View allAll Photos Tagged ADAT
Common to Toraja of all religions is the cultural centrality of the tongkonan as ancestral homes. The homes are the focus of family identity and tradition, representing the descendants of a founding ancestor. Kis Jovak et al. (1988) describes the tongkonan as being not simply a house but symbolising a Torajan's microcosm.
As the focus of ancestral identity, it is through the tongkonan that Torajans consider themselves related to parents, grandparents and more distant relatives. Torajans belong to more than one house as they trace descent bilaterally - that is, through both the male and female line. Upon marriage, Toraja men customarily live in their wive's home. If divorced, possession of the house is granted to the wife, although the husband may be compensated by being given the rice barn which can be dismantled and reassembled. A tongkonan, however, is never removed, in part because of the large number of placentae buried on the east side of the house (east is associated with life).
The tongkonan is traditionally seen as the navel of the universe and a miniature cosmos; and in those some regions, it is the meeting place of the north-south and east-west axes. It faces north, to the “head of the sky” where Puang Matua resides. The alang, or rice granaries, across the yard, face south or the posterior, as this is the direction from which trouble and disease exit. In some regions, the house is entered via a door on the northern end of the east wall, and in others, at the western end of the north wall. A person, thus, walks towards the southwest or southeast as they enter. The tongkonan is vertically divided into three levels: the attic where the regalia and family heirlooms are kept; the living area; and the space under the floor where domesticated animals are kept. These compare with the upper world, the middle world, and the under world.
There are three types of tongkonan which are classified according to their function in society. A tongkonan layuk ('grand tongkonan') or tongkonan pesio' aluk ('aluk maker') is the original ancestral home in which the aluk of a particular adat territory were established. The Grand Tongkonan is the seat of a kinship grouping that traces its descent from a single founding couple. It is the house of the highest authority and it is used as the center of government. Tongkonan according to its literal translation, is the place 'to sit' and it is the traditional centre of governance. Customarily people would assemble to sit in a place of historical significance to discuss and resolve matters of communal import. This site would be the seat of residence of the most respected member of the community. This home would thus be developed into a grand building.
The second type is tongkonan pekamberan, or tongkonan pekaindoran which belongs to the family group members and offspring of the founder. It is their duty to carry out local traditions (known as adat). The last one is tongkonan batu, which belongs to the ordinary family members. Traditionally, only the nobility could afford to build large tongkonan and the elaborate ceremonies associated with them.
Ordinary residences, known as banua are smaller, less decorated homes versions of tongkonan, through which families’ descent would also be traced. Generally speaking their occupants would be families of lower social status, families that once constituted part of a greater family’s fiefdom. These homes may also be converted into tongkonan after several generations of the same line have lived in them and after suitable rites have been carried out, but due to prohibitive costs, this has traditionally been rare. The former exclusivity of the tongkonan is also diminishing as many Toraja commoners find employment in other parts of Indonesia and remit funds back to their families, enabling in some cases the construction of larger Tongkonan by commoners.
(sajnos számomra) ismeretlen leány képe
Verzó matrica:
SZINAY ÉS TÁRSA
MISKOLCZ
Szakács Margit adatai szerint:
Szinay István - Miskolc (Megyeház átellenében) - /1877-1898/
Szinay és Társa - Miskolc (Megyeház közelében) - /1870-1880/
[egyes adatok szerint és Gabi Szinay képeit nézve azt gondolom, hogy már a 60as években is létezett ez a műterem...???]
***
Mikolci fotós ereklyék
www.cameramuseum.hu/fenykepek/fotos-ereklyek/hol-dolgozta...
www.cameramuseum.hu/fenykepek/fotos-ereklyek/miskolci-fot...
Fényképes kiadványok Miskolcról
"Miskolcon az 1860-as években Szinay István készített képes albumokat, beragasztott eredeti fényképekkel Várostörténeti szempontból az 1878-a nagy árvíz rombolásáról szerkesztett albumja az érdekes azért is, mert a fényképezés őskorából alig ismerünk városképeket. Kedvező helyzetet teremtett az a körülmény, hogy Szinay műhelye egy udvarban volt a Szigethy-féle nyomdával. Később Zitkovszky Béla is ilyen lehetőséget tudott kihasználni, lévén szomszédos a Wesselényi és Gedeon nyomdával."
bela.tarczai.hu/publikaciok/fenykep-es-tortenelem/fenykep...
