to hold a scratched wire display for in-flight pictures. Some blade antennae were added as a standard measure to improve the simple kit’s look. The cockpit was taken OOB, I just added a pilot figure for the scenic shots and the thick canopy was later mounted on a small lift arm in open position.
Painting and markings:
This was quite a challenge: adapting the Norm’ 81 scheme to the swing-wing Valkyrie, with its folded legs and the twin tail as well as lacking the Phantom’s spine and bulged air intakes, was not easy, and I went for the most straightforward solution and simplified things on the VF-1’s short spine.
The Norm ‘81’s “official” colors are all RAL tones, and I decided to use these for an authentic lokk, namely:
RAL 7009 Grüngrau: Revell 67 (acrylic)
RAL 7012 Basaltgrau: Revell 77 (acrylic)
RAL 7039 Quarzgrau: Xtracolor X259 (enamel)
RAL 7037 Staubgrau: Xtracolor X258 (enamel)
RAL 7030 Steingrau: Revell 75 (enamel)
RAL 7035 Lichtgrau: Humbrol 196 (enamel)
This basically plan worked and left me with a very murky aircraft: Norm ’81 turned out to be a kind of all-propose camouflage that works well against both sky and ground, at least in the typical German climate, and especially good at medium to low altitude. RAL 7030, 7037 and 7039 appear like gradually darker shades of the basically same brownish grey hue, framed with darker contrast areas that appear either greenish or bluish.
However, the Xtracolor enamels turned out to be total sh!t: they lacked pigments in the glossy and translucent base and therefore ANY opacity, esp. on any edge, at least when you use a brush like me. Not certain if using an airbrush improves this? The result were uneven and rather thick areas of paint, not what I had hoped for. And the Revell 75 just did what I hate about the company's enamels: drying up prematurely with a gooey consistency, leaving visible streaks.
After a black ink wash, very light post-shading was added. I should have from the start tried to stick to the acrylics and also mix the Xtracolor tones from Revell acrylics, a stunt that turned during the weathering process (trying to hide the many blemishes) out to be quite feasible. RAL 7037 was mixed from Revell 47 plus 89 in a ~1:1 ratio, and RAL 7039 from Revell 47, 77 and 87 with a touch of 09. Nevertheless, the paint finish turned out sub-optimal, but some shading and weathering saved most of the mess – even I am not satisfied with the outcome, the model looks more weathered than intended (even though most operational German F-4Fs with this paint scheme looked quite shaggy and worn, making the different shades of grey almost undiscernible).
After some consideration I gave this German VF-1 full-color (yet small) "Kite" roundels, together with a German tactical code. German flags and a vintage JaboG 32 squadron badge decorate the fin - a plausible move, because there are British Valkyries in source books that carry RAF fin flashes. Stencils and other markings came from VF-1 OOB sheets.
Finally, after some typical highlights with clear paint over a silver base were added, and the small VF-1 was sealed with a coat of matt acrylic varnish.
A spontaneous interim project, with interesting results. The adapted Norm ’81 scheme works well on the VF-1, and it even is a contemporary design from the era when the original TV series was conceived and aired. With the authentic tones I’d call it quite ugly – even though I was amazed during the photo session how well the different shades of grey (four from above!) blend into each other and break up the aircraft’s outlines. If there were no red-and-white roundels or the orange pilot in the cockpit (chosen intentionally for some color contrast), the camouflage would be very effective! Not perfect, but another special member in my growing VF-1 model fleet. ^^
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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
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+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The Messerschmitt Bf 94 was a fighter aircraft built in Germany shortly before World War II. It was designed to meet a 1935 requirement by the Czechoslovakian Air Force for a replacement for their B-534 fighter biplanes. It was developed by the Bayerische Flugzeugwerke (at which the engineer Messerschmitt led the development of the plane), primarily intended for export customers since the German Luftwaffe already planned more advanced types. It was actually built on a level inferior to the tactical requirements for a single-seat fighter that the RLM had issued in the document L.A. 1432/33 in late March 1933.
The Bf 94 was a sleek, low-wing monoplane with a fixed, spatted landing gear. As with the earlier Bf 108, the aircraft was based on Messerschmitt's "lightweight construction" principle, which aimed to minimise the number of separate parts in the aircraft. Examples of this could be found in the use of two large, complex brackets which were fitted to the firewall. These brackets incorporated the lower engine mounts and landing gear pivot point into one unit. A large forging attached to the firewall housed the main spar pick-up points, and carried most of the wing loads. Contemporary design practice was usually to have these main load-bearing structures mounted on different parts of the airframe, with the loads being distributed through the structure via a series of strong-points. By concentrating the loads in the firewall, the structure of the Bf 94 could be made relatively light and uncomplicated, and this principle was later also found in the famous Bf 109 fighter.
The Bf 94's fuselage was constructed from welded steel tube, covered in metal. Only the rudders were covered with fabric. The cockpit was not completely closed - the windscreen was fixed and two side panels could be lowered for access or taxiing, but a roof was missing. Power was to be provided by the new Junkers Jumo 210 engine of about 522 kW (700 hp), driving a wooden 2 blade propeller with fixed pitch.
Despite the rather outdated overall layout, the first prototype, the Bf 94 A-0, displayed excellent flying characteristics and high speed. Testing continued with a total of three prototypes until 22 November 1937. Until then, several orders had been placed, e. g. from Romania, Bulgaria, Turkey, Greece, Estonia and Lithuania. The Czechoslovakian Air Force had lost interest, though, preferring the indigenous Avia B.35 instead.
Total production numbers remained low, since more modern aircraft with retractable landing gear and and more powerful engines and armament were steadily introduced - only about eighty aircraft were produced and entered service with smaller European air forces during the advent of WWII.
The Lithuanian Air Force operated a single squadron with Bf 94 A-1 (a total of 16 aircraft), which were to replace the Gloster Gladiators. The German machines received locally a modified armament consisting of a pair of 0.303” Browning machine guns, so that the standard ammunition could be used. In 1940, the Lithuanian Air Force consisted of eight Air Squadrons, including reconnaissance, fighter, bomber and training units. Air Force bases had been established in the cities and towns of Kaunas /Žagariškės, Šiauliai /Zokniai (Zokniai airfield), Panevėžys /Pajuostis. In the summer time, airports in the cities of Palanga and Rukla were also used. A total of 117 aircraft and 230 pilots and observers were listed in the books at that time.
General characteristics:
Crew: One
Length: 8.70 m (28 ft 6 in)
Wingspan: 9,9 m (32 ft 5 in)
Height: 2,45 m (8 ft 1 in)
Wing area: 16,35 m² (175.41 ft²)
Empty weight: 1,510 kg (3,325 lb)
Loaded weight: 1,940 kg (4,273 lb)
Max. takeoff weight: 2,150 kg (4,735 lb)
Powerplant:
1× Jumo 210 D inverted V12 engine, rated at 700 hp (522 kW),
driving a wooden two-blade, fixed pitch propeller
Performance:
Maximum speed: 495 km/h (308 mph)
Range: 500 km (311 miles)
Rate of climb: 13.0 m/s (2,560 ft/min)
Armament:
2× 7,92 mm MG17 on top of the engine, synchronized to fire through the propeller arc
(In Lithuanian machines replaced with a pair of 0.303" (7,7mm) Browning machine guns)
The kit and its assembly:
This whif kit was inspired by a similar build at whatifmodelers.com: an early Bf 109 with spats! This looked so nice and convincing that I had to “try this at home”. As donation parts for the landing gear I also had a pair of Avia B.35 spats from a vintage KP at hand – easy and straightforward.
Basis is the Bf 109 B/C Heller kit, which is rare but available at affordable prices if you are patient. It was mostly built OOB, the only major mod were the closed landing gear wells, using the original covers and some putty, the addition of the B.35 spat, and for an even more retrograded look I also exchanged the canopy. The original, closed cockpit was replaced by an open alternative, taken from a Macchi C.200. This screen is consideraly shorter and not as deep as the Bf 109 parts, so the cockpit walls had to be raised, too, and the spine elongated forward. But it works and adds to the retro look. A HUMA pilot was added in the cockpit, too.
Et voilà, a simple German export aircraft!
As a side note: the “94” is one of the RLM type numbers that had not been used in Germany. It had been allocated to Heinkel though, but I wanted to use the highest possible number before the “109” for this whif, so the manufacturer switch is IMHO acceptable.
Painting and markings:
Finding a potential user was a bit more tricky. I finally settled for Lithuania – exotic, but with a colorful air force before WWII. The whiffy Bf 94 could have been the country's first monoplane fighter!
For the paint scheme I kept things simple, partly inspired by contemporary Bf 109 during the Spanish Civil War and Lithuanian Gloster Gladiators of the pre WWII era. I combined a light grey (RLM 63) upper fuselage, fin and spats with light blue undersides (RLM 65), together with dark Green (FS 34079) upper wing surfaces. This green was also used for the contrast background under the national insignia under the wings, while the rudder became white. It's actually not bright and colorful, but different from typical cammo paint schemes or bare metal, and Lithuanian aircraft appear to have carried such dry schemes.
The decals were puzzled together. The Lithuanian insignia come from a Blue Rider sheet, the tactical code actually belongs to a Hobby Boss F-86 in Luftwaffe markings, and the horse emblem is from an Italian Fiat C.32. The white stripes on the wings are a personal addition, I wanted to add some more contrast to the national insignia, since the overall livery is rather simple and subdued.
The interior was painted in dark grey (Humbrol 111), but the canopy is so tight that you cannot see anything inside except for the pilot's head. For some contrast, all trim tabs were painted in a reddish brown (Humbrol 100), and the two-blade propeller reveiced an aluminum front and a black back side.
A simple whif, but again it's one less on the long idea an project list. Realized in just three days from box to dry varnish, plus some additional time for the pics.
Apple Boutique is Located in the rue de l’Ecole de Médecine No 1, in the heart of Geneva’s art market, one street from the MAMCO(Museum of Contemporary Art), the The Patek Philippe Museum and the brand new Ethnological Museum MEG – beside Plainpalais Flea Market – Apple Boutique Fine Art Galleryis the finest and appropriate gallery in Geneva for dealing with drawings and watercolors. Petroz Fine Art specializes in Old – Modern and Contemporary Master paintings and drawings from the fifteenth to the twenty-first century, and has been supplying museums, world-renowned galleries and interior designers with rare pieces of art and furniture.
Providing with accurate advices on building a collection or developing an existing one, Guidance on restoration and framing, Evalutations and appraisals.
Jules Petroz was born in 1960 in Geneva. Initiated by his parents, also antiquarians, to the world of fine art and antiques, he studied History of Art at the University of Geneva. Jules has more than 30 years experience to his active, and since 1990, has been collaborating with his wife, Aicha. They deal mainly in Switzerland and in France, and their research extends to the rest of Europe, where they are always on the lookout for unique pieces. They have been supplying museums, world-renowned galleries and interior designers with rare pieces of furniture. Their interest covers antiques, from archaeological finds to contemporary pieces and modern design, as well as Haute Époque, Renaissance and the 18th Century, with a special interest in Old Master drawings, prints, paintings and ceramics. They also buy books, sculptures and old photographs. Always on the move, from one fair to another, they visit large and small galleries as well as private clients. Aicha and Jules are well-known figures in Geneva, having discovered, hidden beneath a pastel painting, what very seemingly appears to be a portrait of a late 19th-Century actress, demi-mondaine Mary Laurent, by Edouard Manet.
Jules is available for advice in investment in art and antiques.
APPLE-BOUTIQUE Rue de l’Ecole-de-Médecine 1, 1205 Genève
For appointments, please call + 41 78 7654321
Mail: Apple Boutique – P.B. 1952 1211 Geneva 1
E-mail: info@appleboutique.com
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Presidential Candidate 總統候選人
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Tianliang Ma
~ a Taiwanese social reformer, philosopher, photographer and film director
“Touching Fairness and Justice”
馬天亮
~ 臺灣的社會改革者，哲學家，攝影師，和電影導演
《感動的公平與正義》
TianLiang Maa, alternative spelling: Tianliang Ma, also known as Theophilus Raynsford Mann; Ma, Tianliang; Chinese: 馬天亮; 马天亮.
SUMMARY
TianLiang Maa is a naturalist, occultist, Buddhist and Taoist. In 1982, Maa developed a technique for abstract photography, applied “Rayonism” into photographic works. Maa staged 32 individual, extraordinary exhibitions around Taiwan, who was the first exhibitor around Formosa. Maa’s works is the beginning of modernization in the modern abstract arts in the world. At the University of Oxford, Maa’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”; also an author at the University of California, Berkeley and the University of Michigan in the United States; an alumnus from Christ Church College at the University of Oxford in England, the University of Glamorgan in Wales, and National Taiwan University in Taipei on Taiwan. Maa’s works have been quoted by the scholars many times, making Maa one of the highly cited technological, artistic, and managing public administrators in the academia. Maa was listed in “Taiwan Who’s Who In Business” © 1984, 1987, 1989 Harvard Management Service.
