My daughter (above) has spent the past hour wandering around the house with a facepack. Apparently, it's good for removing toxins and stuff from one's complexion. What response would this 50-something Dad attract if he did the same?

Parvati (Devanagari: पार्वती, IAST: Pārvatī) is the Hindu goddess of love, fertility and devotion. She is the goddess of divine strength and power. She is the gentle and nurturing aspect of the Hindu goddess Shakti. She is the mother goddess in Hinduism and has many attributes and aspects. Each of her aspects is expressed with a different name, giving her over 100 names in regional Hindu mythologies of India. Along with Lakshmi (goddess of wealth and prosperity) and Saraswati (goddess of knowledge and learning), she forms the trinity of Hindu goddesses.

 

Parvati is the wife of the Hindu deity Shiva - the destroyer, recycler and regenerator of universe and all life. She is the daughter of the mountain king Himavan and mother Mena. Parvati is the mother of Hindu deities Ganesha and Karttikeya. She is also the mother of Ashokasundari, whose husband was Nahusha Her elder sister is the goddess Ganges. Some communities also believe her to be the adopted sister of Vishnu.

 

With Śiva, Pārvatī is a central deity in the Saivism sect of Hinduism. In Hindu belief, she is the recreative energy and power of Śiva, and she is the cause of a bond that connects all beings and a means of their spiritual release. In Hindu temples dedicated to her and Śiva, she is symbolically represented as argha or yoni. She is found extensively in ancient Indian literature, and her statues and iconography grace ancient and medieval era Hindu temples all over South Asia and Southeast Asia.

 

ETYMOLOGY AND NOMENCLATURE

Parvata is one of the Sanskrit words for "mountain"; "Parvati" derives her name from being the daughter of king Himavan (also called Himavat, Parvat) and mother Mena. King Parvat is considered lord of the mountains and the personification of the Himalayas; Parvati implies "she of the mountain".

 

Parvati is known by many names in Hindu literature. Other names which associate her with mountains are Shailaja (Daughter of the mountains), Adrija or Nagajaa or Shailaputri (Daughter of Mountains), 'Haimavathi' (Daughter of Himavan) and 'Girija' or 'Girirajaputri' (Daughter of king of the mountains).

 

The Lalita sahasranama contains a listing of 1,000 names of Parvati (as Lalita). Two of Parvati's most famous epithets are Uma and Aparna. The name Uma is used for Sati (Shiva's first wife, who is reborn as Parvati) in earlier texts,[which?] but in the Ramayana, it is used as a synonym for Parvati. In the Harivamsa, Parvati is referred to as Aparna ('One who took no sustenance') and then addressed as Uma, who was dissuaded by her mother from severe austerity by saying u mā ('oh, don't'). She is also Ambika ('dear mother'), Shakti (power), Mataji ('revered mother'), Maheshwari ('great goddess'), Durga (invincible), Bhairavi ('ferocious'), Bhavani ('fertility and birthing'), Shivaradni ('Queen of Shiva'), and many hundreds of others. Parvati is also the goddess of love and devotion, or Kamakshi; the goddess of fertility, abundance and food/nourishment, or Annapurna.

 

The apparent contradiction that Parvati is addressed as the fair one, Gauri, as well as the dark one, Kali or Shyama, has been explained by the following legend: Once, Shiva rebuked Parvati about her dark complexion. An angry Parvati left him and underwent severe austerities to become fair-complexioned as a boon from Brahma. Regional stories of Gauri suggest an alternate origin for Gauri's name and complexion. In parts of India, Gauri's skin color is golden or yellow in honor of her being the goddess of ripened corn/harvest and of fertility.

 

Parvati is sometimes spelled as Parvathy or Parvaty

 

HISTORY

Some scholars hold that Parvati does not explicitly appear in Vedic literature, though the Kena Upanishad (3.12) contains a goddess called Uma-Haimavati. Sayana's commentary in Anuvaka, however, identifies Parvati in Talavakara Upanishad, suggesting her to be the same as Uma and Ambika in the Upanishad, referring to Parvati is thus an embodiment of divine knowledge and the mother of the world.

 

She appears as the shakti, or essential power, of the Supreme Brahman. Her primary role is as a mediator who reveals the knowledge of Brahman to the Vedic trinity of Agni, Vayu, and Indra, who were boasting about their recent defeat of a group of demons. But Kinsley notes: "it is little more than conjecture to identify her with the later goddess Satī-Pārvatī, although [..] later texts that extol Śiva and Pārvatī retell the episode in such a way to leave no doubt that it was Śiva's spouse.." Sati-Parvati appears in the epic period (400 BC–400 AD), as both the Ramayana and the Mahabharata present Parvati as Shiva's wife. However, it is not until the plays of Kalidasa (5th-6th centuries) and the Puranas (4th through the 13th centuries) that the myths of Sati-Parvati and Shiva acquire more comprehensive details. Kinsley adds that Parvati may have emerged from legends of non-aryan goddesses that lived in mountains. While the word Umā appears in earlier Upanisads, Hopkins notes that the earliest known explicit use of the name Pārvatī occurs in late Haṃsa Upanishad (Yoga / Shukla Yajurveda).