[érdekes, hogy itt már a 60as évektől számítják működését!!!???]
Miskolc fotótopográfiája
bela.tarczai.hu/publikaciok/fenykep-es-tortenelem/a-misko...
Mikolci gyásza emlékköny
www.axioart.com/index.php?op=live_item&id=14186
"1878. augusztus 30-án a Dunántúl felől nagy esők, zivatarok érték el Észak-Magyarországot. Először Eger, Óhuta, majd Diósgyőr és Miskolc következett, ahonnan Tállya, Golop és Mád felé vonult a vihar. Mivel a felhőszakadás egyszerre nagy területet érintett, a Bükk hegységből lezúduló víz úgy felduzzasztotta a Szinva és a Pece patakokat, hogy azok másnap, augusztus 31-én hajnalban medrükből kilépve álmukból riasztották a polgárokat és elpusztították Miskolc belvárosának nagy részét. A víztömeg meg-megakadt az útjába kerülő hidakban, malomgátakban, házakban és magával sodorta őket, nagy mennyiségű hordalékot felhalmozva a hidak környékén és a zsilipeknél. A belvárosban percenként fél métert emelkedett az áradás, így a menekülés szinte lehetetlen volt. A város egyes részein 4–6 méter magasan állt a víz.
Csak Miskolcon 2182 ház dőlt össze, a város épületeinek a fele károsodott és 277 ember halt meg, de a környékbeli településekkel együtt számítva az áldozatok száma elérte a 400 főt. Óhután például, ahol majdnem ugyanakkor állt el az eső, mint Miskolcon, 73 ház pusztult el. A miskolci kár 1 739 771 forintra rúgott.
Az árvíz kialakulásában döntő szerepe volt annak, hogy a városon keresztülfolyó patakok fölött malomgátak, ólak, istállók, szemétdombok íveltek át, ami beszűkítette a víz mozgásterét és lelassította a megemelkedett ár mozgását, lehetőséget adva nagyobb víztömeg felduzzadására.
Árvízi szintjelző a Miskolci Nemzeti Színház falán
Az áradás utóéletének sajnálatos adata, hogy Miskolcnak gyakorlatilag egyedül, saját erőből kellett újjáépítenie belvárosát. A pontosan 40 évvel azelőtti, 1838-as pesti, majd az egy évre rá, az 1879-es szegedi árvizek is óriásiak voltak, a dél-alföldi város lényegében megsemmisült, de az okozott károkat országos összefogással, több jótékony akcióval gyűjtött pénzből viszonylag gyorsan sikerült helyrehozni és kialakítani az új városképet. Ez Miskolcnak nem adatott meg. Bár az itteni áldozatok száma meghaladta a szegedi és pesti áldozatok együttes számát is, a városvezetés nem tudta elérni, hogy ahhoz hasonló segítséget kapjon. A gyorsan jött és gyorsan elvonult árvíz emlékét elnyomta a Miskolcnál akkor sokkal jelentősebb városokat hosszan fenyegető árvízveszély híre, így a károk helyreállítása nem vált országos érdekké.
Az árvízről Soltész Nagy Kálmán polgármester számolt be nyomtatásban is megjelent kiadványban („Miskolcz gyásza, 1878. augusztus 31.”), amelyhez Szinay István tíz fotója adta az illusztrációt"
hu.wikipedia.org/wiki/1878-as_miskolci_%C3%A1rv%C3%ADz
www.minap.hu/archiv/minap200502.pdf
Szinay és Társa fotók utáni metszetek a VU-ban
epa.oszk.hu/00000/00030/01281/pdf/01281.pdf
"Fridrich János (1874.szept. 7. Edelény - 1959.máj. 16. Szentes): fényképész. - A mesterséget Miskolcon, Szinay István műtermében sajátította el (1890-1895). "
Pasrah Tampi. #Foto #Seserahan dalam #Pernikahan Adat Jawa. Devi+Bowo #Wedding #Jawa #Javanese #TraditionalWedding di #Klaten #JawaTengah #Indonesia
#weddingpic #weddingphoto by Poetrafoto Photography, Fotografer Yogyakarta, Fotografer Wedding Jogja, Indonesian Wedding Photographer
*visit our #weddingwebsite #weddinggallery on poetrafoto.com/
*visit our #weddingblog on poetrafoto.wordpress.com
*like our FB page: www.facebook.com/poetrafoto
*follow our twitter+instagram+line: @poetrafoto
*HP+WhatsApp: 081229776789, 081328749391
#weddingceremonial #weddingseason #weddingday #weddings #weddingdirectory #weddingphotos #weddingphotography #weddingphotographer
Common to Toraja of all religions is the cultural centrality of the tongkonan as ancestral homes. The homes are the focus of family identity and tradition, representing the descendants of a founding ancestor. Kis Jovak et al. (1988) describes the tongkonan as being not simply a house but symbolising a Torajan's microcosm.