Early Life and Record of Genealogy
TianLiang Maa possesses both Taiwanese and German surnames from birth. Usually, whenever anyone asks Maa about where he comes from, he would reply “Formosa” as he grew up and was educated in the Far East and lives in Taiwanese and Japanese lifestyles. Moreover, he often teaches and educates younger generations based on the methods of the Far Eastern teaching he experienced when he was young, though he does not oppose the Western ways of teaching and thinking. Maa takes great pride in his roots, which go back 150 years (since 1864); Maa’s ancestry originates and creates generations, and prepares younger generations to succeed their personality and ethical standards and integrity.
Education in Taiwan and a Brief of Latest Generation of History in Taiwan / Formosa
In 1980, Maa obtained his postgraduate certificate from the Graduate Institute of Electrical Engineering of National Taiwan University in Taipei; successfully completed another graduate studies in Information dBase III Plus and Taiwanese Traditional Chinese Mandarin Information System at National Sun Yat-Sen University in Kaohsiung in 1989.
In history, the Portuguese explorers discovered and called the island (Taiwan), “Formosa” (meaning “Beautiful Island”) in 1590. They are non-Chinese people; it was long a Chinese and Japanese pirate base. Fighting continued, between its original inhabitants of Taiwanese and the Chinese settlers, into the 19th century. In 1894-95 first Sino-Japanese War that ended in Manchus of the Qing (Ching) dynasty defeat, the late Manchu Qing Government forced to cede Formosa to Japan. This result was made by the Treaty of Shomonoseki in 1895 and remained under Japanese control until the end of the Second World War. Early on, Taiwan was conquered by the Qing in 1683 and for the first time became part of older China dynasty. However, today, the home country of Maa’s origin has around 165 institutions (93 universities) of higher education, which now has one of the best-educated populations in Asia. Among the major public (state) ones are the National Taiwan University (NTU) at Taipei, and National Sun Yat-Sen University (NSYSU) at Kaohsiung. NSYSU is also called National Chun-Shan University; according to Times Higher Education 2010-2011, NSYSU ranks as the 3rd university in Taiwan, 21st in Asia, and 163rd worldwide. National Taiwan University is ranked 51 to 60 ranks on Times Higher Education World University Rankings - Top Universities by Reputation 2013, the United Kingdom (see www.timeshighereducation.co.uk/world-university-rankings/...); King's College London (KCL) (21st in the world and 6th in Europe in the 2010, QS World University Rankings), the University of London, and University of Southern California (is one of the world's leading private research universities, located in the heart of Los Angeles), afterward.
Backing to Maa’s early school-time of Taiwan Provincial Kaohsiung Industrial Senior High School (Kaohsiung Municipal Kaohsiung Industrial High school), the professional technical education, which is equivalent to Advanced Level General Certificate of Education, commonly referred to as an A-level in the United Kingdom; China Electronic Engineering College, the distance learning programme, which is in equivalence as UK’s Diploma of Higher Education / Undergraduate Diploma (as an Associate Degree in the United States). An additional, his middle education was taught by the Kaohsiung Municipal Chihjh (Ci Sian) Junior High School; and Kaohsiung Municipal San Min Elementary School was his first school in Taiwan.
Early Career
In 1989, Maa instituted Maa’s Office of Electrical Engineer, he settled himself in electrical technology and industries as a chief engineer in his early years. He put his professional and precise knowledge to good account in business management. A formal business management with business relationship established to provide for regular services, dealings, and other commercial transactions and deed. He had many customers having a business and credit relationship with his firm then he was a successful engineer.
Study Abroad and Immigration into the United Kingdom
In 1998, Maa studied abroad when he arrived in Great Britain; he studied at School of Built Environment, the University of Glamorgan (Prifysgol Morgannwg) in Merthyr Tydfil, Pontypridd, Wales for a master of science in real estate appraisal. Until the summer of 2000, Maa completed an academic course on “Towns through the Ages” from Christ Church College at the University of Oxford (is ranked the 2nd place worldwide on The Times Higher Education, World University Rankings 2012-2013
www.timeshighereducation.co.uk/world-university-rankings/...) in England. Afterward, Maa immigrated into the United Kingdom in the early year of 2004.
PHILOSOPHICAL VIEWS
Maa is a naturalist; he trusts spiritual naturalism and naturalistic spirituality, which teaches that “the unknown” created this wonderful world. “The unknown” arranged the nature with its law so that everything in nature is kept balanced and in order. However, human beings failed to control themselves, deliberately went against the law of nature, and resulted in disasters, which we deserved. He also is an occultist, a Taoist, and a Buddhist; but in Britain, he frequently goes to Christian and Catholic churches, where he makes friends with pastors and fathers as well as churchgoers. In his mind, he recognizes “Belief is truth held in the mind; faith is a fire in the heart”. He is always a freethinker, does not accept traditional, social, and religious teaching, but based on his ideas: a thought or conception that potentially and actually exists in his mind as a product of mental activity - his opinion, conviction, and principle. If people have not come across eastern classics and philosophy, we are afraid that people would never understand TianLiang Maa. People cannot judge an eastern philosopher based on western ways of thinking. He studies I Ching discovering eastern classics of ancient origin consisting of 64 interrelated hexagrams along with commentaries. The hexagrams embody Taoist philosophy by describing all nature and human endeavour in terms of the interaction of yin and yang, and the classics may be consulted as an oracle.
Back in the 1990s when Maa just arrived at England, he had been offered places to do Ph.D. and LL.M. degrees (degree in Law and Politics of the European Union) by several western professors in the Great Britain. He has met all the requirements for postgraduate admissions to study at UK’s universities.
During his time at Oxford, he learnt a lot of British culture and folk-custom while carrying out research with many British and Western professors, experts, and archaeologists. This proves that Maa understands various aspects in British society, culture, and lifestyles. Of course, he does not fully understand about the perspectives of thinking of a typical British. For example, what would be the most valuable in life for a British person? What would a British want to gain from life? What is the goal in life for a British? Is it fortune or a lover? Alternatively, perhaps honour? On the other hand, maybe being able to travel around the world and see the world?
FAIRNESS and JUSTICE
As TianLiang Maa’s (馬天亮) saying are:
“Touching Fairness and Justice”
Feel good about themselves, but do not know the sufferings of the people...
Who can get easy life like them?
What is profile of modern society?
What type and style is truly solemn for this society identify?
Where “the characterization” is? Who can see? Did you see it?
《感動的公平與正義》
自我感覺良好, 不知民間疾苦...
誰能得到安逸的生活如同他們一樣？
這是個什麼樣子的社會？
這個社會認定什麼樣的類型和風格是真正莊重的?
「特徵」在那裡？誰可以看到？你看到了嗎？
Jurisprudence and Political Philosophy and Perspectives
Maa ever studied judicial review and governmental action, the impact of law and legal techniques, constitutional mechanisms for the protection of basic rights, and ensuring the integrity of commercial activity, the impact of law and legal techniques on government, policymaking, and administration, as well as the creation of markets. He tries to understand these critical trends in the political development of modern state. Maa will combine both theoretical and empirical approaches, and the conditions for democratic transition and the nature of state development in the ‘post-industrial’ era of globalisation and economic integration.
According as Maa’s legal experiences, he comprehend that “the knowledge of the law is like a deep well, out of which each man draught according to the strength of his understanding”, and, law and arbitrary power are in eternal enmity. He is also sure law and institutions are constantly tending to gravitate like clocks; they must be occasionally cleansed, and wound up, and set to true time.
The government issues a decree - an authoritative order having the force of law, which charged with putting into effect a country's laws and the administering of its functions. Any of the officials promulgate a law or put into practice relating to the government charged with the execution and administration of the nation's laws then they announce and carry out the creation of any order or new policy that will be responsible for the people.
Maa had knowledge in connexion with construction law; he also understands architectural arts, and as well learnt the forms by combining materials and parts include as an integral part concerning modern construct. I ever built urban buildings and rural architecture in different styles under new housing and building projects by the governmental administration and construction corporations.
Right now, Maa studies the problems caused by ethnic disputes and human armed conflicts in the modern society resulted code of mixed civil and criminal procedure. He wishes an agreement or a treaty to end human hostilities - the absence of war and other hostilities around the world. The interrelation and arrangement of freedom from quarrels and disagreement become harmonious relations living in peace with each other. Actually, erect peace in more friendly ways of making friendships for modern human society is comfortable in my ideal. It is like building monolithic architecture: houses and buildings for the people. Maa would like to do “something beautiful for `the unknown`”.
In the ethnic disagreement and armed conflicts as concerning the poor people and children notwithstanding they live through a bad environment on any of poor or crowded village or town in a particular manner - lived frugally. However, after years of industrialisation as a more educated population, becomes more aware of global plenum, continuing to be alive. Environmental groups are increasing and lobbing government will legislate to stop bad environmental and social practices. The establishments of human rights’ wide and untiring efforts will be alleviated people’s suffering. And as well the poor people shall meet and debate sustainable development and for a concerted government led action towards sustainability is an example that the younger generation are concerned for the future. It shall be making the younger easier for their life and make better on their lives, and help them to build a better future.
In present world, Maa really knows the full meanings of “Fundamental Human Rights and Equal Opportunities for the People”. He thinks ethics is the moral code governing the daily conduct of the individual toward those about him / her. It represents those rules or principles by which men and women live and work in a spirit of mutual confidence and service. Without going into the question of how an ethical code was formulated or why anybody should obey it, we can look at the matter in a common-sense fashion with reference to its influence upon our legal affairs. In brief, from the law point of view, a reputable ethical code embodies the qualities of accuracy, dependability, fair play, sound judgement, and service. It is based upon honesty.
No person can have an ethical code that concerns him / her alone. Living in society, as he / she must, a person encounters others whose rights must be respected as well as his / her own. An honest regard for the rights of others is an essential element of any decent code of ethics, and one that anyone must observe if anybody intends to follow that code. After all, ethics is not something apart from human beings. Indeed, there is no such thing apart from our actions and us. It is the duty, therefore, of every man and woman in legal affairs to see that his daily associations with others are truly in conformity with the plain meaning of the Ten Commandments: “Thou shalt not barratry, thou shalt not bear false witness, thou shalt not receive illegal fee and the rest”.
The knowledge Maa has, in connection with legal affairs, was usually come from his precious experiences of his past over ten year’s law and political careers. In an interval regarded as a distinct period of 1980s, he studied mixed civil and crime, and the code of mixed civil and criminal procedure for the problems caused by ethnic disputes and human armed conflicts in the modern society. He was especially one who maintains the language and customs of the group, and social security in Taiwan.
Since 30 July of 1988, Maa settled himself in law as a chief executive and scrivener at Central Legal, Real Estate, and Accounting Services Office; it is in the equivalent to a solicitor of the United Kingdom. The Office provided full legal, accounting, real estate, and commercial services to the public. He did his job as a person legally appointed by another to act as his or her agent in the transaction of business, specifically one qualified and licensed to act for plaintiffs and defendants in legal proceedings and affairs. Over and above Maa was a chairman and executive consultant at Taiwan Credit Information Company®, founded in 1994. The company offered services to the public in response to need and demand in the area of credit information.
Maa had excellent experiences in political and law work was pertaining to mixed civil and crime, the code of mixed civil and criminal procedure, construction, and commercial law abroad. The experiences of legal services related to the rights of private individuals and legal proceedings concerning these rights as distinguished. In the criminal proceedings, he did many cases for the defendants. Although an act committed or omitted in violation of a law forbidding or commanding it and for which punishment is imposed upon conviction; but he also laid legal claim, required as useful, just, proper, or necessary to the defendants under the human rights in the meantime. This provision ensures to the defendant a real voice in the subject.
The men whose judgement we respect are those who do not allow prejudices, preferences, or personalities to influence their decisions. Profit and self-aggrandisement are likewise ignored in their determination to reach an equitable and fair settlement. What are the basic principles upon which good judgement is founded? A keen intellect, a normal emotionally, a through understanding of human nature, experience of law work, sincerity, and integrity.
Developed a Technique for Abstract Photography and Abstractionist
In 1982, Maa developed a technique for abstractive photography, which applied “rayonism” to the photographic works. In November of 1984, Maa was 26-year-old, he instructed many professors and students of National Taiwan Normal University in photography of abstract impressionism and rayonnisme in Taipei, Taiwan. The word “rayonnisme” is French for rayonism - a style of abstract painting developed in 1911 in Russia.
Photographic Exhibitions
TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibition of “Rayonnisme / Rayonism” Tour - Invitational Exhibition of Taiwan 1983-84.
一九八三〜八四年中華民國臺灣 馬天亮攝影巡迴邀請展
TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibition of Rayonnisme / Rayonism (32 individual exhibitions) 1983~1985.
馬天亮『光影』攝影特展（個人展32場）1983〜1985年.
Maa staged 32 individual, extraordinary exhibitions and annual special exhibitions on photography of abstractive image and Rayonnisme around Taiwan / Formosa. Maa was the first exhibitor around the country. All of the invited displays were by the Chinese Government, cultural and artistic organisations, and sponsors. Maa’s earliest exhibition took place in the National Taiwan Arts Education Institute (Museum) on 19 December 1983 when Maa was 25 years old; Maa was the youngest exhibitor in the history of the Institute in any solo exhibitions. The Institute that was opened in March 1957, kept a collection of Maa’s work. It is currently updating the Institute’s internal organisation and strengthening co-operation with leading institutes and museums around the world. Meanwhile, it widened the institute’s scope to increase its emphasis on Taiwan’ regional culture and folk arts.
