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Some of my favorite quotes come from Anne Frank. Such a positive outlook from a young girl who endured so much. More watercolor background practice.
by 1010
Hamburg Neugraben
Life-affirming plurality! This means that there is not just one perspective, but always the possibility of looking at things in a very subjective way. The many shades of colour represent different destinations, but also, in a figurative sense, very different emotions and moods. I want to create something here that is pleasant for the eye, that you enjoy looking at and that you can simply forget about the rest of everyday life. It should capture a moment of ‘time’.
(Instagram account of 1010)
Van Gogh called oleanders life-affirming and joyful due to their vigorous and long-lasting blooms, which appear through late spring and summer. Reflecting on the subject of his painting, Van Gogh wrote "The oleander- ah- it speaks of love and it's beautiful..." He planted two oleanders in pots outside his yellow house in Provence.
nybg
Planning a shoot with the northern lights is certainly not a given. So many factors come into consideration that can either make or break your night. On this evening though, everything came together for myself and my workshop clients. After many trips to Iceland, this was the first time seeing the shore frozen at this location. We knew it would make for a special foreground, particularly with the dim green glow of the aurora illuminating it. I couldn’t shake the thought. 8 hours later we were able to behold such a sight. There’s also several meteors visible flying across the sky which were captured during the long exposure.
This was my first published photo. I am not counting the high school football photo I took in 1965 that got into our local paper; this was different. It was a co-winner in a monthly magazine photo contest (Photo Canada magazine, long gone). And I was paid for it ($30). My first three photo submissions to magazines were published; I thought I was hot stuff. Then the rejections began coming back and I realized this was going to be tougher than I'd expected.
Forty years and a couple thousand published photos later, the ego boost of seeing my name in print is gone, but every accepted photo is nevertheless an affirmation. I have photos for a story (written by my friend Judith Wright) coming out in Prairies North magazine in December, including the cover shot. Always nice to get a cover!
This old photo... I would probably shoot it a little differently today, but still, I think it holds up. Hundreds of tiny bubbles and the stem of a maple leaf frozen in ice. The camera was a Pentax Spotmatic, the lens a 100 mm macro. (Note: not 105 mm. Pentax had to be different. They were also making screw mount bodies and lenses when nearly every other camera designer had gone over to bayonet.)
Photographed at Drum Lakes, near Gold River, Vancouver Island, BC (Canada). Scanned from the original Tri-X negative (ISO 400). Don't use this image on websites, blogs, or other media without explicit permission © 1977 James R. Page - all rights reserved.
I was feeling a bit out of shape this morning (yes, 'round' is a shape, but I'm not talking about that). But my shirt cheered me up no end with its cheerful label =]
Lake Minneola and Pier. Central Florida. Trying to make more time in the evenings to get up the road and take in a sunset. Amazing how one night or one week I am able to just take it in and see it as a spiritual exercise that is life-giving. Then, another night, or week, it takes much effort to slow down and truly let it wash the "grown up", human doing OFF of me.
My daughter, Grace, seems to just know to quiet down, slow down, and watch it, while saying little. Her brother, Kellen, all 3 years of perpetual motion won't yet even look in the sun's direction. One day he will.
And days and years ahead, Grace and Kellen may find themselves being a little too busy with friends and social media and life to slow down to take it all in. Hopefully they will remember how their father would become purposeful in slowing down; knowing a sunset can be a live-giving, affirming, ~ Spiritual Exercise~.
Today I checked the Burrard Pier to see how the muralists are progressing with the fifth mural in the Blanketing The City series. When it's complete, this mural will tell the story of the Great Vancouver Fire, and the role that Indigenous first responders played in bringing people to safety across the Burrard Inlet. It is the first of the series to be located on Squamish and Tsleil-Waututh lands. The artists are Chief Janice George, Buddy Joseph, and Angela George, along with designer Debra Sparrow.
Here you see some climbers who are helping the artists realize their vision. I talked to one of them - a sweet guy from Monterrey, Mexico. We had a long and animated conversation in Spanish. I love that I almost always find an opportunity to practice when I'm out and about!
"Blanketing The City" is a public art series and reconciliation process designed by acclaimed Musqueam weaver and graphic designer Debra Sparrow, in collaboration with the Vancouver Mural Festival. Begun in 2018, the series boldly affirms the resurgence and importance of Coast Salish weaving on these lands, and directly combats the ongoing systemic suppression of Indigenous visual culture.