As the focus of ancestral identity, it is through the tongkonan that Torajans consider themselves related to parents, grandparents and more distant relatives. Torajans belong to more than one house as they trace descent bilaterally - that is, through both the male and female line. Upon marriage, Toraja men customarily live in their wive's home. If divorced, possession of the house is granted to the wife, although the husband may be compensated by being given the rice barn which can be dismantled and reassembled. A tongkonan, however, is never removed, in part because of the large number of placentae buried on the east side of the house (east is associated with life).
The tongkonan is traditionally seen as the navel of the universe and a miniature cosmos; and in those some regions, it is the meeting place of the north-south and east-west axes. It faces north, to the “head of the sky” where Puang Matua resides. The alang, or rice granaries, across the yard, face south or the posterior, as this is the direction from which trouble and disease exit. In some regions, the house is entered via a door on the northern end of the east wall, and in others, at the western end of the north wall. A person, thus, walks towards the southwest or southeast as they enter. The tongkonan is vertically divided into three levels: the attic where the regalia and family heirlooms are kept; the living area; and the space under the floor where domesticated animals are kept. These compare with the upper world, the middle world, and the under world.
There are three types of tongkonan which are classified according to their function in society. A tongkonan layuk ('grand tongkonan') or tongkonan pesio' aluk ('aluk maker') is the original ancestral home in which the aluk of a particular adat territory were established. The Grand Tongkonan is the seat of a kinship grouping that traces its descent from a single founding couple. It is the house of the highest authority and it is used as the center of government. Tongkonan according to its literal translation, is the place 'to sit' and it is the traditional centre of governance. Customarily people would assemble to sit in a place of historical significance to discuss and resolve matters of communal import. This site would be the seat of residence of the most respected member of the community. This home would thus be developed into a grand building.
The second type is tongkonan pekamberan, or tongkonan pekaindoran which belongs to the family group members and offspring of the founder. It is their duty to carry out local traditions (known as adat). The last one is tongkonan batu, which belongs to the ordinary family members. Traditionally, only the nobility could afford to build large tongkonan and the elaborate ceremonies associated with them.
Ordinary residences, known as banua are smaller, less decorated homes versions of tongkonan, through which families’ descent would also be traced. Generally speaking their occupants would be families of lower social status, families that once constituted part of a greater family’s fiefdom. These homes may also be converted into tongkonan after several generations of the same line have lived in them and after suitable rites have been carried out, but due to prohibitive costs, this has traditionally been rare. The former exclusivity of the tongkonan is also diminishing as many Toraja commoners find employment in other parts of Indonesia and remit funds back to their families, enabling in some cases the construction of larger Tongkonan by commoners.
Homa, Huma, or Homay-e Sa’adat (Homa of happiness), the Bearded vulture (Gypaetus Barbatus). In Iranian literature and culture this bird has a special place; it is thought that if its shadow falls on someone, s/he will achieve happiness, prosperity and success.
Patron: begun by Darius I (the Great), king of the Persian Empire (r.522-486 BCE) and completed by his son Xerxes I (the Great) c.518-465 BCE, king of the Persian Empire (r.486-465 BCE).
@ Pejaten Village Mall LG - Jakarta Selatan www.CupcakesJakarta.com / info@cupcakesjakarta.com / (021) 9962 9557
Foto Prosesi Kirab Pengantin Pernikahan Adat Jawa Solo Yogyakarta.