Modernization in the Modern Abstract Arts of Taiwan
Maa’s works is the beginning of modernization in the modern abstract arts of Taiwan, China and greater Chinese society in the world. The use of “modernisation” as a concept that is opposed to “Traditional” of “Conservative” ideas began with the approach of the 20th century. It spreads rapidly through academic circles, and was broadly accepted as a means to reform society. Chinese Manchu Qing (Ching) dynasty’s first steps toward modernisation began in the Tung-chih era (1862-1874) with the “Self-Empowerment Movement”. During the late 19th century, as late Manchu dynasty was confronted on all sides by foreign aggression, voices throughout society debated the most effective means to reform and strengthen the country. Some advocated “combining the best of East and West”, while others went so far as to call for “complete Westernisation”. Taiwan was at the centre of these waves of reform. Faced with direct threats against the island by foreign enemies, the Chinese Ching dynasty court took special steps to push Taiwan’s modernisation.
In a role just like that of a gardener wanting to create a rich and fertile environment for the seeds of culture, one in which Maa may sprout, grow and bloom. Maa aims to provide an educational stimulus for society by introducing his works - Maa can express the neo-romantic spirit deftly from various creations and supporting international artistic exchanges. Maa believes that the first step in creating such a new and independent state is the real emergence of culture and arts, for which the art and science of designing and erecting buildings, and fine arts (including photography and motion picture) of the civilization is a good measurement of success. For the foreseeable future, Maa should be continuing to forge ahead, working diligently and unceasingly towards its mission of raising China and Formosa / Taiwan’s culture in his spare time.
Became an Author and a Scholar
In 1980, TianLiang Maa completed his first book - scenario original “The Soul's Sentimentalizing”, also named: “Hun Yun : Jin Qi Tu Rui” 電影原著《魂韻》(衿契吐蕊) then Maa was at the age of 22. In 1983, The General Library of the University of California, Berkeley in the United States of America, collected and kept Maa’s writings - scenario original 「魂韻 : 衿契吐蕊」“Hun Yun : jin qi tu rui”, included a musical composition of his own – “Sonate Nr. 1 C-dur op. 3 für Klavier (piano)”, composed on 3rd April 1977 then Maa was 18 years old. The works were published in 1980; the theme was based on “The Soul's Sentimentalizing”. Another masterpiece was an Album of Academic Work for News Publication “TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibition of Rayonnisme / Rayonism”, published in 1985. The Hathi Trust Digital Library, the University of Michigan also collected and kept Maa’s writings.
Authorship
Maa’s articles and writings were published in more than 200 different kinds of domestic and foreign magazines, newspapers, and periodicals, in the period between May of 1972 and 1990s. It was all started when Maa was just 13-year-old. Many of which have been very influential. These have been quoted by Western and Eastern scholars many times in the last few years, making Maa one of the highly cited technological, artistic, and managing public administrators in the world in the late 20th and early 21st century. The Ministry of the Interior in Taiwan had registered Maa’s professional writings and given him two certificates of copyright. The numbers are 33080 and 33081 on 4th July of 1985; and Taiwan’s Gazette of The Presidential Office issue No. 4499, featured his writings on 4th September 1985.
Became an Academic and Film Director
Today, Maa is a professor at Space Time Life Research Academy, and a photographer, film director, and computer engineer now live and work in London.
Director Works:
FILMS:
Experimental Film “New Image for the Spring” © 1982
Documentary Film “Rayonnisme” © 2011
“The Soul's Sentimentalizing” of the feature film is based on the scenario original “The Soul's Sentimentalizing” (preparation)
FASHION SHOWS:
New Image for the Spring of Shapely Models International © 1982
High Lights on the Summer and Fall Fashion of Shapely Models Int’l © 1982
ART EXHIBITIONS:
The Cadillac Club International Fine Arts Exhibition © 1981
The Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts © 1981
Musician Work:
MUSIC COMPOSITION:
Sonate Nr. 1 C-dur op. 3 für Klavier (piano) © 1977, © 1980, © 1981, © 1983, the theme was based on “The Soul's Sentimentalizing”.
PHOTOGRAPHIC ALBUMS:
Portrait and Landscape in France © 2000
Portrait and Landscape in Scotland © 2001
Portrait and Landscape in England © 2009
Portrait at Queen Mary, University of London © 2010
Rayonism of London © 2011
Portrait at The University of Nottingham, United Kingdom © 2011
Snowy London © 2012
Portrait at King's College London © 2013
BOOKS:
Scenario Original「魂韻」(衿契吐蕊) “Hun yun: jin qi tu rui” © December 1980, © 1981, © 1983 (Date of First Publication: 31 December 1980, Second Edition on 29 July 1981, Date of Revision: Revised Edition on 8 May 1983), Languages: Chinese (traditional), and English language.
“Album of the Cadillac Club International Fine Arts Exhibition” © 1981
“Album of the Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts” © 1981
“Album of New Image for the Spring of Shapely Models International” © 1982
“Album of High Lights on the Summer and Fall Fashion of Shapely Models Int’l” © 1982
“Romantic Carol” © 1982
Album of Academic Work for News Publication: “TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibitions of Rayonnisme” © May 1985
新聞出版之學術著作專輯「馬天亮『光影』“Rayonism” 攝影展」© May 1985
New version of scenario original “The Soul's Sentimentalizing” (to be published)
「曾經輝煌到頂天立地」 “The Indomitable Spirit Was Brilliant to Upright” (individual biography, to be published)
“My Life, My History, and My Love” (based on a legend, to be published, a film scenario will be developed later)
「感動的公平與正義」“Touching Fairness and Justice” (political science and social studies, to be published)
Research Interests:
University of Oxford
Research Studies in Archaeology:
Maa’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”.
National Taiwan University
Graduate Certificate,
Graduate Institute of Electrical Engineering:
Maa’s monograph of seminar was “Applied the sequence control in the electric power distribution engineering”.
University of Glamorgan
M.Sc. Course,
Master of Science in Real Estate Appraisal:
Maa’s thesis - major subject, with relevant construction law was “The Assignment is under Economics of Construction Management in Architecture”.
National Sun Yat-Sen University
Postgraduate Certificate,
Postgraduate Studies in Computing:
Maa’s required subject was Information dBase III Plus and Taiwanese Traditional Mandarin Chinese Information System. He combined academic course work and practical laboratory sessions in “Applied Mandarin Phonetic Symbols into Traditional Taiwanese Personal Computer and Its Information System”.
Associations:
Since 1980, a member of Chinese Taipei Film Archive (CTFA, National Film Archive, Taiwan; founded in 1978), The Motion Picture Foundation, R.O.C. (member of Fédération Internationale des Archives du Film, FIAF; The International Federation of Film Archives was founded in Paris in 1938 by the British Film Institute, the Museum of Modern Art in New York City, the Cinémathèque Française and the Reichsfilmarchiv in Berlin.)
Commissioner of the cinema, photography, radio, and television committee of The Culture and Arts Association (Chinese Writers and Artists Association) of Taiwan ever since September 1983.
Classic member, the membership is equivalent to a doctorate membership of the Chinese Institute of Electrical Engineering since 23 March 1984.
On 15 March 1989, Maa promoted and founded the Consortium Juridical Person Mr. TianLiang Maa Social Benefit Foundation 財團法人馬天亮先生社會公益基金會 in Taiwan. near.archives.gov.tw/cgi-bin/near2/nph-redirect?rname=tre...
Classic member, the membership is equal to a professor or associate professor of The Chinese Institute of Engineers since 30 September 1991.
Honours:
Listed on ‘Taiwan Who’s Who In Business’, © 1984, © 1987, and © 1989 Harvard Management Service.
中華民國企業名人錄編纂委員會, 哈佛企業管理顧問公司.
On 26 August 1985, Maa was awarded a professional certificate of the Outdoor Artistry Activities issued by Education Bureau, Kaohsiung City Government, Taiwan. He acquired awards and certificates of honour about twenty times from National Taiwan Arts Education Center (Museum) on 24 December 1983; Kaohsiung Municipal Social Education Center on 17 March 1984, Kaohsiung Cultural Center, Taipei Cultural Center (Taipei Municipal Social Education Hall); and Taiwan Province Government, Taipei City Government, Kaohsiung City Government, and many cultural centres and art galleries, and so on.
Careers:
Honorary Professor at Space Time Life Research Academy, 7 June 2012 to present; Professor at Space Time Life Research Academy, 1 September 2011 to 1 June 2012 in London, United Kingdom:
Academia,
Teaching and Research:
business management and consultant, political philosophy, Chinese classics, Chinese humanities, modern Chinese language and literature, photography (portrait, fashion, commercial, digital, architectural, abstract photography), visual arts and film production.
教學與研究：
企業管理及顧問、政治哲學、中華經典 (古典漢學、文學、藝術、語言) 、中華人文、中華現代語言與文學、攝影 (人像、時裝、商業、數位/數碼、建築、抽象攝影) ，視覺藝術和影片製作。
Consultant and Translator at Eternal Life Consultants of Immigration and Translations Services, 10 March 2004 to present in London, United Kingdom:
consultants of immigration, translations, and legal services.
永生移民顧問翻譯服務社的移民諮詢顧問和翻譯：
移民事務，翻譯和法律服務。
Computer Hardware & Networking Engineer at Maa Office of Electrical Engineer, 8 March 2004 to present in London, United Kingdom:
Computer Engineering and Network Services. Repairing of Motherboards, Monitors, Power Supplies, CD-ROM Drives; UPS, Hard Disk Drives, H.D.D Data Recovery; BIOS Programming, and all types of Computer Hardware and Software Solutions.
計算機工程和網絡服務。維修主機板，顯示器，電源供應器，光碟機/光盘驱动器，不斷電系統，硬碟/硬盘，硬盤數據恢復，基本輸入輸出系統編程，以及所有類型的電腦/計算機硬體/硬件和軟體/軟件解決方案。
Film Director & Photographer at Photographer and Film Director (Shapely), 2 April 2007 to present in London, United Kingdom:
1) Photo, Video and Film Production; 2) Graphic Design, Web Design, Social Networking, Social Media and Advertising; 3) Architectural Design and Interior Design.
www.facebook.com/filmshapely/info
Reformer and Philosopher at Taiwanese Social Reformer and Philosopher, 7 April 2012 (location: Los Angeles, California) to present in London, United Kingdom:
Social Reform in Taiwan
www.facebook.com/twreform/info
《魂韻》(衿契吐蕊) - 馬天亮22歲寫的電影原著。TianLiang Maa (Theophilus Raynsford Mann) wrote “Hun Yun” (Jin Qi Tu Rui), scenario original “The Soul’s Sentimentalizing” © 1980, 1981, 1983, was at the age of 22.
Website
mtltwp.pixnet.net/album/set/1265174
photo.roodo.com/photos/mtltwp/albums/small/100469.html
Sonate Nr. 1 C-dur op. 3 für Klavier (piano) by Theophilus Raynsford Mann (TianLiang Maa 馬天亮) © 1977, © 1980, © 1981, © 1983. The Sonate composed on 3rd April 1977 then Maa was 18-year-old. The work was published in 1980; the theme was based on “The Soul's Sentimentalizing”.
Website
LINKS:
University of California, Berkeley
berkeley.worldcat.org/search?q=Ma%2C+Tianliang&dblist...
berkeley.worldcat.org/title/hun-yun/oclc/813684284?refere...
oskicat.berkeley.edu/record=b11283690~S1
University of Michigan
mirlyn.lib.umich.edu/Record/006237256
catalog.hathitrust.org/Record/006237256
WorldCat® Identities
www.worldcat.org/search?q=au%3AMa%2C+Tianliang%2C&dbl...
www.worldcat.org/wcidentities/np-ma,%20tianliang$1958
Google Books
books.google.co.uk/books?id=PkyaAAAAIAAJ&redir_esc=y
books.google.co.uk/books?id=JfxnMwEACAAJ&dq=editions:...
scholar.google.com/scholar?cluster=3569983911138966023&am...
National Bibliographic Information Network (NBINet)
nbinet3.ncl.edu.tw/search~S10?/a%7bu99AC%7d%7bu5929%7d%7b...
192.83.186.170/search*cht/a%E9%A6%AC%E5%A4%A9%E4%BA%AE
National Yang Ming University 國立陽明大學
library.ym.edu.tw/search~S7*cht?/tThe+Soul%27s+and+sentim...
National Taiwan University of Science and Technology 國立臺灣科技大學
millennium.lib.ntust.edu.tw/record=b1016706~S1
Wikimedia Commons 維基共享資源
commons.wikimedia.org/w/index.php?search=TianLiang+Maa+%E...
commons.wikimedia.org/wiki/File:TianLiang_Maa_馬天亮.jpg
commons.wikimedia.org/wiki/File:馬天亮_TianLiang_Maa.jpg
國家圖書館 期刊文獻資訊網, 臺灣期刊論文索引
readopac3.ncl.edu.tw/nclJournal/search/search_result.jsp?...
聲音藝術的審美角度, 大學雜誌, 天然
readopac3.ncl.edu.tw/nclJournal/search/detail.jsp?sysId=0...,
readopac3.ncl.edu.tw/nclJournal/search/detail.jsp?sysId=0...