I knew it was true love from the first moment I saw her. Thank you, Jessy, very much, for letting me have her! So I put her in an outfit inspired by Sensuous Affair Giselle as a tribute to Jessy ;-)
OOAK Agnes repaint by Jessy Ayala
Outfit & Accessories: Integrity
The Goddess Ostara has the shoulders and head of a hare. The Symbols of Ostara are: In Celtic tradition, the hare is sacred to the Goddess and is the totem animal of lunar goddesses such as Hecate, Freyja and Holda - the hare is a symbol for the moon. The Goddess most closely associated with the Hare is Eostre, or Ostara.
www.goddessandgreenman.co.uk/ostara
The Goddess Wenet (Wenut, Unut) is an enigmatic figure in ancient Egyptian religion and mythology. In the earliest times Wenet was first identified as a snake headed goddess and then became associated with the hare. Her name means the Opener and also the Swift One. Both the snake and the hare are known for being swift creatures and the hare symbolized the opening of the new year, fertility, and the beginning of new life.
Wenet’s name, the hieroglyphic symbol for the Hare, was the “standard” of the 15th province in Upper Egypt.
In Egyptian history her name (“Unut”) was used by only one king, the Pharaoh Unas (circa 2350 BCE), who was the first pharaoh to have the Pyramid Texts carved and painted on the walls of the chambers of his pyramid. The Pyramid Texts are possibly the oldest known religious texts in the world.
The antiquity of Wenet’s worship is suggested by Book of the Dead spell 137A (Heku Stories 3) as well as in the Coffin Text spell 495 where the deceased states, “I extend my arm in company with Shu, I am released in company with Wenet.” In spell 720, “To become a dawn-God and to live by means of magicians,” the deceased affirms “I will act as one who is sent to the Gods, and my voice is that of Wenet.” In a fragmentary Coffin Text spell 942, an unknown deity is identified with Wenet by the phrase “…she has nothing which has been done against her, in this her name of Wenet.”
An ancient Egyptian text describes how Horus was injured after fighting with Seth, and he asks his mother (Isis) to speak words of heku on his behalf, “the name of Wenet was made, since words existed.” Elsewhere the same text refers to Wenet as “the lady of fighting of the chamber of Nunet in the high hill of Khemenu which is on the island of fire,” which means the point from which the sun rises.
Carved mythological texts found in shrines and temples to Bastet describe Bastet projecting her magical fury to destroy evildoers in the form of the “Seven Arrows.” Each Arrow was attributed to a deity who controlled a group of supernatural beings (or demons). The full list of deities has been lost to history, however Wenet is the sixth of the “Seven Arrows of Bastet.”
For a rather unknown deity of great antiquity, there remains a great deal of evidence as to the Hare Goddess Wenet’s magical powers.
Bibliography
Butler, E. P. “Goddesses and Gods of the Ancient Egyptians.” Henadology 2010
Cruz-Uribe, Eugene. 1988. Hibis Temple Project, Volume I. San Antonio, TX: Van Siclen.
Hart, George. A dictionary of Egyptian gods and goddesses. Psychology Press, 1986.
Hastings, James, John Alexander Selbie, and Louis Herbert Gray, eds. Encyclopaedia of religion and ethics. Vol. 5. Scribner, 1912.
Rosenow, D. C. E. “The Temple-house of the Great Temple of Bastet at Bubastis.” (2013).
iseumsanctuary.com/2020/04/05/the-hare-goddess-wenet-part-2/
Ocala is a city in Marion County, Florida, United States, which is part of the northern region of the state. As of the 2019 census, its population, estimated by the United States Census Bureau, was 60,786, making it the 49th most populated city in Florida.
It is the seat of Marion County and the principal city of the Ocala, Florida Metropolitan Statistical Area, which had an estimated 2017 population of 354,353.
The modern city of Ocala, which was established in 1849, developed around the fort site. Greater Ocala is known as the "Kingdom of the Sun". Plantations and other agricultural development dependent on slave labor were prevalent in the region. Ocala was an important center of citrus production until the Great Freeze of 1894–1895.
Rail service reached Ocala in June 1881, encouraging economic development with greater access to markets for produce. Two years later, much of the Ocala downtown area was destroyed by fire on Thanksgiving Day, 1883. The city encouraged rebuilding with brick, granite and steel rather than lumber. By 1888, Ocala was known statewide as "The Brick City".
In December 1890, the Farmers' Alliance and Industrial Union, a forerunner of the Populist Party, held its national convention in Ocala. At the convention, the Alliance adopted a platform that would become known as the "Ocala Demands". This platform included abolition of national banks, promoting low-interest government loans, free and unlimited coinage of silver, reclamation of excess railroad lands by the government, a graduated income tax, and direct election of United States senators. Most of the "Ocala Demands" were to become part of the Populist Party platform.