Devie+Bowo #wedding #pernikahan #jawa di #Klaten #JawaTengah | #weddingjawa #javanesewedding #pernikahanjawa
#fotowedding #fotopengantin #fotopernikahan #weddingpic #weddingphoto by @poetrafoto
web: www.poetrafoto.com
#weddingseason #weddingsession #weddings #weddingdirectory #weddingparty #weddingceremony #weddingcelebration #weddingday #weddingreception #weddingphotos #weddingphotography #weddingphotographer
#foto kirab #pengantin #pernikahan adat #Jawa Puteri & Rifki di Graha Sabha #UGM #Yogyakarta
#weddingphoto by Poetrafoto Photography | #weddingwebsite and #weddinggallery on wedding.poetrafoto.com/ | FB: fb.com/poetrafoto
*follow twitter+instag+line: @poetrafoto
hp+wa: 081229776789, 081328749391
#weddingjawa #javanesewedding #javawedding #pernikahanjawa #pengantinjawa #weddingphotos #weddingindonesia #weddingphotography #weddingjogja #weddingceremony #weddingphotographer #weddingphotographerindonesia #indonesia_photography #indonesianwedding #thewedding #fotowedding #fotopernikahan #fotografer #fotograferpernikahan #fotograferwedding
A Malay wedding ceremony spreads over two days, beginning with the akad nikah ceremony. The groom signs the marriage contract and agrees to provide the bride with a mas kahwin(dowry). After that, their hands are dyed with henna during the berinai besar ceremony. The bride's hair is also trimmed or her eyebrows shaped by a beautician known as the mak andam.
The second day, the groom is accompanied by friends, relatives, musicians and bunga manggar (palm blossom) carriers to the bride's house where they are usually greeted with the sprinkling of yellow rice and scented water.
Sometimes, the pencak silat or the traditional Malay Martial Art is performed. To add gaiety to the joyful affair, the groom and his party are required to overcome humorous obstacles before being allowed to go in.
Adat Merisik
When it is time for a young man to get married his family will look around to identify a number of potential candidates. Having decided upon one particular young lady, then, the merisik of investigation process takes place. For this ceremony one or more representatives (wakil) of the young man’s family will pay a friendly visit to the family of the young woman whom they have in mind as his potential bride. The visit is purely for the purpose of further investigation. Its allows the visitors to see the young lady. A hint will be given to her parents regarding the purpose of the visit, and their reaction will be assessed. The girl’s parents may also give the visitors some idea as to whether or not their daughter will be interested in the match. The merisik does not constitute a formal proposal. Following the visit both sides can begin to think more seriously about the possibility or otherwise of the union. It is possible that no progress may take place, and the young man’s parents or representatives will then look for another possible candidate.
Adat Bertunang
Also known as an engagement ceremony which is normally held at the bride's residence.
Akad Nikah
A Malay wedding begins with the akad nikah ceremony. The groom signs the marriage contract and agrees to provide the bride with a mas kahwin. After that, their hands are dyed with henna during the berinai besar ceremony. The bride's hair is also trimmed or being put on make-up by a beautician known as the mak andam. Women/Bride will also put on their 'tudung' or hijab to cover their hair and a 'selendang' or beautiful embroidered with beads scarf on top of their hijab. A crown is also placed on top of the scarf.
Bersanding
During the bersanding ceremony, the bridal couple will be seated on the dais and sprinkled with yellow rice and scented water by family members, relatives and guests as a sign of blessing. Each guest will receive a bunga telur, which means 'flower' and 'egg' - a symbol of a fertile union.
Ang ádat sa wikang Arabe ay “kaugalian.” Sa mga pangkating Muslim sa Filipinas, ito ang kabuuan ng di-nakasulat na mga hálagáhan at pamantayan ng asal at kilos sa lipunan. May ádat ukol sa tradisyonal na pananamit. May ádat hinggil sa paraan ng paglutas ng usaping panlipunan. Halimbawa pa, sa mga Tausug sa Lungsod ng Zamboanga, ang salitâng ádat ay karaniwang ginagamit sa “pang-adatan pangalay” (kinaugaliang sayaw), “pang-adatan pagkawin” (banal na gawain na ginagawa tuwing kasal), “malingkat adat” (magandang pag-uugali) at “mangi adat” (masamâng pag-uugali). (RBT) (ed VSA)
A Malay wedding ceremony spreads over two days, beginning with the akad nikah ceremony. The groom signs the marriage contract and agrees to provide the bride with a mas kahwin(dowry). After that, their hands are dyed with henna during the berinai besar ceremony. The bride's hair is also trimmed or her eyebrows shaped by a beautician known as the mak andam.