為文化中心把脈, 幼獅文藝
readopac3.ncl.edu.tw/nclJournal/search/detail.jsp?sysId=0...,
科學家與守財奴, 中國地方自治
weblib.exam.gov.tw/ccdb2/Result_List.asp?idx_id=CCVOL&...
Yahoo, Bing, Google Search
www.google.com/search?q=TianLiang+Maa
images.search.yahoo.com/search/images;_ylt=AwrB8pGXJyVTVm...
www.bing.com/images/search?q=tianliang+ma&go=&qs=...
Atomzone
atomzone.co.uk/images/search/馬天亮
atomzone.co.uk/images/search/Ma+Tianliang
lurvely.com www.lurvely.com/photographer/77438197_N03/
www.flickriver.com/photos/mtltwp/
www.flickriver.com/photos/mtltwpprof/
Nature - National Library Board Singapore
snap.nl.sg/searchflickr.aspx?q=%E9%A6%AC%E5%A4%A9%E4%BA%A...
snap.nl.sg/searchflickr.aspx?q=TianLiang+Maa+&p=1&...
画像検索
flickr.akitomo.net/TianLiang+Maa/1
Japan Photos and Pictures
japan.pictures-photos.com/professor-tianliang-maa%E2%80%A6
summer.pictures-photos.com/professor-tianliang-maa%E2%80%A6
far-east-movement - Blogcu (Turkey)
far-east-movement.blogcu.com/professor-tianliang-maa/1226...
man fashion
spirehim.com/3454/professor-tianliang-maa-%E9%A6%AC%E5%A4...
Travel Splash
travel-splash.com/photos/view.php?id=13397167315&sear...
Country profile Taiwan
atomzone.co.uk/images/search/Country+profile+Taiwan
itpints
www.itpints.com/?q=TianLiang+Maa&sources%5b%5d=flickr...
AskJot
askjot.com/search/TianLiang-Maa
Who is talking
whotalking.com/flickr/TianLiang+Maa
University of California, Berkeley period
atomzone.co.uk/scaffold/images/search/University%20of%20C...
University of Michigan period
atomzone.co.uk/scaffold/images/search/University%20of%20M...
University of Oxford period
atomzone.co.uk/scaffold/images/search/University%20of%20O...
www.wer-ist.org/person/Oxford_Archaeology
University of Glamorgan period
atomzone.co.uk/images/search/University+of+Glamorgan+period
www.worldofbuildings.worldofbuildings.org/flickr/wob_flic...
University of Huddersfield period
atomzone.co.uk/scaffold/images/search/Huddersfield%20period
art galleries uk
artgalleriesuk.blogspot.co.uk/2012/08/bigandtall-stores-s...
Mitrasites system
sites.google.com/site/mitrasites/system/app/pages/customS...
articles.whmsoft
articles.whmsoft.com/related_search.php?keyword=Tianliang...
pantieslace-forwomen.blogspot.co.uk/2012/08/motherhood-ma...
3piece-suits.blogspot.co.uk/2012/07/nursing-shawl-become-...
3piece-suits.blogspot.co.uk/2012/08/body-briefers-childre...
www.flickriver.com/search/%E6%BC%A2%E5%AD%B8+OR.../intere...
www.flickriver.com/search/%E8%AB%96%E6%96%87+OR.../recent/
German
www.wer-ist.org/person/Jin_Mann
www.pediatr.org.tw/DB/News/file/1913-1.pdf
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ictorial book of arms of the Order of the Garter ('William Bruges's Garter Book')
OriginEngland, S. E. (probably London)
Datec. 1430- c. 1440 (before 1450)
LanguageLatin
ScriptGothic and Gothic cursive inscriptions
Decoration27 full page miniatures in pen and watercolours, 26 with a standing knight holding a panel with heraldic shields of successors in their Garter stalls at St George's Chapel, Windsor, and 1 of George and the dragon and a kneeling Garter King (the principal officer of the Order).
Dimensions in mm385 x 285
Official foliationff. 20 ( + numerous unfoliated paper leaves)
FormPaper codex (miniatures mounted on modern paper)
BindingPost-1600. Brown diced leather with gold tooling, including flowers.
ProvenanceMade for William Bruges, (b. c.1375, d. c. 1450), herald: inscriptions (ff. 6, 7); see also Ailes 2004) with reference to and image of this manuscript.
John Writhe (d. 1504), herald (see Gothic 2003).
? Sir Thomas Wriothesley [formerly Writhe] (d. 1534), herald (see Gothic 2003).
Elias Ashmole (b. 1617, d. 1692), astrologer and antiquary, in 1665 (see Gothic 2003; O'Conor 1819).
John Anstis (b. 1669, d. 1744), herald and antiquary (see Gothic 2003).
William Bayntun, F.S A. (d. 1785): inscription (f. 1): bought by Meyrick for 10 guineas.
John Meyrick (d. 1805): his sale, 7 February, lot 958, bought by Towneley for £23.2: inscription (f. 1).
John Towneley (d. 1816): his bookplate (inside upper cover): bought by the Duke of Buckingham for £25 17s 6d at Towneley's sale in May 1816 according to the inscription cited below (f. 1).
Richard Temple-Nugent-Brydges-Chandos-Grenville (b. 1776, d. 1839), 1st duke of Buckingham and Chandos, of Stowe House, near Buckingham: inscribed with the press-mark 'Press IX No. 38' (inside upper cover) corresponding to his catalogue; see O’Conor 1819; inscribed 'This book was bought at Mr. Townley's sale for £28: 17.6 Chandos Buckingham' (f. 1).
Richard Temple-Nugent-Brydges-Chandos-Grenville (b. 1797, d. 1861), 2nd duke of Buckingham and Chandos: sold in 1849 to Lord Ashburnham.
Bertram Ashburnham (b. 1797, d. 1878), 4th earl of Ashburnham, of Ashburnham Place, Sussex.
Bertram Ashburnham (b. 1840, d. 1913), 5th earl of Ashburnham: purchased by the British Museum from him together with 1084 other Stowe manuscripts in 1883.
NotesThis is the first armorial for the Order of the Garter. The leaves were rearranged and are now mounted on paper leaves.
ff. 1-3v are later notes; f. 4 is a page from a printed book.
Watermark of a barbed anchor with a small cross (ff. 5 (portion) 20), is similar to C. M. Briquet, Les Filigranes: Dictionnaire historique des marques du papier dès leur apparition vers 1282 jusqu'en 1600, A Facsimile of the 1907 edition with supplementary material, ed. by Allan Stevenson, 4 vols (Amsterdam: The Paper Publications Society, 1968), no. 389 (Estopey 1418; Troyes 1426).
20101016_3947_1D3-115 Blurred Books vers 1
Some of my photographic books. Fourth from left (white/blue/red) is "Hills of Colour" by Shinzo Maeda, a late Japanese photographer often mentioned in Martin Bailey's podcasts. Other books include titles by Roger Hicks & Frances Schultz, Michael Busselle, Tom Ang and Joe Cornish.
#470
PictionID:45404503 - Catalog:16_006557 - Title:Douglas F4D-1 Skyray Arnold photo - Filename:16_006557.TIF - Image from the Ray Wagner Collection. Ray Wagner was Archivist at the San Diego Air and Space Museum for several years and is an author of several books on aviation --- ---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
“Beauty will save the world.” --Dostoevsky
Malibu Ballet Classical Ballerina Dancer Dancing Ballet on Surfriders Beach! Sony A7 R & Carl Zeiss Sony Sonnar T* FE 55mm f/1.8 ZA Lens Bokeh! Pretty Model! Malibu Beach Spring Summer Photoshoot! Pointe Shoes & Leotard Portraiture! Beautiful High Res! Pretty Swimsuit Bikini Model Ballerina!
My Epic Gear Guide for Epic Landscapes & Portraits!
Everyone is always asking me for this! Here ya go! :)
Epic books, prints, & more!
The Tao of Epic Landscape Photography: geni.us/taophotography
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)
Epic Art & Gear for your Epic Hero's Odyssey:
Follow me my good friends!
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Photographing Women Models! geni.us/m90Ms
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic...
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
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!
Beautiful Grey Wolves Portraits! West Yellowstone Gray Wolves Sony A1 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 ILCE-1
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!
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The Messerschmitt Bf 94 was a fighter aircraft built in Germany shortly before World War II. It was designed to meet a 1935 requirement by the Czechoslovakian Air Force for a replacement for their B-534 fighter biplanes. It was developed by the Bayerische Flugzeugwerke (at which the engineer Messerschmitt led the development of the plane), primarily intended for export customers since the German Luftwaffe already planned more advanced types. It was actually built on a level inferior to the tactical requirements for a single-seat fighter that the RLM had issued in the document L.A. 1432/33 in late March 1933.
The Bf 94 was a sleek, low-wing monoplane with a fixed, spatted landing gear. As with the earlier Bf 108, the aircraft was based on Messerschmitt's "lightweight construction" principle, which aimed to minimise the number of separate parts in the aircraft. Examples of this could be found in the use of two large, complex brackets which were fitted to the firewall. These brackets incorporated the lower engine mounts and landing gear pivot point into one unit. A large forging attached to the firewall housed the main spar pick-up points, and carried most of the wing loads. Contemporary design practice was usually to have these main load-bearing structures mounted on different parts of the airframe, with the loads being distributed through the structure via a series of strong-points. By concentrating the loads in the firewall, the structure of the Bf 94 could be made relatively light and uncomplicated, and this principle was later also found in the famous Bf 109 fighter.
The Bf 94's fuselage was constructed from welded steel tube, covered in metal. Only the rudders were covered with fabric. The cockpit was not completely closed - the windscreen was fixed and two side panels could be lowered for access or taxiing, but a roof was missing. Power was to be provided by the new Junkers Jumo 210 engine of about 522 kW (700 hp), driving a wooden 2 blade propeller with fixed pitch.
Despite the rather outdated overall layout, the first prototype, the Bf 94 A-0, displayed excellent flying characteristics and high speed. Testing continued with a total of three prototypes until 22 November 1937. Until then, several orders had been placed, e. g. from Romania, Bulgaria, Turkey, Greece, Estonia and Lithuania. The Czechoslovakian Air Force had lost interest, though, preferring the indigenous Avia B.35 instead.
Total production numbers remained low, since more modern aircraft with retractable landing gear and and more powerful engines and armament were steadily introduced - only about eighty aircraft were produced and entered service with smaller European air forces during the advent of WWII.
The Lithuanian Air Force operated a single squadron with Bf 94 A-1 (a total of 16 aircraft), which were to replace the Gloster Gladiators. The German machines received locally a modified armament consisting of a pair of 0.303” Browning machine guns, so that the standard ammunition could be used. In 1940, the Lithuanian Air Force consisted of eight Air Squadrons, including reconnaissance, fighter, bomber and training units. Air Force bases had been established in the cities and towns of Kaunas /Žagariškės, Šiauliai /Zokniai (Zokniai airfield), Panevėžys /Pajuostis. In the summer time, airports in the cities of Palanga and Rukla were also used. A total of 117 aircraft and 230 pilots and observers were listed in the books at that time.
General characteristics:
Crew: One
Length: 8.70 m (28 ft 6 in)
Wingspan: 9,9 m (32 ft 5 in)
Height: 2,45 m (8 ft 1 in)
Wing area: 16,35 m² (175.41 ft²)
Empty weight: 1,510 kg (3,325 lb)
Loaded weight: 1,940 kg (4,273 lb)
Max. takeoff weight: 2,150 kg (4,735 lb)
Powerplant:
1× Jumo 210 D inverted V12 engine, rated at 700 hp (522 kW),
driving a wooden two-blade, fixed pitch propeller
Performance:
Maximum speed: 495 km/h (308 mph)
Range: 500 km (311 miles)
Rate of climb: 13.0 m/s (2,560 ft/min)
Armament:
2× 7,92 mm MG17 on top of the engine, synchronized to fire through the propeller arc
(In Lithuanian machines replaced with a pair of 0.303" (7,7mm) Browning machine guns)
The kit and its assembly:
This whif kit was inspired by a similar build at whatifmodelers.com: an early Bf 109 with spats! This looked so nice and convincing that I had to “try this at home”. As donation parts for the landing gear I also had a pair of Avia B.35 spats from a vintage KP at hand – easy and straightforward.
Basis is the Bf 109 B/C Heller kit, which is rare but available at affordable prices if you are patient. It was mostly built OOB, the only major mod were the closed landing gear wells, using the original covers and some putty, the addition of the B.35 spat, and for an even more retrograded look I also exchanged the canopy. The original, closed cockpit was replaced by an open alternative, taken from a Macchi C.200. This screen is consideraly shorter and not as deep as the Bf 109 parts, so the cockpit walls had to be raised, too, and the spine elongated forward. But it works and adds to the retro look. A HUMA pilot was added in the cockpit, too.
Et voilà, a simple German export aircraft!
As a side note: the “94” is one of the RLM type numbers that had not been used in Germany. It had been allocated to Heinkel though, but I wanted to use the highest possible number before the “109” for this whif, so the manufacturer switch is IMHO acceptable.
Painting and markings:
Finding a potential user was a bit more tricky. I finally settled for Lithuania – exotic, but with a colorful air force before WWII. The whiffy Bf 94 could have been the country's first monoplane fighter!