The first thoroughbred horse farm in Florida was developed in Marion County in 1943 by Carl G. Rose. Other farms were developed, making Ocala the center of a horse-breeding area. Local horses have won individual races of the Triple Crown series; in 1978, Affirmed, who was bred and trained in Marion County, won all three races, boosting interest in the industry there.
Ocala is one of only five cities (four in the US and one in France) permitted under Chamber of Commerce guidelines to use the title, "Horse Capital of the World", based on annual revenue produced by the horse industry. 44,000 jobs are sustained by breeding, training, and related support of the equine industry, which generates over $2.2 billion in annual revenue. Pastime Farms LLC and Ocala serve as host to one of the largest horse shows in the country: H.I.T.S or "Horses in the Sun", a Dressage/Jumper event lasting about two months. It generates some 6 to 7 million dollars for the local Marion County economy each year. The show features classes for over 100 different breeds, including Tennessee Walker, Paso Fino, Morgan horse, Saddlebred, Draft horse and the American Quarter Horse. Other equine events in the area include mounted shooting by the Florida Outlaws, as well as endurance rides, barrel races, extreme cowboy events, jumper shows, trick shows, parades, draft pulls, rodeo events and more.
Many historic homes are preserved in Ocala's large residential Historic District, designated in 1984. East Fort King Street features many excellent examples of Victorian architecture. Ocala structures listed on the National Register of Historic Places include the Coca-Cola Building, the E. C. Smith House, East Hall, the Marion Hotel, Mount Zion A.M.E. Church, the Ritz Historic Inn, and Union Train Station.
Credit for the data above is given to the following website:
en.wikipedia.org/wiki/Ocala,_Florida
© All Rights Reserved - you may not use this image in any form without my prior permission.
Zanzibar. Stone Town.
Chacun a sa place, dans l’espace. Patience et connectivité. L’abandon d’un corps ouvert à la fuite, une stabilité ancrée dans le sol. Le regard d’un prisonnier et celui d’un homme affirmant sa position d’existence.
Zanzibar. Stone Town.
Everyone has their place, in space. Patience and connectivity. The abandonment of a body open to flight, a stability anchored in the ground. The gaze of a prisoner and that of a man affirming his position of existence.
Explore Apr 11, 2009 #429
Focus on the Good
Raise Your Vibration
Everything in the universe is made of energy. What differentiates one form of energy from another is the speed at which it vibrates. For example, light vibrates at a very high frequency, and something like a rock vibrates at a lower frequency but a frequency nonetheless. Human beings also vibrate at different frequencies. Our thoughts and feelings can determine the frequency at which we vibrate, and our vibration goes out into the world and attracts to us energy moving at a similar frequency. This is one of the ways that we create our own reality, which is why we can cause a positive shift in our lives by raising our vibration.
We all know someone we think of as vibrant. Vibrant literally means “vibrating very rapidly.” The people who strike us as vibrant are vibrating at a high frequency, and they can inspire us as we work to raise our vibration. On the other hand, we all know people that are very negative or cynical. These people are vibrating at a lower frequency. They can also be an inspiration because they can show us where we don’t want to be vibrating and why. To discover where you are in terms of vibrancy, consider where you fall on a scale between the most pessimistic person you know and the most vibrant. This is not in order to pass judgment, but rather it is important to know where you are as you begin working to raise your frequency so that you can notice and appreciate your progress.
There are many ways to raise your vibration, from working with affirmations to visualizing enlightened entities during meditation. One of the most practical ways to raise your vibration is to consciously choose where you focus your attention. To understand how powerful this is, take five minutes to describe something you love unreservedly—a person, a movie, an experience. When your five minutes are up, you will noticeably feel more positive and even lighter. If you want to keep raising your vibration, you might want to commit to spending five minutes every day focusing on the good in your life. As you do this, you will train yourself to be more awake and alive. Over time, you will experience a permanent shift in your vibrancy.
#17 - Kim Klassen 's BEYOND LAYERS COURSE - 13/52: "You are already amazing: Beyond Affirmation Brushes and I AM texture"
Brush: Kim Klassen's Beyond Affirmation Brush
Textures: I AM & Now
“Through a transformation of energy, a new understanding may appear. It is like a new birth which must be cared for as if it were a child” (Pogson, 1994).
One of many bronze sculptures on the Taliesin West property all by Crista.
I will be your Father, and you will be my Sons, and Daughters, says the Lord Almighty.
--2 Corinthians 6: 18
Le parc de la Ciutadella est un parc situé dans le centre de Barcelone. Il fut construit sur les terrains laissés par une citadelle détruite en 1868 et qui lui donnent son nom pour l'Exposition universelle de 1888.
Il est situé dans la vieille ville de Barcelone entre la gare de France, l'Arc de Triomphe et la Ville olympique entre les rues Pujades, Picasso et Wellington. Il possède 10 entrées et s'étend sur 17 hectares dont une partie est occupée par le zoo de Barcelone.