 

Weber suggests that just like Shiva is a combination of various Vedic gods Rudra and Agni, Parvati in Puranas text is a combination of wives of Rudra and Agni. In other words, the symbolism, legends and characteristics of Parvati evolved over time fusing Uma, Haimavati, Ambika in one aspect and the more ferocious, destructive Kali, Gauri, Nirriti in another aspect. Tate suggests Parvati is a mixture of the Vedic goddesses Aditi and Nirriti, and being a mountain goddess herself, was associated with other mountain goddesses like Durga and Kali in later traditions.

 

LEGENDS

The Puranas tell the tale of Sati's marriage to Shiva against her father Daksha's wishes. Her father Daksha and her husband Shiva do not get along, and ignore the wishes of Sati. The conflict gets to a point where Daksha does not invite Shiva to a major fire ceremony, and Shiva does not come on his own, humiliating Sati. She self-immolates herself at Daksha's yajna ceremony. This shocks Shiva, who is so grief-stricken that he loses interest in worldly affairs, retires and isolates himself in the mountains, in meditation and austerity. Sati is then reborn as Parvati, the second daughter of Himavat and Minavati, and is named Parvati, or "she from the mountains", after her father Himavant who is also called king Parvat.

 

According to different versions of her myths, the maiden Parvati resolves to marry Shiva. Her parents learn of her desire, discourage her, but she pursues what she wants. She approaches the god Kama - the Hindu god of desire, erotic love, attraction and affection, and asks him to help her. Kama reaches Shiva and shoots an arrow of desire. Shiva opens his third eye in his forehead and burns the cupid Kama to ashes. Parvati does not lose her hope or her resolve to win over Shiva. She begins to live in mountains like Shiva, engage in the same activities as Shiva, one of asceticism, yogin and tapas. This draws the attention of Shiva and awakens his interest. He meets her in disguised form, tries to discourage her, telling her Shiva's weaknesses and personality problems. Parvati refuses to listen and insists in her resolve. Shiva finally accepts her and they get married. Shiva dedicates the following hymn in Parvati's honor,

 

I am the sea and you the wave,

You are Prakṛti, and I Purusha.

– Translated by Stella Kramrisch

 

After the marriage, Parvati moves to Mount Kailash, the residence of Shiva. To them are born Kartikeya (also known as Skanda and Murugan) - the leader of celestial armies, and Ganesha - the god of wisdom that prevents problems and removes obstacles.

 

ALTERNATE STORIES

There are many alternate Hindu legends about the birth of Parvati and how she got married with Shiva. In the Harivamsa, for example, Parvati has two younger sisters called Ekaparna and Ekapatala. According to Devi Bhagawata Purana and Shiva Purana mount Himalaya and his wife Mena appease goddess Adi Shakti. Pleased, Adi Shakti herself is born as their daughter Parvati. Each major story about Parvati's birth and marriage to Shiva has regional variations, suggesting creative local adaptations. In another version of Shiva Purana, Chapters 17 through 52, cupid Kama is not involved, and instead Shiva appears as a badly behaved, snake wearing, dancing, disheveled beggar who Parvati gets attracted to, but who her parents disapprove of. The stories go through many ups and downs, until Parvati and Shiva are finally married.

 

Kalidasa's epic Kumarasambhavam ("Birth of Kumara") describes the story of the maiden Parvati who has made up her mind to marry Shiva and get him out of his recluse, intellectual, austere world of aloofness. Her devotions aimed at gaining the favor of Shiva, the subsequent annihilation of Kamadeva, the consequent fall of the universe into barren lifelessness, regeneration of life, the subsequent marriage of Parvati and Shiva, the birth of Kartikeya, and the eventual resurrection of Kamadeva after Parvati intercedes for him to Shiva.

 

ICONOGRAPHY AND SYMBOLISM

Parvati, the gentle aspect of Devi Shakti, is usually represented as fair, beautiful and benevolent. She typically wears a red dress (often a sari), and may have a head-band. When depicted alongside Shiva, she generally appears with two arms, but when alone, she may be depicted having four. These hands may hold a conch, crown, mirror, rosary, bell, dish, farming tool such as goad, sugarcane stalk, or flowers such as lotus. One of her arms in front may be in the Abhaya mudra (hand gesture for 'fear not'), one of her children, typically Ganesha, is on her knee, while her elder son Skanda may be playing near her in her watch. In ancient temples, Parvati's sculpture is often depicted near a calf or cow - a source of food. Bronze has been the chief metal for her sculpture, while stone is next most common material.