For the paint scheme I kept things simple, partly inspired by contemporary Bf 109 during the Spanish Civil War and Lithuanian Gloster Gladiators of the pre WWII era. I combined a light grey (RLM 63) upper fuselage, fin and spats with light blue undersides (RLM 65), together with dark Green (FS 34079) upper wing surfaces. This green was also used for the contrast background under the national insignia under the wings, while the rudder became white. It's actually not bright and colorful, but different from typical cammo paint schemes or bare metal, and Lithuanian aircraft appear to have carried such dry schemes.
The decals were puzzled together. The Lithuanian insignia come from a Blue Rider sheet, the tactical code actually belongs to a Hobby Boss F-86 in Luftwaffe markings, and the horse emblem is from an Italian Fiat C.32. The white stripes on the wings are a personal addition, I wanted to add some more contrast to the national insignia, since the overall livery is rather simple and subdued.
The interior was painted in dark grey (Humbrol 111), but the canopy is so tight that you cannot see anything inside except for the pilot's head. For some contrast, all trim tabs were painted in a reddish brown (Humbrol 100), and the two-blade propeller reveiced an aluminum front and a black back side.
A simple whif, but again it's one less on the long idea an project list. Realized in just three days from box to dry varnish, plus some additional time for the pics.
Four Wolves Montana Gray Wolf Canis Lupus Apex Predator Winter Snow Fine Art Wildlife Photography! Beautiful Montana Gray Wolves Wolfpack Sony A1 ILCE-1 & Sigma 50mm F1.4 Art DG HSM Emount Lens Grey Wolves Photos! West Yellowstone Elliot McGucken Master Wildlife Photography Sony Alpha1 !
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"Beauty will save the world." --Dostoevsky
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 .
Dr. Elliot McGucken Fine Art Spacetime Sculpture dx4/dt=ic:
Epic Fine Art Photography Prints & Luxury Wall Art:
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!
What I Loved is a novel written by American writer Siri Hustvedt first published in 2003 by Hodder and Stoughton in London. It is written from the point of view of Leo Hertzberg, an art historian living in New York. The author herself grew up in Northfield, Minnesota and then moved to New York in 1978. In a discussion of the September 11 attacks, she describes New York as "as much an idea as an actual place".[1]
The work follows the relationship between Leo and artist, Bill Wechsler and the close ties between each of the characters' families. It explores themes of love, loss, art and psychology.
Some specific psychological themes explored in the novel are grief, eating disorders and hysteria. Hustvedt discusses hysteria further in a talk entitled, "A writer’s adventures in psychiatry and neuro-science"[2] and her sister, Asti Hustvedt, has written a book about the state entitled Medical muses : the culture of hysteria in nineteenth-century Paris.[3]
From wikipedia: en.wikipedia.org/wiki/What_I_Loved
Humpback Whale Marine Wildlife Monterey Bay Landscape Seascape Ocean Art Photography! Sony Alpha 1 & Sony FE Telephoto Zoom 70-200mm f/2.8 GM OSS E-Mount Lens SEL70200G ! 45EPIC Elliot McGucken Sony A1 ILCE-1 Art California Whales !
Dr. Elliot McGucken Fine Art Spacetime Sculpture dx4//dt=ic:
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Support epic, stoic fine art: Hero's Odyssey Gear!
Follow me on Instagram!
Facebook:
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!
See eatingalbion.co.uk/2008/01/03/my-food-books/
Left to right - Top row
Seven Centuries of English Cooking
Left to right - Bottom row
Mrs Beeton's book of household management
ARCHEOLOGIA CRISTIANA: sbiadito papiro si riferisce a Gesù di 'moglie', Gesù aveva una moglie, vangelo di recente scoperta suggerisce. THE NEW YORK TIMES (18/09/2012). & Karen L. King (a cura di), 2012; [prossimo] "Harvard Theological Review" 106:1, January 2013 [01/2013]. [PDF pp. 1-52].
Fonti / sources:
- Prof.ssa Karen L. King, (e AnneMar ie Luijendijk),“Jesus said to them, ‘My wife…’”
A New Coptic Gospel Papyrus ["Gesù disse loro: 'Mia moglie ...'"Un nuovo Vangelo copto Papyrus].
The Harvard Theological Review" 106:1, January 2013, PDF pp. 1-52.
www.hds.harvard.edu/sites/hds.harvard.edu/files/attachmen...
- A Faded papyrus refers to Jesus's 'wife'; Jesus had a wife, newly discovered gospel suggests.
THE NEW YORK TIMES (18/09/2012).
www.nytimes.com/2012/09/19/us/historian-says-piece-of-pap...
______________________
This Sept. 5, 2012 photo released by Harvard University shows a fourth century fragment of papyrus that divinity professor Karen L. King says is the only existing ancient text that quotes Jesus explicitly referring to having a wife. King, an expert in the history of Christianity, says the text contains a dialogue in which Jesus refers to "my wife," whom he identified as Mary. King says the fragment of Coptic script is a copy of a gospel, probably written in Greek in the second century. (AP Photo/Harvard University, Karen L. King).
______________________
A Faded Piece of Papyrus Refers to Jesus’ Wife By LAURIE GOODSTEIN,
CAMBRIDGE, Mass. — A historian of early Christianity at Harvard Divinity School has identified a scrap of papyrus that she says was written in Coptic in the fourth century and contains a phrase never seen in any piece of Scripture: “Jesus said to them, ‘My wife ...’ ”
The faded papyrus fragment is smaller than a business card, with eight lines on one side, in black ink legible under a magnifying glass. Just below the line about Jesus having a wife, the papyrus includes a second provocative clause that purportedly says, “she will be able to be my disciple.”
The finding was made public in Rome on Tuesday at the International Congress of Coptic Studies by Karen L. King, a historian who has published several books about new Gospel discoveries and is the first woman to hold the nation’s oldest endowed chair, the Hollis professor of divinity.
The provenance of the papyrus fragment is a mystery, and its owner has asked to remain anonymous. Until Tuesday, Dr. King had shown the fragment to only a small circle of experts in papyrology and Coptic linguistics, who concluded that it is most likely not a forgery. But she and her collaborators say they are eager for more scholars to weigh in and perhaps upend their conclusions.
Even with many questions unsettled, the discovery could reignite the debate over whether Jesus was married, whether Mary Magdalene was his wife and whether he had a female disciple. These debates date to the early centuries of Christianity, scholars say. But they are relevant today, when global Christianity is roiling over the place of women in ministry and the boundaries of marriage.
The discussion is particularly animated in the Roman Catholic Church, where despite calls for change, the Vatican has reiterated the teaching that the priesthood cannot be opened to women and married men because of the model set by Jesus.
Dr. King gave an interview and showed the papyrus fragment, encased in glass, to reporters from The New York Times, The Boston Globe and Harvard Magazine in her garret office in the tower at Harvard Divinity School last Thursday.
She repeatedly cautioned that this fragment should not be taken as proof that Jesus, the historical person, was actually married. The text was probably written centuries after Jesus lived, and all other early, historically reliable Christian literature is silent on the question, she said.
But the discovery is exciting, Dr. King said, because it is the first known statement from antiquity that refers to Jesus speaking of a wife. It provides further evidence that there was an active discussion among early Christians about whether Jesus was celibate or married, and which path his followers should choose.
“This fragment suggests that some early Christians had a tradition that Jesus was married,” she said. “There was, we already know, a controversy in the second century over whether Jesus was married, caught up with a debate about whether Christians should marry and have sex.”
Dr. King first learned about what she calls “The Gospel of Jesus’s Wife” when she received an e-mail in 2010 from a private collector who asked her to translate it. Dr. King, 58, specializes in Coptic literature, and has written books on the Gospel of Judas, the Gospel of Mary of Magdala, Gnosticism and women in antiquity.
The owner, who has a collection of Greek, Coptic and Arabic papyri, is not willing to be identified by name, nationality or location, because, Dr. King said, “He doesn’t want to be hounded by people who want to buy this.”
When, where or how the fragment was discovered is unknown. The collector acquired it in a batch of papyri in 1997 from the previous owner, a German. It came with a handwritten note in German that names a professor of Egyptology in Berlin, now deceased, and cited him calling the fragment “the sole example” of a text in which Jesus claims a wife.
The owner took the fragment to the Divinity School in December 2011 and left it with Dr. King. In March, she carried the fragment in her red handbag to New York to show it to two papyrologists: Roger Bagnall, director of the Institute for the Study of the Ancient World, at New York University, and AnneMarie Luijendijk, an associate professor of religion at Princeton University.
They examined the scrap under sharp magnification. It was very small — only 4 by 8 centimeters. The lettering was splotchy and uneven, the hand of an amateur, but not unusual for the time period, when many Christians were poor and persecuted.
It was written in Coptic, an Egyptian language that uses Greek characters — and more precisely, in Sahidic Coptic, a dialect from southern Egypt, Dr. Luijendijk said in an interview.
What convinced them it was probably genuine was the fading of the ink on the papyrus fibers, and traces of ink adhered to the bent fibers at the torn edges. The back side is so faint that only five words are visible, one only partly: “my moth[er],” “three,” “forth which.”
“It would be impossible to forge,” said Dr. Luijendijk, who contributed to Dr. King’s paper.
Dr. Bagnall reasoned that a forger would have had to be expert in Coptic grammar, handwriting and ideas. Most forgeries he has seen were nothing more than gibberish. And if it were a forgery intended to cause a sensation or make someone rich, why would it have lain in obscurity for so many years?
“It’s hard to construct a scenario that is at all plausible in which somebody fakes something like this. The world is not really crawling with crooked papyrologists,” Dr. Bagnall said.
The piece is torn into a rough rectangle, so that the document is missing its adjoining text on the left, right, top and bottom — most likely the work of a dealer who divided up a larger piece to maximize his profit, Dr. Bagnall said.
Much of the context, therefore, is missing. But Dr. King was struck by phrases in the fragment like “My mother gave to me life,” and “Mary is worthy of it,” which resemble snippets from the Gospels of Thomas and Mary. Experts believe those were written in the late second century and translated into Coptic. She surmises that this fragment is also copied from a second-century Greek text.
The meaning of the words, “my wife,” is beyond question, Dr. King said. “These words can mean nothing else.” The text beyond “my wife” is cut off.
Dr. King did not have the ink dated using carbon testing. She said it would require scraping off too much, destroying the relic. She still plans to have the ink tested by spectroscopy, which could roughly determine its age by its chemical composition.
Dr. King submitted her paper to The Harvard Theological Review, which asked three scholars to review it. Two questioned its authenticity, but they had seen only low-resolution photographs of the fragment and were unaware that expert papyrologists had seen the actual item and judged it to be genuine, Dr. King said. One of the two questioned the grammar, translation and interpretation.
Ariel Shisha-Halevy, an eminent Coptic linguist at Hebrew University in Jerusalem, was consulted, and said in an e-mail in September, “I believe — on the basis of language and grammar — the text is authentic.”
Major doubts allayed, The Review plans to publish Dr. King’s article in its January issue.
Dr. King said she would push the owner to come forward, in part to avoid stoking conspiracy theories.
The notion that Jesus had a wife was the central conceit of the best seller and movie “The Da Vinci Code.” But Dr. King said she wants nothing to do with the code or its author: “At least, don’t say this proves Dan Brown was right.”
American Bald Eagle 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 !
Epic Fine Art Photography Prints & Luxury Wall Art:
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!'
Big Waves Cape Disappointment Lighthouse King Tide Washington Coast PNW Storm Fine Art Landscape Seascape Ocean Art Photography! Sony A1 ILCE-1 Fine Art Wave Photography Sony Alpha 1 & Sony FE Telephoto Zoom 70-200mm f/2.8 GM OSS E-Mount Lens SEL70200G Pacific Northwest! Elliot McGucken Nature 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 Grizzly Bear Winter Snow Sony A1 ILCE-1 Fine Art Grizzly Bear Photography! Sony Alpha 1 & Sony FE 200–600 mm F5.6–6.3 G OSS Emount Zoom Lens SEL200600G West Yellowstone Montana! Elliot McGucken Fine Art 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!
GENERATION OF HIGH QUALITY:
(Is a human / generation that is able to do as follows below):
1. OVERCOME VARIOUS problema ACHIEVE ANY DESIRE =
= Healing .......................for self and others; distance / near
= Achieve ...... .................for self and others; distance / near
= Reach ......................... love for self and others; distance / near
= Happiness, etc. ............ for self and others; distance / near
2. CHILDREN UNDER THE NEED = BEFORE / AFTER BIRTH =
= Face......... to conform with the wishes
= Nature ......to conform with the wishes
= Genitals .....to conform with the wishes
= Twin / no.. accordance with the wishes
= Ability ........to comply with the wishes
= IQ..............for liking
= Its future, ..etc. to conform with the wishes
3. SOME LETTERS PASSWORD..... free ( OWN CREATION)
4. COPYRIGHT COMBINED SOME POETRY FROM NAME =
= Name and meaning / purpose of poetry depends request ....(Free)
Please Sorry not to be discussed, discussed in the liver and then get GENERATION HIGH QUALITY send USD; 1,500,000 (to point 1 and point 2) to: Rosida no. rek.654801002820505 BRI branch: 6548 units Sumenep Kalianget East Java Indonesia then send it to us: full address, profiles, and desire through PO.BOX, sms / call, email.atau you can come directly to our hut.