Il abrite le parlement de Catalogne et un musée d'Art Moderne et possède des similitudes avec divers jardins européens, les jardins du Luxembourg parisien et le parc de la Tête d'or de Lyon en France par exemple.
Lors de l'Exposition universelle de 1888 le maire Francesc Rius i Taulet chargea Josep Fontserè de l'urbanisation des terrains vagues de la citadelle pour ouvrir la ville au monde international.
Fontserè projeta d'amples jardins pour le repos des Barcelonais affirmant que « les jardins sont aux villes ce que les poumons sont au corps humain ». Il s'inspira d'autres jardins européens ceux de William Kent en Angleterre, d'André Le Nôtre en France, et de villas à Rome et Florence. Il ajouta aux espaces verts une place centrale, des chemins, une fontaine monumentale, deux lacs artificiels, un petit bois, divers éléments ornementaux ainsi que des édifices annexes et des infrastructures aux alentours telles que le marché du Born, des abattoirs, un pont en fer au-dessus de la ligne de chemin de fer et de petites maisons de service1.
Fontserè raconta sa collaboration avec le jeune Antoni Gaudí, qui intervint sur la cascade monumentale, un des points centraux du parc. Gaudí réalisa la partie hydraulique et dessina une grotte artificielle sous la cascade. Cette dernière est ornée de nombreuses sculptures réalisées par les meilleurs sculpteurs sur fer forgé de l'époque : La Cuadriga de l'Aurore, de Rossend Nobas, la naissance de Venus, de Venanci Vallmitjana dont le fronton fut réalisé par Francesc Pagès i Serratosa ; La sculpture Amphitrite, est de Josep Gamot; celle de Neptune et de Léda, sont de Manel Fuxà; Danaé, est de Joan Flotats. Rafael Atché réalisa les quatre Griffons qui crachent de l'eau par la bouche dans la partie inférieure du monument.
Différents bâtiments furent construits pour l'exposition et ont été conservés : le restaurant (connu sous le nom de château des trois dragons) œuvre de Lluís Domènech i Montaner de style néogothique annonçant déjà le modernisme catalan et l'Hibernaculum de Josep Amargós entièrement réalisées en fer et verre, le Musée de géologie Martorell d'Antoni Rovira i Trias et l'umbraculum de Josep Fontserè.
"Passover affirms the great truth that liberty is the inalienable right of every human being."
- Morris Joseph
"Remember this day, on which you went free from Egypt, the house of bondage, how Adonai freed you from it with a mighty hand... : Exodus 13:3 "
- Moses
As always, I appreciate your visits and comments, my friends. Whatever you celebrate - have a great Holiday week...!
Best seen on black - press L or click on image above.
”Need Washing ??
A little girl had been shopping with her Mom in Target. She must have been 6 years old, this beautiful red haired, freckle faced image of innocence. It was pouring outside. The kind of rain that gushes over the top of rain gutters, so much in a hurry to hit the earth it has no time to flow down the spout. We all stood there under the awning and just inside the door of the Target.
We waited, some patiently, others irritated because nature messed up their hurried day. I am always mesmerized by rainfall. I got lost in the sound and sight of the heavens washing away the dirt and dust of the world. Memories of running, splashing so carefree as a child came pouring in as a welcome reprieve from the worries of my day.
The little voice was so sweet as it broke the hypnotic trance we were all caught in 'Mom let's run through the rain,' she said.
'What?' Mom asked.
'Let's run through the rain!' She repeated
'No, honey. We'll wait until it slows down a bit,' Mom replied.
This young child waited about another minute and repeated: 'Mom, let's run through the rain,'
'We'll get soaked if we do,' Mom said.
'No, we won't, Mom.. That's not what you said this morning,' the young girl said as she tugged at her Mom's arm.
This morning? When did I say we could run through the rain and not get wet?
'Don't you remember? When you were talking to Daddy about his cancer, you said, 'If God can get us through this, he can get us through anything!'
The entire crowd stopped dead silent. I swear you couldn't hear anything but the rain. We all stood silently. No one came or left in the next few minutes.
Mom paused and thought for a moment about what she would say. Now some would laugh it off and scold her for being silly. Some might even ignore what was said. But this was a moment of affirmation in a young child's life. A time when innocent trust can be nurtured so that it will bloom into faith.
'Honey, you are absolutely right. Let's run through the rain. If GOD let's us get wet, well maybe we just needed washing,' Mom said.
Then off they ran. We all stood watching, smiling and laughing as they darted past the cars and yes, through the puddles. They held their shopping bags over their heads just in case. They got soaked. But they were followed by a few who screamed and laughed like children all the way to their cars.