The second day, the groom is accompanied by friends, relatives, musicians and bunga manggar (palm blossom) carriers to the bride's house where they are usually greeted with the sprinkling of yellow rice and scented water.
Sometimes, the pencak silat or the traditional Malay Martial Art is performed. To add gaiety to the joyful affair, the groom and his party are required to overcome humorous obstacles before being allowed to go in.
Adat Merisik
When it is time for a young man to get married his family will look around to identify a number of potential candidates. Having decided upon one particular young lady, then, the merisik of investigation process takes place. For this ceremony one or more representatives (wakil) of the young man’s family will pay a friendly visit to the family of the young woman whom they have in mind as his potential bride. The visit is purely for the purpose of further investigation. Its allows the visitors to see the young lady. A hint will be given to her parents regarding the purpose of the visit, and their reaction will be assessed. The girl’s parents may also give the visitors some idea as to whether or not their daughter will be interested in the match. The merisik does not constitute a formal proposal. Following the visit both sides can begin to think more seriously about the possibility or otherwise of the union. It is possible that no progress may take place, and the young man’s parents or representatives will then look for another possible candidate.
Adat Bertunang
Also known as an engagement ceremony which is normally held at the bride's residence.
Akad Nikah
A Malay wedding begins with the akad nikah ceremony. The groom signs the marriage contract and agrees to provide the bride with a mas kahwin. After that, their hands are dyed with henna during the berinai besar ceremony. The bride's hair is also trimmed or being put on make-up by a beautician known as the mak andam. Women/Bride will also put on their 'tudung' or hijab to cover their hair and a 'selendang' or beautiful embroidered with beads scarf on top of their hijab. A crown is also placed on top of the scarf.
Bersanding
During the bersanding ceremony, the bridal couple will be seated on the dais and sprinkled with yellow rice and scented water by family members, relatives and guests as a sign of blessing. Each guest will receive a bunga telur, which means 'flower' and 'egg' - a symbol of a fertile union.
Bahagia itu sederhana. Yaitu, ketika kita bisa senyum dan tertawa bersama :)
--------------------
#foto #pernikahan Dita+Restu, #pengantin adat #Jawa | #weddingreception #weddingceremony #weddingparty in #Jogja #Yogyakarta #Indonesia
--------------------
#fotopernikahan #fotowedding #weddingpic #weddingphoto by @poetrafoto, poetrafoto.com | FB: www.facebook.com/poetrafoto
--------------------
#weddingday #weddings #javawedding #javanesewedding #indonesianwedding #weddingphotos #weddingphotographer #weddingphotography #weddingphotographerindonesia #instawedding #instapic #instawed #indonesiaweddingphotographer #indonesiaweddingphotography #indonesiaweddingphotographers #indonesianweddingvendors
Simple. Natural. Elegant.
#foto #pernikahan adat #Jawa Leny+Boby #wedding di #Jogja #Yogyakarta #IndonesianWedding, June 2014.
#weddingpic #weddingphoto by Poetrafoto Photography, Fotografer Pernikahan Yogyakarta, Indonesian Wedding Photographer
*visit #weddingwebsite #weddinggallery on poetrafoto.com/
*like our FB page: www.facebook.com/poetrafoto
*follow our twitter+instagram+line: @poetrafoto
*HP+WhatsApp: 081229776789, 081328749391
#weddingdetails #weddingsession #weddings #thewedding #weddingday #traditionalwedding #javanesewedding #weddingphotos #weddingphotography #weddingphotographer
Muzium Adat ini telah ditubuhkan pada tahun 1992 bertempat di Istana Jahar yang merupakan istana tempat bersemayan Al-Marhum Sultan Ismail Ibni Sultan Muhammad ke IV (1920 – 1944). Bangunan ini merupakan bangunan yang menjadi hak milik PMNK dan telah diwartakan sebagai bangunan bersejarah Negeri Kelantan pada 2005 (AKTA- 645).