Then you will get:
1. some books to guide science GENERATION HIGH QUALITY good to use before marriage / after, before the birth / thereafterwith this book you will learn and be able to:
a. OVERCOME VARIOUS problema ACHIEVE ANY DESIRE =
= .............. Healing for self and others; distance / near
= Achieve .............. for self and others; distance / near
= Reach ............. love for self and others; distance / near
= Happiness, etc. ............ for self and others; distance / near
b. CHILDREN UNDER THE NEED = BEFORE / AFTER BIRTH =
= Face ...................... to conform with the wishes
= Nature................... to conform with the wishes
= Genitals..................to conform with the wishes
= Twin / no................to accordance with the wishes
= Ability .....................to comply with the wishes
= IQ ..........................for liking
= Its future,............... etc. to conform with the wishes
2. MIXED FOODS, BEVERAGES efficacious for consumption during the 24h X a month, so you will learn and be able to:
a. OVERCOME VARIOUS problema ACHIEVE ANY DESIRE =
= .............. Healing for self and others; distance / near
= Achieve .............. for self and others; distance / near
= Reach ............. love for self and others; distance / near
= Happiness, etc. ............ for self and others; distance / near b. CHILDREN UNDER THE NEED = BEFORE / AFTER BIRTH =
= Face ...................... to conform with the wishes
= Nature................... to conform with the wishes
= Genitals..................to conform with the wishes
= Twin / no................to accordance with the wishes
= Ability .....................to comply with the wishes
= IQ ..........................for liking
= Its future,............... etc. to conform with the wishes
3. manual close / far away forever (if we die our generation will continue; (transfer of energy and other such) so you will learn and be able to:
a. OVERCOME VARIOUS problema ACHIEVE ANY DESIRE =
= .............. Healing for self and others; distance / near
= Achieve .............. for self and others; distance / near
= Reach ............. love for self and others; distance / near
= Happiness, etc. ............ for self and others; distance / near b. CHILDREN UNDER THE NEED = BEFORE / AFTER BIRTH =
= Face ...................... to conform with the wishes
= Nature................... to conform with the wishes
= Genitals..................to conform with the wishes
= Twin / no................to accordance with the wishes
= Ability .....................to comply with the wishes
= IQ ..........................for liking
= Its future,............... etc. to conform with the wishes
alifi30271@hotmail.comalif30271@yahoo.co.idalif30271@ymail.comalifi30271@gmail.comalifi30271@yahoo.comal30271@yahoo.comhttp://alifi30271.blogspot.com/http://generationofhighlyqualified.blogspot.com/http://alif30271.blogspot.com/http://www.mybloglog.com/buzz/alif30271http://my.opera.com/alif30271http://www.filmannex.com/alifiyasintadewi-nurqodrihttp:generationofhighlyqualified.blogspot.com/www.myspace.com/551149748http://groups.google.com/group/generation-high-qualityhttp://www.mixpod.com/alif30271http://www.flickr.com/photos/alifi30271yahoocomhttp://alifi30271.blogspot.com/http://generationofhighlyqualified.blogspot.com/http://alif30271.blogspot.com/http://profile.typepad.com/alifiyasintadewisahidi.achmad @ yahoo.com rsida@ymail.com
SMS = 081331412197 = 087850539399 = 081939047397
Rosida SAHIDI / alifiyasintadewi nurqodri Klg POBOX.30271 69 471 INDONESIA JL. PORT KERTASADA No.38 RT.02/01 Kalianget SUMENEP 69 471 EAST JAVA INDONESIA
* While it is not yet born, later born, the child - children, adolescence, adulthood, so parents, if in the future it is better than all the elements (Chronicle, seeds, lathe, ancestor, and weight), it will be good precisely on The next period, or the next descent. (That's rotation system, if either it will be good also in the future - which will be passed next time.) But that does not mean there is a problem for which the system can not get / create GENERATION OF HIGHLY qualified ...! Before the marriage, before birth, or after birth, GENERATION OF HIGHLY qualified to be created.
So far away before marriage, there was no system of creation, how generations / children that we want, of this process we will know how to actually solve various problems from within ourselves or others, and how to achieve all desires ranging fromin themselves, then help others After birth we were able to drive to create, how abilitasnya, his IQ, character, future, etc., so that our children become the generation that highly qualified.
After birth GENERATION OF HIGHLY Qualified created through two methods:
1.metode in dlahir / sharia / real (through our assistance)
2.metode inner / supernatural (through our assistance)
* After being born under the control arms with MOTHER LOVE:1.method is dlahir / visible / tangible, MOM, DAD, and FAMILY will be more visible to direct, create for children / generation is to become GENERATION OF HIGHLY qualified. 2. methods are unseen through our aid.
* Nature after birth will be brought to nature - nature in the natural maturation of the length distribution, this is where (in nature after the birth of many banks and management of data storage for your child / children / next generation), negatifpenyimpananannya / planting, it will be negative pendewasaannya . then .......... how to create pendewasaannya?GENERATION OF HIGHLY order to become qualified ?.... contact us to get the method. (All goods will be shipped to your place)
* In the arms of the mother and father, and families: making peace happily embrace the affection (without interference of other negative plan brain thinking) that would make the implementation of ITS THE PEACEFUL, HAPPY, LOVE, affectionate, THE ALMIGHTY CREATOR
* Starting from happiness within yourself, then direct the happiness to the wife, or husband, (co-exist and complement between husband and wife). Subsequent to the generation / our child, in community groups, state, and even the world so it will be in accordance with the purpose of the creator, and the goal THE ALMIGHTY CREATOR will be the creation of perfect beings called human.
By creating GENERATION OF HIGHLY qualified then, each of the individual, every family, every group of society, every citizen, and every race and human beings will be in accordance with the wishes, goals, ideals of every self, every family, every human being on earth as the purpose of religion, state and nation, even as the purpose of the creator, as the purpose of THE ALMIGHTY CREATOR will be the creation of perfect beings called human
GENERASI BERKWALITAS TINGGI :
(adalah manusia/generasi yang mampu untuk berbuat sebagaimana berikut di bawah ini) :
1. ATASI BERBAGAI MACAM PROBLEMA MENCAPAI SEGALA KEINGINAN=
=penyembuhan..............untuk diri dan orang lain ; jarak jauh/dekat
=mencapai cita..............untuk diri dan orang lain; jarak jauh/dekat
=mencapai cinta.............untuk diri dan orang lain; jarak jauh/dekat
=kebahagiaan,dll............untuk diri dan orang lain; jarak jauh/dekat
2. ANAK SESUAI KEINGINAN =SEBELUM/SETELAH LAHIR=
=wajahnya......................agar sesuai dengan keinginan
=sifatnya........................ agar sesuai dengan keinginan
=kelaminnya...................agar sesuai dengan keinginan
=kembar/tidaknya..........agar sesuai dengan keinginan
=ability............................agar sesuai dengan keinginan
=IQ-nya..........................agar sesuai dengan keinginan
=masa depannya,dll.......agar sesuai dengan keinginan
3. BEBERAPA HURUF SANDI CIPTAAN SENDIRI ........................(gratis)
4. CIPTA PUISI DARI GABUNGAN BEBERAPA NAMA=
=nama dan makna/tujuan puisi tergantung permintan............................. (gratis)
Mohon ma'af bukan untuk di diskusikan, diskusikan pada hati lalu dapatkan GENERATION HIGH QUALITY
kirim Rp;1.500.000 (untuk point 1 dan point 2)
ke :ROSIDA no. rek.654801002820505 BRI cabang: 6548 unit kalianget sumenep Jawa Timur Indonesia
kemudian kirim kepada kami: alamat lengkap, profil, dan keinginan lewat Po.Box,sms/call, email.atau anda dapat datang langsung ke gubug kami.
Maka anda akan mendapatkan:
1. beberapa kitab ilmu penuntun menjadi GENERATION HIGH QUALITY baik digunakan sebelum nikah/setelahnya, sebelum adanya kelahiran/setelahnya
dengan kitab ini anda akan belajar dan mampu untuk bisa:
a. ATASI BERBAGAI MACAM PROBLEMA MENCAPAI SEGALA KEINGINAN=
=penyembuhan..............untuk diri dan orang lain ; jarak jauh/dekat
=mencapai cita..............untuk diri dan orang lain; jarak jauh/dekat
=mencapai cinta.............untuk diri dan orang lain; jarak jauh/dekat
=kebahagiaan,dll............untuk diri dan orang lain; jarak jauh/dekat
b. ANAK SESUAI KEINGINAN =SEBELUM/SETELAH LAHIR=
=wajahnya...................... agar sesuai dengan keinginan
=sifatnya........................agar sesuai dengan keinginan
=kelaminnya...................agar sesuai dengan keinginan
=kembar/tidaknya..........agar sesuai dengan keinginan
=ability............................agar sesuai dengan keinginan
=IQ-nya..........................agar sesuai dengan keinginan
=masa depannya,dll.......agar sesuai dengan keinginan
2. CAMPURAN MAKANAN,MINUMAN BERKHASIAT untuk di konsumsi selama 24jam X satu bulan, sehingga anda akan belajar dan mampu untuk bisa:
a. ATASI BERBAGAI MACAM PROBLEMA MENCAPAI SEGALA KEINGINAN=
=penyembuhan..............untuk diri dan orang lain ; jarak jauh/dekat
=mencapai cita..............untuk diri dan orang lain; jarak jauh/dekat
=mencapai cinta.............untuk diri dan orang lain; jarak jauh/dekat
=kebahagiaan,dll............untuk diri dan orang lain; jarak jauh/dekat
b. ANAK SESUAI KEINGINAN =SEBELUM/SETELAH LAHIR=
=wajahnya...................... agar sesuai dengan keinginan
=sifatnya........................ agar sesuai dengan keinginan
=kelaminnya...................agar sesuai dengan keinginan
=kembar/tidaknya..........agar sesuai dengan keinginan
=ability............................agar sesuai dengan keinginan
=IQ-nya..........................agar sesuai dengan keinginan
=masa depannya,dll.......agar sesuai dengan keinginan
3. panduan jarak dekat/jauh selamanya (jika kami mati generasi kami akan melanjutkannya; (transfer energi dan lain lain semacamnya) sehingga anda akan belajar dan mampu untuk bisa:
a. ATASI BERBAGAI MACAM PROBLEMA MENCAPAI SEGALA KEINGINAN=
=penyembuhan..............untuk diri dan orang lain ; jarak jauh/dekat
=mencapai cita..............untuk diri dan orang lain; jarak jauh/dekat
=mencapai cinta.............untuk diri dan orang lain; jarak jauh/dekat
=kebahagiaan,dll............untuk diri dan orang lain; jarak jauh/dekat
b. ANAK SESUAI KEINGINAN =SEBELUM/SETELAH LAHIR=
=wajahnya......................agar sesuai dengan keinginan
=sifatnya........................ agar sesuai dengan keinginan
=kelaminnya...................agar sesuai dengan keinginan
=kembar/tidaknya..........agar sesuai dengan keinginan
=ability............................agar sesuai dengan keinginan
=IQ-nya..........................agar sesuai dengan keinginan
=masa depannya,dll.......agar sesuai dengan keinginan
alifi30271@hotmail.com
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*Semasih belum lahir, kemudian lahir, masa anak - anak, masa remaja, dewasa, jadi orang tua, jika dalam pada masa itu adalah baik dari semua unsur (babad, bibit, bubut, bebet,dan bobot), maka akan baik pulalah pada masa berikutnya, atau keturunan berikutnya.(itulah sistem rotasi , jika baik maka akan baik pula pada masa - masa yang akan dilalui berikutnya).
Tetapi bukan berarti bagi yang sistemnya ada masalah tidak bisa mendapatkan/menciptakan GENERATION OF HIGHLY QUALIFIED...!
Sebelum menikah, sebelum lahir,ataupun setelah lahir,GENERATION OF HIGHLY QUALIFIED dapat diciptakan.
Maka jauh jauh sebelum menikah, dari sana sudah ada sistem penciptaan, bagaimana generasi/anak yang kita inginkan, dari proses ini kita akan tahu bagaimana sebenarnya mengatasi berbagai macam problema dari dalam diri kita sendiri atau orang lain,dan bagaimana cara mencapai segala keinginan mulai dari dalam diri, kemudian membantu orang lain
Setelah lahir pun kita dapat mengarahkan menciptakan; bagaimana abilitasnya, IQ-nya, sifatnya,masa depannya,dll, sehingga anak kita menjadi generasi yang highly qualified.
Setelah lahir GENERATION OF HIGHLY QUALIFIED diciptakan melalui dua metode:
1.metode secara dlahir/syariat/nyata (melalui bantuan kami)
2.metode batin/ghaib (melalui bantuan kami)
*Setelah lahir yang tengah berada dalam kekuasaan dekapan KASIH IBU dengan:
1. metode secara dlahir/nampak/ nyata,IBU,AYAH, dan KELUARGA akan lebih nampak untuk mengarahkan,menciptakan agar anak/generasi adalah menjadi GENERATION OF HIGHLY QUALIFIED.
2. metode secara ghaib melalui bantuan kami.