And yes, I did. I ran. I got wet.. I needed washing.
Circumstances or people can take away your material possessions, they can take away your money, and they can take away your health. But no one can ever take away your precious memories...So, don't forget to make time and take the opportunities to make memories everyday. To everything there is a season and a time to every purpose under heaven. I HOPE YOU STILL TAKE THE TIME TO RUN THROUGH THE RAIN.
They say it takes a minute to find a special person, an hour to appreciate them, a day to love them, but then an entire life to forget them. Send this to the people you'll never forget and remember to also send it to the person who sent it to you. It's a short message to let them know that you'll never forget them.”
(I don’t know who wrote this story, any one know ?? )
I’ve received this lovely touching story from my dear friend Ron, and I sent it to some friends that loved it and said they all have the right people to send it back to, so I saw I should post it here so every one can read it, and feel free to copy it and send it to any one precious for you and needs your support.
The friendship is all about support and giving a hand to help, or an ear to listen, or a heart to understand, and you absolutely will find many friends in need of you. Find your friends now... they need you ! ツ
NEW! CHAI. Valentine. Available at CHAI Mainstore now. $75L packs this Weeknd only for ShoppeBlk Weekend Sale.
This is part of my Affirmations Board in my FOCUS section. A selection of fave quotes and phrases written on post-its attached to a transparent flyleaf.
I signed myself up for 'Picture Fall' on a whim the other day, and this photo was taken for the 'little reminders' prompt from yesterday. I wasn't sure what I was going to do for this but as Tracy mentioned, it turned out to be serendipitous. I had ordered this gorgeous letterpress print on Etsy last week because the message really spoke to me, and it came in the mail yesterday. How's that for karma? :)
Instead of worrying about what you cannot control, shift your energy to what you can create.
"Roy T. Bennett",
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#bangalore #bangalore_insta #sobangalore #bengaluru #streetphotographyindia #vidhanasoudha #nightclicks #Light #heartofcity #creation #creative #inspiration #inspirational #inspirational_attitude #inspirational_life #inspirational_quotes #inspire #inspiring #life #lifeandliving #life_lessons #life_quotes #living #optimism #optimistic #positive #positive_affirmation #positive_life #positive_thinking #worry
I can't pass such gorgeous hair and not want to make a picture of the beautiful person wearing it !
He was in the company of a lovely woman when I saw them walking towards me. I said hello and asked whether I could make a portrait of him as his hair was simply fabulous. "Don't you think so, too?" I turned to his companion for affirmation. "Of course, I think so!" she replied in a loving voice.
He was sort of taken by surprise by my direct approach and after a slight hesitation he agreed with a friendly smile.
William was way too tall for me to handle, but luckily we happened to be standing on the sidewalk by an outdoor restaurant. I grabbed a nearby chair and asked him kindly to have a seat.
Now that we were at eye level it was easy to focus on his eyes. I also asked him to remove his mirror sunglasses which he did without any hesitation at all.
William is Canadian, visiting Portland only for the weekend.
"Are you from Toronto ... Ontario?" I wondered thinking about my Canadian Flickr friends.
"No, we are from the center where it's cold and miserable," he said mentioning Saskatchewan.
en.wikipedia.org/wiki/Saskatchewan
After making a few portraits of Will, I asked Stephanie to join in. As she put her arms around him, I could immediately feel the love between them, it warmed my heart.
We, human beings, need love to feel at our best, beautiful and confident.
Will is a scaffolder and Stephanie a welder.
Her message to the world is: "Find love!"
His is: "Take it easy!"
The next day after meeting them, I received an email from Stephanie: "It was wonderful meeting you on Hawthorne yesterday - one of the highlights of our Portland adventure :)
I just thought you might like to have these photos I took of you "in action " haha.
You are a very sweet lady and I'm so happy we met! Enjoy your time on this side of the globe."
This is my 404th submission to The Human Family group.
Visit the group here to see more portraits and stories: www.flickr.com/groups/thehumanfamily.
Olafur Eliasson refuse d'indiquer la hauteur de la grue d'où tombe la cascade dans le Grand Canal. "Sa hauteur est parfaite", s'est-il contenté d'affirmer lors d'une conférence de presse, en révélant que l'oeuvre a été conçue pour être exactement dans l'axe du soleil couchant lors du soltice d'été. Selon lui, André Le Notre, le créateur du parc de Versailles, avait imaginé une fontaine monumentale, mais elle n'avait pu être réalisée.
"Je ne vais pas vous révéler la hauteur de la cascade parce qu'on doit laisser le public se faire sa propre idée", a-t-il assuré. Il veut "sortir d'un monde où tout se réduit aux statistiques" et "résister à l'idée selon laquelle nous devons toujours quantifier l'inquantifiable".