Disini di pamerkan Adat Istiadat DiRaja seperti; pertunangan, perkahwinan, melenggang perut, adat pijak tanah dan lain-lain yang berkaitan.
Bangunan ini sendiri telah melambangkan senireka bangunan dan hiasan istana kesultanan Kelantan yang terkenal itu.
Pada bahagian belakang bangunan istana ini terletak Balai Senjata yang mempamerkan alat-alat senajata lama Negeri Kelantan seperti keris, lembing, badik, kelewang dan lain-lain senjata.
Sore itu saya merasa beruntung. Bapak Abner, tetua adat dari Takpala mengajak saya ikut upacara penyambutan pastor baru Gereja Katholik Santo Fransiskus Asisi Takalelang. Meski menunggu lama karena pesawat yang ditumpangi Pastor dari Kupang Alor terlambat mendarat karena cuaca buruk, penantian itu berbuah manis. Saya melihat Indonesia dan keberagamannya saat Lego-Lego ditarikan oleh para mama. Ikut bergabung, Pastor Baru dan tetua adat. Tampak dalam foto adalah tetua desa sedang memberikan salam hormat sebagai ucapan selamat datang.
13 Disember 2011, Sultan Kedah Tuanku Abdul Halim Mu'azam Shah, melafaz sumpah memegang jawatan sebagai Yang di-Pertuan Agong ke-14 dalam upacara penuh adat istiadat di Istana Negara di sini. Ini merupakan kali kedua baginda dipilih sebagai Yang di-Pertuan Agong. Kali pertama ialah dari 21 Jan 1970 hingga 20 Sept 1975 semasa berusia 43 tahun.
Sila hubungi iFoto Penerangan untuk melihat lebih banyak lagi koleksi gambar bersejarah milik Perpustakaan Fotografi Jabatan Penerangan Malaysia.
Islamic and Quranic Wazaif in urdu, Ahadees, Masnoon Duain, Durood Sharif, Complete Quran Pak with Urdu and English translation and find the solution of all your problems through Rohani Ilaj.
Helisea 70Helisea 110
Adatok
Helisea 70
Teljesítmény
300 W
Tápfeszültség
230 V~ 50 Hz
Súly
3,8 kg
Törölközőtartók száma
4 (2+2) db
Szabályozás
Termosztát, időzítő
Befűtött terület
4 m²
Méret
520 x 710 x 165 mm
Védettség
IP 24
Szigetelési osztály
Kettős szigetelésű
Adatok
Helisea 110
Teljesítmény
400 W
Tápfeszültség
230 V~ 50 Hz
Súly
5 kg
Törölközőtartók száma
6 (3+3) db
Szabályozás
Termosztát, időzítő
Befűtött terület
6 m²
Méret
520 x 1010 x 165 mm
Behatolás elleni védelem
IP 24
Szigetelési osztály
Kettős szigetelésű
A termék raktárról elérhető
elektromoshosugarzo.hu/termek/helisea-torolkozoszaritos-i...
Pontianak, Kalimantan Barat (West Kalimantan), Indonesia.
(Komplek Perkampungan Budaya Jl Sutan Syahrir, Kota Baru, Pontianak)
Rumah adat Dayak Radakng, a recently completed (July 2013) vernacular longhouse built according to the Dayak Kanayatn (Dayak Kendayan, Dayak Kedayan; a political ethnic identity to conveniently referred as Land Dayak- Klemantan) building architecture. The building measures L 138 m x B 15 m x H 7 m, perhaps a venue for the community cultural events and displaying artifacts.
Rhinoceros horn-bills sculptures, a sacred creature to the Dayak tribes which they believe are the terrestrial manifestation of the headhunting god, Kenyalang.
Ref. and suggested reading:
www.republika.co.id/berita/nasional/umum/13/07/12/mpq3zz-...
Villagers made ‘Sasi adat’ for avocado tree, a local traditional resource management system, encompasses temporal prohibitions on harvesting crops products in Honitetu village, West Seram regency, Maluku province, Indonesia on August 23, 2017.
Photo by Ulet Ifansasti/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org