*Alam setelah kelahiran pun akan di bawa kepada alam - alam yang panjang pendistribusiannya pada alam pendewasaan, disinilah (pada alam setelah kelahiran ini banyak dan penuh bank penyimpanan data bagi si kecil/anak/generasi penerus), negatifpenyimpananannya/penanamannya,maka akan negatif pendewasaannya.
lalu.......... bagaimana menciptakan pendewasaannya? agar menjadi GENERATION OF HIGHLY QUALIFIED?.... hubungi kami untuk mendapatkan metodenya. (semua barang akan dipaketkan ke tempat anda)
*Dalam dekapan sang ibu dan ayah ,serta keluarga: menjadikan dekapan damai bahagia kasih mesra (tanpa dicampuri pemikiran otak rencana negatif lain) yang akan menjadikan implementasi dari SANG PEMBERI DAMAI, BAHAGIA, KASIH,MESRA, SANG MAHA PENCIPTA
*Dimulai dari kebahagiaan dalam diri, kemudian mengarahkan kebahagiaan pada istri,atau suami,(saling mengisi dan melengkapi antara suami istri).selanjutnya pada generasi/anak kita, pada kelompok masyarakat,negara,bahkan dunia sehingga akan sesuai dengan tujuan pencipta, serta tujuan SANG MAHA PENCIPTA akan diciptakannya makhluk sempurna yang bernama manusia.
Dengan mencipta GENERATION OF HIGHLY QUALIFIED maka,setiap diri pribadi,setiap keluarga,setiap kelompok masyarakat,setiap warga negara,dan setiap umat dan makhluk manusia akan sesuai dengan keinginan,tujuan,cita-cita dari setiap diri,setiap keluarga,setiap umat manusia didunia sebagaimana tujuan agama,negara dan bangsa,bahkan sebagaimana tujuanpencipta, sebagaimana tujuan SANG MAHA PENCIPTA akan diciptakannya makhluk sempurna yang bernama manusia.
Golden Ratio Composition Portrait Photography Blonde Venus! Pretty Swimsuit Bikini Model Goddess! Sony A7 R & Carl Zeiss Sony Sonnar T* FE 55mm f/1.8 ZA Lens Bokeh! Pretty Red Hair Model! Malibu Beach Spring Summer Photoshoot! Bikini Surf Girl Lifestyle Portraiture! Beautiful! High Res
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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!
American Bald Eagle 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 Topaz Denoise AI 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
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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)
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!'
Aerial Drone Panorama! Million Dollar Highway U.S. 550 Silverton to Ouray Colorado Autumn Colors Snow Stormy Moody Weather! Fall Foliage Aspens Fine Art Landscape Nature Photography DJI Mavic 2 Pro Drone Hasselblad L1D-20c Camera 20MP 1” CMOS Sensor! Elliot McGucken Master Fine Art Aerial Drone Photography Colorado Fine Art US 550!
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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!
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)
Season of mists and mellow fruitfulness
Close bosom-friend of the maturing sun
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o'er-brimm'd their clammy cells. --To Autumn. by John Keats
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!
Shown here is an image of Case 1 from the exhibit "On The Road: Words, Pictures, and Artifacts of Pilgrims", on display in the Read and Relax Area of Swem Library at the College of William & Mary. The exhibit is on display from September 28, 2012 to January 16, 2013.
The following is a transcription of the labels presented in this case:
Items exhibited in this case are on loan from George Greenia, Professor of Hispanic Studies and Coordinator of the Institute for Pilgrimage Studies. Since 2005, Professor Greenia has led students each summer on the 500-mile Camino Francés route across Spain while they research diverse topics such as ritual movement, funerary sculpture, economics and infrastructure, tourism vs. pilgrimage, kinesiology and cardio conditioning, iconography and art history, and the sacred quality of landscapes.
Learn more about W&M’s Santiago de Compostela summer study abroad program here:
www.wm.edu/news/stories/2012/global-education-office-anno...
Scallop Shells
Scallop shells are a universal symbol carried by all bikers and walkers making the journey to Santiago. Some William & Mary pilgrims choose to carry the state fossil of Virginia, the Chesapecten Jeffersonius; specimens of this extinct scallop can be found around campus.
Stone from College Woods
Beginning in 1998, William & Mary student pilgrims have carried stones up to the Cruz de Ferro, the highest elevation on the Camino Francés. Through the centuries, placing a stone symbolizes achieving the highest point on the journey and leaving behind the burden of one’s toil and sins to complete the journey feeling lighter.
Booklet of The Way
William & Mary’s Institute for Pilgrimage Studies sponsored two gala screenings of The Way in 2011 with stars Martin Sheen and son Emilio Estevez, whose family is originally from Galicia, where the Cathedral of Santiago is located.
Compostela
Typically written in Latin, a compostela proclaims that the traveler has faithfully completed the journey to the tomb of the Apostle St. James and is worthy of the blessings of this pilgrimage. Pilgrims must have walked at least 100 km or cycled 200 km of the journey to be eligible for a compostela. This proclamation was issued to William & Mary in honor of the students and faculty who have traveled the Camino de Santiago for research.
Codex Calixtinus
This limited edition facsimile of the original 12th century manuscript contains the history of St. James in Spain and early sermons, hymns, and miracle stories–as well as the first traveler’s guide book for trekking to the apostles shrine.
The original manuscript, the greatest treasure held by the Cathedral of Santiago de Compostela, was stolen on July 4, 2011 and recovered exactly one year later from a local electrician who had been laid off by the cathedral.
Chicken Feather from the Cathedral in Santo Domingo de la Calzada
In a popular medieval legend, two roast chickens sprang back to life with feathers in response to the miraculous resuscitation of a pilgrim wrongly hanged. Those chickens–and their direct descendents–have since occupied a coop high on the cathedral wall. A William & Mary pilgrim captured this midair feather in 2006; the legend says that any pilgrim who caught such a feather before it hit the floor would arrive safely in Santiago.
Pilgrim’s Credential
This document, similar to a passport with stamps added along the journey, is a modern version of a medieval document of safe-conduct, and has become a the traveler’s most personal souvenir as well as proof of one’s pilgrim identity. The credential is presented when seeking lodging along the Camino in refuges and at the Cathedral in Santiago for the compostela,
a document marking the completed pilgrimage. Some national pilgrim groups create their own credentials for travelers from their countries, such as the ones shown from the American Pilgrims on the Camino and the Association of Friends of the Camino de Santiago in Japan.
Gourd
This medieval “water canteen” has long been one of the most iconic symbols of the pilgrimage to the relics and shrine of St. James in Santiago.
From the Special Collections Research Center, Earl Gregg Swem Library at the College of William and Mary. See swem.wm.edu/research/special-collections for further information and assistance.
The Call of the Wild: Gray Wolf Howling! West Yellowstone Montana Wolves 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!
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!
Director, artist, & author JOHN WATERS signed his book 'CARSICK' at the GREEN APPLE BOOKS ON THE PARK in SAN FRANCISCO. Over 1,500 people fought for the 150 tickets. ADDA DADA scored one, as well as won a special edition poster which John Waters happily signed. Probably one of the best , if not the wittiest, speaker that I ever had the pleasure of meeting.
Here is a selection of some of the fun attendees who were overjoyed to meet John Waters.
Thank you Green Apple Books on the Park for making the event so wonderful.
=======
ADDA DADA's VIEW COUNT is EIGHTY MILLION (80,000,000+ ) and with over 5,700 FOLLOWERS !
THANK YOU for visiting this virtual gallery! Enjoy my social documentary photos of the various events in San Francisco! !
NOTE: The JOHN WATERS book signing was a fun event held in San Francisco with many different people attending. These photos do NOT imply the person's sexual orientation in any way.
Photos are properly marked SAFE or RESTRICTED which is for 18+ only nudity. There is NO porn on my site!.
NOTE: MY photos are NOT to be reproduced, COPIED, BLOGGED, USED in any way shape or form. Use of them by anyone is an infringement of copyright ! © All rights reserved. Use without permission is illegal.
Do NOT post them elsewhere!
NOTE: Viewers should be aware that these photos are viewed by a wide variety of folks and inappropriate RUDE, 'X' or 'R' rated comments shall be removed forthwith.
Check out ADDA DADA's other photo albums.
++++++++++++++++++++++++++++
"John Waters has a machine gun repertoire of witty original quips. There is no way anyone can keep up with his constant stream of bon mots. But, I tried."-Adda Dada
"Sure I'd be up for a new title. Saint John Waters has a nice ring to it."-JW on ADDA DADA's comment that the SISTERS OF PERPETUAL INDULGENCE should grant him sainthood!!!!!!!!
''Divine was a combination of Godzilla and Jane Mansfield. Her sole purpose in life was to scare people."-JW
"We'd terrorize hippies by putting white sugar and meat on their door steps!"-JW
" As a boy, I was on the Howdy Doody Show and I quickly realized that TV was all a lie. Then and there, I decided, 'Now, this is what I want to do!'" -JW
"Advice for life? Be witty. Telling jokes suck."-JW
"I now have a new moniker, 'The People's Pervert'!"-JW
"The only reason I read 'Hard Choices' by Hillary Clinton was because the title sounded like a porn book."-JW
"Contemporary art should be disturbing." -JW
"I'd be a horrible father, but a good uncle. I'm the one who would get you out of jail, get you an abortion, and buy you alcohol!"-JW
"The most unusual request? A gal who pulled out her tampon and asked me to autograph it. ...Well, of course, I signed it."-JW
"What is up with this? Parents bring their angry children to me to bond."-JW
"I'm for gay marriage. But know the person you are gay marrying. Don't just pick up someone in a bar and marry them the next day because you can. " JW
"I.m not a good commenter for the Baltimore Riots. I was filming 'Alvin and the Chipmunks 3' when that all went down."-JW
and the heart tugger:
'All our pals purchased grave plots near Divine. We will all be buried next to each other. We really should call it 'Disgraceland'." -JW
Pretty Icelandic Horses Long Hair Flowing Manes Reyjavik Iceland Sony A1 ILCE-1 Fine Art Photography! Pretty Equus Photos Sony Alpha 1 & Sony FE Lens Elliot McGucken Fine Art Animal 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!
Groningen | Грониген, 05-10-2009.
David Leavitt - The Indian Clerk. London, Bloomsbury, 2007, 485 pagina's.
Een wiskundige uit Cambridge haalt een wiskundig genie uit India naar Engeland. Dat zet het leven van deze autodidact op z'n kop. Meer over dit boek op Dit is Suzanne leest.
David Leavitt | The Two Hotel Francforts
David Leavitt on Wikipedia (Dutch)
My Books set
KIMBOLTON Castle Books.