Sometimes you need a lil reminder.
Full Blog: dasminejam.blogspot.com/2020/09/unicorn-affirmations.html
I don't agree with graffiti in general, and especially out of context but the sentiment is spot on. Much better than any motivational poster. And if you have neither you can at least be polite and honest.
And yes I do see the irony in taking a photo of someone's else work when it makes this statement but this is more about showcasing the uncredited graffiti and its viewpoint.
Thank you for any and all views, faves, invites to groups, comments and constructive critique. I’m not keen on: invitations to post 1 award 3; copy and paste comments (you know who you are); or links to your work. If you like my images there is a good chance I will like yours and I tend to reciprocate views as a matter of courtesy and personal interest. All my images are my own original work, under my copyright, with all rights reserved. This means asking the owner's permission, and obtaining it, before using the image for ANY purpose.
Le temple d'Horus est un temple égyptien situé à Edfou sur la rive gauche du Nil entre Assouan et Louxor, à 105 km au sud de cette dernière.
Voué au culte d'Horus, il est le plus grand temple de la dynastie des Ptolémées et le deuxième sanctuaire le plus important d'Égypte après Karnak. Construit entre -237 et -57, il est l'un des temples les mieux préservés d'Égypte.
Le dieu de la cité était un dieu faucon, l’Horus de Behedet.
L’importance d’Edfou s’affirme dès la plus haute antiquité. La nécropole archaïque a été retrouvée, et on a découvert dans le désert proche le nom de Ouadjet, l’un des premiers rois de la Ire dynastie.
Edfou doit sa célébrité, non à sa haute antiquité, mais au temple colossal qui s’éleva, à l’époque ptolémaïque, dans la ville.
C’est l’un des temples les mieux conservés d’Égypte et le deuxième édifice en grandeur après Karnak : 137 mètres de longueur, 79 mètres de largeur, 36 mètres de hauteur pour les pylônes.
Le temple fut érigé sur un temple beaucoup plus ancien. Ses travaux de construction furent commencés sous Ptolémée III en -237, pour se terminer sous Tibère, 180 ans plus tard.
Les romains le remanièrent et sa structure est presque semblable à celle de Dendérah. Entièrement construit en grès, ce temple est remarquable par son plan harmonieux aux proportions parfaites, et sa conservation exceptionnelle.
Ensablé, il fut dégagé par l’égyptologue Auguste Mariette.
Comme beaucoup d’édifices religieux de cette époque, le temple était complété par tout un ensemble de constructions, entièrement recouvertes par les maisons du village moderne. Il y a seulement vingt ans, seul le mammisi était dégagé. En 1877, Amélia B. Edwards écrivait :
« Il y a dix ans, seul le sommet des pylônes du grand temple d'Edfou était visible... Ses salles ornées de sculptures étaient ensevelies sous quarante pieds de terrain. Son toit en terrasse n'était qu'un amoncellement de huttes agglutinées, grouillant d'êtres humains, de volailles, de chiens.... »
On pénètre dans le temple par le grand pylône décoré d’énormes reliefs montrant le roi et les dieux ; la cour est entourée d’une colonnade sur trois côtés.
Le grand intérêt de ce temple réside aussi dans ses inscriptions qui donnent par le menu, tous les détails du culte quotidien rendu à Horus et aussi des cérémonies marquant les quatre plus grandes fêtes annuelles. Murs et colonnes racontent les différents rites accomplis par le roi.
Sur le mur d’enceinte, on peut voir la fête célébrant la pose de la première pierre. S’ajoutent les récits des guerres livrées contre Seth par Rê et par Horus et la victoire de ce dernier sur ses ennemis (présentées sous forme d’hippopotames ou de crocodiles). L'imposante façade du pylône affiche les scènes classiques du massacre de grappes d'ennemis par le pharaon brandissant sa massue . Au-dessus de la porte, le disque ailé encadré d'uræus, représente Horus apparaissant entre les deux montagnes de l'horizon, évoquées par les deux massifs du pylône. Ces derniers sont creux et desservis par un escalier accédant au toit, où les prêtres astronomes montaient observer les étoiles.
Face au pylône, un mammisi est consacré au dieu Ihi, fils d'Horus et Hathor, conçu à l'occasion de la Bonne rencontre : chaque année, Hathor de Dendérah venait en bateau rendre visite à son époux Horus, accompagnée de nombreux pèlerins. Cette fête est représentée au revers du pylône.
Deux portiques à chapiteaux composites bordent la grande cour dallée. Au fond se dresse une superbe statue d'Horus faucon coiffé de la double couronne, taillée dans un bloc de granit gris. Elle garde l'entrée de la première salle hypostyle.
À droite, s'ouvre la petite bibliothèque où on conservait les papyri sacrés. En avançant dans le temple, le sol se relève, les plafonds s'abaissent et la lumière décroît, de manière à faire du sanctuaire un lieu obscur et mystérieux.
La deuxième hypostyle, plus réduite, est flanquée à gauche de la chambre des offrandes solides et d'un laboratoire, et à droite de la chambre des offrandes liquides. De la salle des offrandes qui lui succède, un escalier monte à la terrasse où avaient lieu les cérémonies du Nouvel An : les statues d'Horus et d'Hathor, portées en procession, étaient exposées dans un kiosque aux rayons du soleil, pour les recharger en énergie divine.
Le vestibule précédant le sanctuaire communique avec la petite cour du Nouvel An et sa chapelle, d'où partait le cortège.
Un naos en granit patiné au nom de Nectanébo II occupe encore le centre du sanctuaire : là, l'effigie d'Horus, parée et ointe de baumes recevait trois fois par jour un service d'offrandes accompagné de musique et de prières. Le grand-prêtre apposait ensuite sur la porte du naos un sceau d'argile et se retirait en reculant, effaçant les traces de ses pas. L'une des chapelles entourant le sanctuaire abrite une réplique de la barque sacrée .
La deuxième salle hypostyle donne accès au déambulatoire compris entre l'enceinte et le mur du temple, ponctué de gargouilles à tête de lion.
L'escalier du nilomètre se trouve du côté est ; la paroi Ouest relate le combat d'Horus contre Seth. Chaque année, les prêtres célébraient la Fête de la Victoire d'Horus, en transperçant et dépeçant des effigies de Seth, hippopotame en cire et en pâte à gâteau.
This vintage photo depicts the Panting Wolf Post Dedicated at the last potlatch held on Japonski Island near Sitka on December 23, 1904. The hosts of the potlatch, the Kaagwaantaan clan, affirmed their social status by dedicating five monumental wooden carvings. The Panting Wolf house post was raised up by pulleys and attached to the front of Jacob Yarkon's (Xeitxutch) World house.
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Potlatches
Potlatches are among the most distinctive cultural expressions of the Native American peoples of the Northwest Pacific Coasts of the United States and Canada.
Practiced by communities as far north as the Ingalik of Central Alaska and as far south as the Makah of Washington State, they are perhaps best known among the Tlingit, Haida, Tsimshian, Nootka, Salish, and Kwakwaka’wakw peoples.
Potlatches are extravagant feasts where goods are given away or sometimes destroyed to enhance social prestige. The basic principle underlying the potlatch is reciprocity and balance as the host clan regales the clans from the opposite moiety with songs, dances, speeches, food, and gifts. Traditionally, they take place in very specific cultural contexts such as a memorial for a deceased relative, the rebuilding of a clan house, or the dedication of a totem pole.
Today, potlatches are also held for other reasons such as marking important anniversaries, graduations, and personal accomplishments. Among the Tlingit, however, the memorial potlatch (koo.éex’) remains the principal one.
As Sergei Kan points out, they are not just about representing the social order; they also constitute key cultural values and principles of honor and mutual support. By hosting elaborate potlatches, individuals and clans maintain and gain status and recogni-tion within the community. The potlatch is thus a complex and multi-layered communication system where participants express their relationships among themselves, with their ancestors, and with their future generations.
Although there is variation across communities, memorial potlatches are structured according to a standard protocol. They generally begin with the hosts welcoming the guests, and they quickly move into the mourning period where the hosts sing mourning songs.
To alleviate their hosts’ grief, the guest clans immediately respond by singing songs, holding up their clan at.óow, and making consolation speeches. The potlatch then shifts to a more celebra-tory and joyous mood with dancing, the distribution of individual “fire dishes” of food for the ancestors,and the serving of a traditional meal.
At this time, the hosts distribute food and small gifts and recognize individual guests with gifts of fruit baskets. Throughout this period the guests and family members give small amounts of money to members of the host clan with whom they have a special relationship. The hosts gather this money and announce each gift, and they then give new clan names to newborn children and individuals being adopted.
Near the end of the potlatch, the hosts publicly recognize everyone who helped and supported them in their time of grief with a gift of money and sometimes a special gift such as a blanket. After all the money and gifts have been distributed, the guests generally perform a closing dance to thank the hosts.
At the turn of the 20th century, the Tlingit people experienced profound social changes. U.S. citizenship, social justice, and Christianity were topics of popular debate. Some clan chiefs and housemasters became convinced that the time had come for their people to abandon their old traditions and customs.