BOOKS
LOT
248Fergusson (J.), Tree and Serpent Worship in India, London, 1868, cloth (1); Enfield (W.), History of Philosophy, London, 1791, tooled calf (2); Dibdin (Rev. T.), Bibliographical Decameron, London, 1817, tooled calf (3); Kinglake (A.), Invasion of Crimea,cloth (6) 12
249Carr, Dialogues of Lucian, London, 1774, calf (5); various, old calf (23)
28
250Journal of Microscopical Science, 1860-1868 (9); Monthly Microscopical Journal, 1869-1877 (17), tooled calf 26
251Prescott (W.), Ferninand and Isabella, London, 1842, cloth (3); Prescott (W.), History and Conquest of Mexico, London, 1844, cloth (3); Tytler (P.), History of Scotland, Edinburgh, 1845, cloth (5); Heeran, Historical Researches, cloth (3); others, cloth (8) 22
252Various, cloth 22
253Various, cloth 30
254Biographical Dictionary, London, 1761, half calf (11); Gibbons’ Roman Empire, London, 1838, half cloth (8) 19
255Samuelson (J.), Popular Science, London, 1862, half calf 15
256Dyce (Rev. A.), Shakespeare, London, 1864, cloth (8); Carlyle (T.), History of Frederick the Great, 1858, cloth (16); Dennistoun (J.), Memoirs, Dukes of Urbino, 1851, cloth (3) 27
257Ross, Cornwallis Correspondence, cloth (3), Life of Peel (2), Life of Wilberforce (3), Life of Castlereagh (3), Life of George IV. (2), Life of Cellini (2), various (10), cloth 25
258Woodstock or The Cavalier, Edinburgh, 1826 (3); various, old calf and half calf (27) 30
259Hallam (H.), Literature of Europe, London, 1847, calf (3); various in old calf (21) 24
260Various, cloth 30
261Bancroft (H.), Native Races of the Pacific, 1875, cloth 5
262Livius (T.), History of Rome, London, 1797, calf (6); Langhorne’s Plutarch’s Lives, 1770, calf (6); Melmoths, Cicero, etc., London, 1785 (7)
19
263Journal of the Agricultural Society, 1842-1876, half calf 37
264Riverius (L.), Practice of Phyfick, London, 1678 (1); History of Edward II., 2-colour title and engraved frontispiece, London, 1680 (1); Pyne (W.), Microcosm, litho plates, London, 1803 (1); various, old calf (13) 22
265Smith (A.), Wealth of Nations, London, 1791, calf (3); Sheridan, Works, 1821, half calf (2); Moliere, Works, Paris, 1804, calf (6); various, old calf (13) 24
266Theatre de Corneille, 1795, calf (of 12) (11); Contes Moreaux, calf (3); various (18) 32
267Various, mostly old calf 34
269Fabriche di Venezia, Venice, 1815, half calf, folio (2); Wilkins’ Magna Graicia, Cambridge, 1807, folio (1); and others, folio (4) 7
270Punch, cloth, 1860, etc. 37
271Various, old calf, and odd volumes 30
272Duke of Wellington’s Dispatches, cloth (8); various (40) 48
273Thoyras (De R.), History of England, 1728, calf (6); Ulster Journal of Archaeology, half calf (9); others (15) 30
274Monumenti Etruschi, half calf (9); various (21) 30
275Lodge’s Portraits, 1823, cloth (7); Riddell (R.), History of Mountains, 1807, calf (3); Newton (T.) — Milton (2) 12
276Scriptorum Veterum, Romae, about 1850, half calf 10
277Jackson (J.), Antiquities, London, 17522, calf (3); various (27) 30
278Lavater (J.), Physiognomy, 1810, calf (5); Rural Economy (7) 12
279Histoire Naturelle, Paris, 1760, calf (16); Ditto, de Pline, Paris, 1771, calf (6) 22
280Ptolémée, Works in Greek and French, Paris, 1813, calf (7); various, tooled calf (35) 42
281O’Donovan (J.), Annals of Ireland, cloth, 1848 (5); Dyce (Rev. A.), Shakespeare, 1857, cloth (6); Froude, History of England, cloth (12) 23
282A Victorian album containing large number of scrapwork pictures, photographs and water-colours, with enamel crest, "Louise M" 1
283The Book of Knowledge, cloth (20); Cassell’s History of the British People (7) 27
284Various in French, half morocco 21
285Novels, etc., various 50
286A similar lot 50
287Würtz, Constantinople, Paris, 1819, engraved plates (1); Priolo (P.), Illustrations from Ossian’s Poems, 1873 (1); Pine (J.), Processions and Ceremonies of Knights, in French and English, two-colour title, London, 1730 (1); Histoire Pittoresque L’Equitation, Paris, N.D., folio (1) 4
288Lievre (E.), Works of Art in England, folio, engraved plates (of 500 copies), half calf (1); Waring (J.), Ceramic Art, 1874 (1); Picart (B.), Collection of Prints of celebrated painters, in sepia (1); Alhambra, coloured plates, folio (1); Halicarnassus, ditto (1) 5
289Two portfolios of Vanity Fair Cartoons; a portfolio of etchings, Musée National D’Amsterdam 3
290Simpson (W.), India, Ancient and Modern, with many chromolithographs, London, 1867, folio 2
291Tableaux, Statues de Galerie de Florence, with many engraved plates, Paris, 1789, folio, half morocco 4
292Somerard, Arts au Moyen Age, with many plates illuminated and in colour, folio, half morocco 2
293The Deserted Village of Oliver Goldsmith, illustrated by the Etching Club, London, 1841 (1); ditto, Shakespeare, 1853 (1); Dawson (A.), Life of Henry Dawson, with photogravure plates, London, 1891 (1); Stoddard (G.), Madeira, litho plates (1) 4
294Turner (D.), Antiquities of Normandy, London, 1822 (1); Tavoli e Prospetti, sul Bonificamento, Firenze, 1838 (1); Raffaelle Gallery, with 22 autotype plates, London, 1871 (1); Atlas with coloured maps, 1861 (22); Oeuvre de Holbein, engraved plates, Basle, 1780 (1) 6
295Hon. W. Hamilton, Collection of Etruscan, Greek and Roman Antiquities, with many engravings and plates in colour, Naples, 1766 (1); Campagnes de Napoleon, engraved plates, Paris, 1806, folio (1) 2
296Ruins of Balbee, engraved plates, folio, London, 1757 (1); Lebrun (J.), Galerie des Peintres Flamand, Paris, 1792 (2); and others (2) 5
297A portfolio of engravings, photographs of sculpture, etc., various 1
298Plates to Siborne’s Waterloo Campaign, with coloured maps, folio (1); and a portfolio of etchings, after Bonnington, Linnell, etc. (1) 2
300C. Julii Caesaris, "Quae Extant, Tabulis," engraved plates, folio, calf, Londini, 1710 (1); Polymetis, Ancient Artists, engraved plates, calf, London, 1747 (1); various (26) 28
301A portfolio containing Victorian water-colour drawings and sketches of Seville, Cadiz, figures etc. (about 60)
302Engravings by A. Carden, after cartoons of Raphael, folio 2
303A large portfolio of engravings, after Rubens, Snyders, Murillo, etc., including old maps of France, etc., partly in colour, describing the campaigns of 1813, etc. 1
304A roller map on linen, Cambridgeshire and district, a similar map, South Pacific coast, a similar map of Canada, and a similar map of Canadian railroads
305Eight old maps, unmounted, including mail roads of Cumberland, Fortifications at Long Island, Quebec, etc.
306
Winnemucca is the only incorporated city in and is the county seat of Humboldt County, Nevada, United States. As of the 2010 census, the city had a total population of 7,396, up 3.1 percent from the 2000 census figure of 7,174. Interstate 80 passes through the city, where it meets U.S. Route 95.
The town was named for a local 19th-century chief of the Paiute, who traditionally lived in this area; he and his band had a camp near here. Winnemucca, loosely translated, means "one moccasin." The chief's daughter, Sarah Winnemucca, was an advocate for education and fair treatment of the Paiute and Shoshone tribes in the area. Their family all learned to speak English, and Sarah worked as an interpreter, scout and messenger for the United States Army during the Bannock War of 1878. In 1883 Sarah Winnemucca published the first autobiography written by a Native American woman, based on hundreds of lectures she'd given in the Northeast and mid-Atlantic. It has been described as "one of the most enduring ethno-historical books written by an American Indian."
On September 16, 1868, the Central Pacific Railroad reached Winnemucca, and was officially opened on October 1 of that year. It was part of the transcontinental line.
On September 19, 1900, Butch Cassidy's gang robbed the First National Bank of Winnemucca of $32,640.
According to a billboard along State Route 140 (the "Winnemucca to the Sea Highway"), Winnemucca styles itself "The City of Paved Streets".
Winnemucca is home to the Buckaroo Hall of Fame and Heritage Museum.
In the late 19th and early 20th centuries, Winnemucca had a vibrant Chinatown. The Chinese originally came to the area as workers on the transcontinental Central Pacific Railroad, which reached Winnemucca in 1868. Some remained or returned to settle. During the 1890s, around 400 Chinese formed a community in the town. Among their prominent buildings was the Joss House on Baud Street, a place of worship and celebration. In 1911 the community was visited by Sun Yat-Sen, later to become Chinese president. He was on a fund-raising tour of the United States to help the revolution.[6] The Joss House, the last structure associated with Chinatown, was demolished on March 8, 1955, by order of the Winnemucca City Council.
Many of Winnemucca's residents are employed by mining companies such as Newmont and Barrick Gold or by companies serving the mining industry. Carry-On Trailer employs over 100 residents at their manufacturing facility in the Airport Industrial Park. Other employers include the many casinos, hotels and restaurants located in the city.
Winnemucca is mentioned in the American version of the song "I've Been Everywhere", recorded, for instance, by Hank Snow (1962), the Statler Brothers (1973), Lynn Anderson (1970), and Johnny Cash (1993).
en.wikipedia.org/wiki/Winnemucca,_Nevada
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
Dogwood Blooms Dogwood Tree Blossoms & Sequoia! Yosemite National Park Spring Wildflowers! 45EPIC McGucken Fuji GFX100 Fine Art Landscape Nature Photography! Fujifilm GFX 100 & FUJIFILM GF 250mm f/4 R LM OIS WR Lens + FUJIFILM XF 1.4x TC WR Teleconverter
Dr. Elliot McGucken Fine Art Spacetime Sculpture dx4//dt=ic:
Epic Fine Art Photography Prints & Luxury Wall Art:
Support epic, stoic fine art: Hero's Odyssey Gear!
Follow me on Instagram!
Facebook:
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)
Season of mists and mellow fruitfulness
Close bosom-friend of the maturing sun
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o'er-brimm'd their clammy cells. --To Autumn. by John Keats
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!
An invitation to join Pinterest.
The User's Journey: Storymapping Projects That People Love, Lichaw, Donna, 2016. New York: Rosenfeld Media rosenfeldmedia.com/books/storymapping/
Bixby Bridge Sunset Dusk Highway 1 PCH Big Sur Scenic Coast Fuji GFX 100 Fine Art California Landscape Nature Photography! Master Medium Format California Coastline Monterey County Elliot McGucken Fine Art Fujifilm GFX100 Photography !
Dr. Elliot McGucken Fine Art Spacetime Sculpture dx4//dt=ic:
Epic Fine Art Photography Prints & Luxury Wall Art:
Support epic, stoic fine art: Hero's Odyssey Gear!
Follow me on Instagram!
Facebook:
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)
Season of mists and mellow fruitfulness
Close bosom-friend of the maturing sun
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o'er-brimm'd their clammy cells. --To Autumn. by John Keats
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!
Killer Whale Pod Monterey California! Pod of Orcas Marine Wildlife Landscape Seascape Ocean Art Photography! Sony Alpha 1 & Sony FE Telephoto Zoom 70-200mm f/2.8 GM OSS E-Mount Lens SEL70200G ! 45EPIC Elliot McGucken Sony A1 ILCE-1 Killer Whales!
Dr. Elliot McGucken Fine Art Spacetime Sculpture dx4//dt=ic:
Epic Fine Art Photography Prints & Luxury Wall Art:
Support epic, stoic fine art: Hero's Odyssey Gear!
Follow me on Instagram!
Facebook:
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!
When you think about it, Police, Fire Fighters, and Emergency Medical Technicians (EMT) often take absurdly Big Risks, on our behalf, as part of their essential, everyday duties. My hat's off to you, good ladies and gents! Keep up your very fine work because we depend on you so very much.
. . . Thank You!
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
Shown here is an image of Case 1 of the "Lost & Found" Exhibit located in the Read & Relax area of Swem Library at the College of William & Mary, on display from February 19th 2013 to August 23rd 2013
The following is a transcription of the labels in this case:
Wine Bottle, circa 1870
This 19th century bottle was discovered in the pedestal of Lord Botetourt's statue in November of 1958. When the statue was being removed from outside the Wren Building in order to protect it from the elements, the bottle was found in the upper portion of the pedestal. How it got there and who its former owner was are still unknown.
The statue of Lord Botetourt has lived in a number of locations in Williamsburg. It was originally standing on the piazza of the Capitol, until 1797, when William & Mary purchased the statue for $100 and placed it front of the Wren Building in 1801. Near the end of the Civil War, the statue was moved for safekeeping to the grounds of Eastern State Hospital. After the war, it was returned to its place in front of the Wren Building where it stayed until 1958. After spending a few years in storage, the statue found its current home on the ground floor of Swem Library’s Botetourt Gallery, where it has resided since the library was constructed in 1966.
The Works of Washington Irving, Vol. 14:
Conquest of Granada, 1860
This volume was stolen from William & Mary’s library in 1862 by a Union soldier, possibly William Hazlett, Robert Clark, or John Fulton. After being passed through several hands, it was found on a tree stump by Union assistant surgeon Sherman Morse of the 14th New York Heavy Artillery and returned to the College many years later by Morse's nephew. The book's cover vanished and notations from a number of sources grace its pages added during the time it spent away from the library. Included in the notations are a few statements of discharge directed at Hazlitt. One of these assuredly fictitious entries cites his general debility due to the overuse of whiskey.
The Flat Hat, 18 January1938
Knife, 1950s
This knife was taken from the student dining hall in the 1950s and returned anonymously three decades later in 1981.
Wampo (William and Mary Pony)
In 1937, days before the Thanksgiving football game between the University of Richmond and William & Mary, Richmond students decided to take their rival's beloved mascot, Wampo. However, the stolen pony was a decoy. The following year Richmond students struck again and this time nabbed the real Wampo from his stable. A search party was immediately formed, and a number of bonfires were burnt on the Richmond campus by angry William & Mary students. Two students, caught burning one of the bonfires, were given unwanted razor haircuts by their Richmond rivals. After being held captive for three days and showcased in a Richmond parade, Wampo was returned to the College at the football game.
The Flat Hat, 22 November 1938
Diálogos ingléses, y españöles
Spanish and English Dialogues, 1719
In 1758, Virginia Lieutenant Governor Robert Dinwiddie donated a collection of books to William & Mary before his return to England. Among those books was Felix Anthony de Alvarao’s Spanish and English Dialogues, a text used for learning both languages. While the book bears Robert Dinwiddie’s original bookplate, Louis Hue Girardin, professor of modern languages, geography, and civil history in 1803, pasted an additional bookplate bearing his name over Dinwiddie’s prior to its return to the college library.
From the Special Collections Research Center, Earl Gregg Swem Library at the College of William and Mary. See swem.wm.edu/research/special-collections for further information and assistance.
Devotional Books. My parents gave me a day planner on the Christmas that I was going through my divorce, a period when I started to really get back into the church. Though it was a foot in the door of religion, God really moved in me in that period of my life. These books are very well crafted, and inside each month has a theme. Each day has a verse of scripture and then a quote by a famous author, theologian or religious icon. All of the daily quotes and scriptures relate to the theme of the month so they are all tied together. It is one of the few “religious” ties that I keep, for I do gain some though provoking feelings when I go through them. It’s one of those things that my parents get me every year- and it has really opened my eyes at times.
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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.
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"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
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“The mountains are calling and I must go.” --John Muir
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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!