In Sitka, the territorial capital of Alaska, 80 Christian Indians, many of them Presbyterians, formed an organization called the “New Covenant League” that eventually became the Alaska Native Brotherhood and Alaska Native Sisterhood. The league was committed to ending such customs as plural marriages, inter-clan indemnity claims, uncle-nephew inheritance laws, and potlatching.
In 1902, several members approached Governor John G. Brady, a former Presbyterian missionary, and requested that he issue a proclamation that would “command all natives to changed and that if they did not they should be punished.”
Like other missionaries and government officials, Governor Brady considered the potlatch a practice that perpetuated prejudice, superstition, clan rivalry, and retarded progress.
He was committed to breaking up the offensive clan system and replacing it with the independent family unit, but he was not eager to impose legal sanctions.
Therefore, in a dramatic gesture, Brady decided to endorse one “last potlatch” at Sitka where Tlingit people from across southeast Alaska could gather and discuss their future. He appealed to the U.S. Secretary of the Interior, Ethan Allen Hitchcock, to secure the necessary funds with the justification that the event would “result in a lasting good to the people them-selves and would save the United States many thou-sands of dollars in the way of criminal prosecution.”
One of the most prominent members of the New Covenant League was James Jackson (Anaaxoots), the head of the Kaagwaantaan clan. Other likely members were Augustus Bean (K’alyaan Eesh), Paddy Parker (Yaanaxnahoo), and Jacob Yarkon (Xeitxut’ch)—all high-ranking members of the Sitka Kaagwaantaan clan and part of the new vanguard of wealthy, educated Tlingit, who had been Brady’s allies and had served on the Indian Police Force.
Obligated to host a major potlatch, but not wanting to jeopardize their good relations with Brady, they endorsed his last potlatch idea and agreed to serve as hosts.
The “last potlatch” was held on December 23, 1904, and lasted four weeks. It officially began with the grand arrival at Japonski Island (just south of Sitka) of the Raven side guests in traditional dugout canoes flying American flags.
The Raven clans included the Deisheetaan of Angoon, the T’akdeintaan of Huna, and the Gaanaxteidí of Klukwan. The potlatch consisted of consecutive days of alternating feasts and dancing.
The Kaagwaantaan clan hosts honored their guests with great quantities of food. According to the Daily Alaskan (Dec. 29, 1904),“Every morning and afternoon there is a great feast and only one article is served …. At the feasts the man or woman who can eat the most is regarded as the special hero of the occasion and he receives an extra allowance of the good things it is within the power of the hosts to bestow.”
The Kaagwaantaan clan hosts affirmed their social status by dedicating five monumental wooden carvings. They dedicated the Multiplying Wolf screen and two house posts carved by Silver Jim (Kichxook) and installed them in James Jackson’s Wolf house. They installed two other Wolf posts carved by Rudolf Walton in Augustus Bean’s Eagle house. The Panting Wolf house post was raised up by pulleys and attached to the front of Jacob Yarkon’s World house.
They publicly validated all these objects with proper Tlingit protocol. For example, the Daily Alaskan (Jan. 13, 1905) reported that Chilkoot Jack received $270 in cash, 100 blankets, 10 large boxes of provi-sions, and 7 coal oil cans filled with candlefish oil.
Governor Brady had hoped that his “last potlatch” would help end clan factionalism and further his assimilationist agenda. Ironically, it seems to have had the opposite effect.
The Daily Alaskan (Dec. 29, 1904) observed that “one of the results of the potlatch has been to create enthusiasm among those Indians who still profess faith in the beliefs, superstitions, traditions and customs of the natives, as opposed to those who have forsaken them for the Christian faith.”
Many of the traditionalists used the potlatch to educate the younger generation: “the old Indians who never took kindly to the white man’s religion are happy, and they are using the opportunity to impress upon the younger members of the tribe what they regard as the necessity of maintaining their old customs and traditions.”
Although they were sympathetic to some of Brady’s goals, it is clear that the Kaagwaantaan clan leaders did not support the end of potlatching.
According to anthropologist Sergei Kan, unpublished records in Sitka’s Presbyterian archives indicate, for instance, that James Jackson continued to practice “the old customs” after 1904.
Indeed, the Tlingit people never fully abandoned potlatching. Many communities continued the practice in secret or masked it by combining it with American holidays and social events. These covert strategies seem to have placated Governor Brady since potlatching was never outlawed, as it was in Canada. Today memorial potlatching is enjoying a strong resurgence, and the CCTHITA maintains a calendar of these events.
www.penn.museum/sites/expedition/the-centennial-potlatch/
(Notes from University of Pennsylvania, Expedition Magazine Vol 47 No 2 Summer 2005)