 

A common symbolism for her and her husband Siva is in the form of yoni and linga respectively. In ancient literature, yoni means womb and place of gestation, the yoni-linga metaphor represents "origin, source or regenerative power". The linga-yoni icon is widespread, found in Shaivite Hindu temples of South Asia and Southeast Asia. Often called Shivalinga, it almost always has both linga and the yoni. The icon represents the interdependence and union of feminine and masculine energies in recreation and regeneration of all life. In some temples and arts, the iconographic representation of sexuality, fertility and energies of Parvati and Shiva, is more explicit, where they are shown in various stages of their sexual form and union.

 

In some iconography Parvati's hands may symbolically express many mudras (symbolic hand gestures). For example, Kataka — representing fascination and enchantment, Hirana — representing the antelope, the symbolism for nature and the elusive, Tarjani by the left hand — representing gesture of menace, and Chandrakal — representing the moon, a symbol of intelligence. Kataka is expressed by hands closer to the devotee; Tarjani mudra with the left hand, but far from devotee.

 

If Parvati is depicted with two hands, Kataka mudra — also called Katyavalambita or Katisamsthita hasta — is common, as well as Abhaya (fearlessness, fear not) and Varada (beneficence) are representational in Parvati's iconography. Parvati's right hand in Abhaya mudra symbolizes "do not fear anyone or anything", while her Varada mudra symbolizes "wish fulfilling". In Indian dance, Parvatimudra is dedicated to her, symbolizing divine mother. It is a joint hand gesture, and is one of sixteen Deva Hastas, denoting most important deities described in Abhinaya Darpana. The hands mimic motherly gesture, and when included in a dance, the dancer symbolically expresses Parvati. Alternatively, if both hands of the dancer are in Ardhachandra mudra, it symbolizes an alternate aspect of Parvati.

 

Parvati is sometimes shown with golden or yellow colour skin, particularly as goddess Gauri, symbolizing her as the goddess of ripened harvests.

 

In some manifestations, particularly as angry, ferocious aspects of Shakti such as Durga or Kali, she has eight or ten arms, and is astride on a tiger or lion. In benevolent manifestation such as Kamakshi or Meenakshi, a parrot sits near her right shoulder symbolizing cheerful love talk, seeds and fertility. A parrot is found with Parvati's form as Kamakshi - the goddess of love, as well as Kama - the cupid god of desire who shoots arrows to trigger infatuation. A crescent moon is sometimes included near the head of Parvati particularly the Kamakshi icons, for her being half of Shiva. In South Indian legends, her association with the parrot began when she won a bet with her husband and asked for his loin cloth as victory payment; Shiva keeps his word but first transforms her into a parrot. She flies off and takes refuge in the mountain ranges of south India, appearing as Meenakshi (also spelled Minakshi).

 

SYMBOLISM OF MANY ASPECTS FOR THE SAME GODDESS

Parvati is expressed in many roles, moods, epithets and aspects. In Hindu mythology, she is an active agent of the universe, the power of Shiva. She is expressed in nurturing and benevolent aspects, as well as destructive and ferocious aspects. She is the voice of encouragement, reason, freedom and strength, as well as of resistance, power, action and retributive justice. This paradox symbolizes her willingness to realign to Pratima (reality) and adapt to needs of circumstances in her role as the universal mother. She identifies and destroys evil to protect (Durga), as well as creates food and abundance to nourish (Annapurna).

 

MANIFESTATIONS AND ASPECTS OF PARVATI

Several myths present alternate aspects of Parvati, such as the ferocious, violent aspect as Shakti and related forms. Shakti is pure energy, untamed, unchecked and chaotic. Her wrath crystallizes into a dark, blood-thirsty, tangled-hair Goddess with an open mouth and a drooping tongue. This goddess is usually identified as the terrible Mahakali or Kali (time). In Linga Purana, Parvati metamorphoses into Kali, on the request of Shiva, to destroy a female asura (demoness) Daruka. Even after destroying the demoness, Kali's wrath could not be controlled. To lower Kali's rage, Shiva appeared as a crying baby. The cries of the baby raised the maternal instinct of Kali who resorts back to her benign form as Parvati.

 

In Skanda Purana, Parvati assumes the form of a warrior-goddess and defeats a demon called Durg who assumes the form of a buffalo. In this aspect, she is known by the name Durga. Although Parvati is considered another aspect of Sakti, just like Kali, Durga, Kamakshi, Meenakshi, Gauri and many others in modern day Hinduism, many of these “forms” or aspects originated from regional legends and traditions, and the distinctions from Parvati are pertinent.

 

In Devi Bhagwata Purana, Parvati is the lineal progenitor of all other goddesses. She is the one who is the source of all forms of goddesses. She is worshiped as one with many forms and names. Her different moods bring different forms or incarnation. For example,

 

- Durga is a demon-fighting form of Parvati, and some texts suggest Parvati took the form of Durga to kill the demon Durgamasur.

- Kali is another ferocious form of Parvati, as goddess of time and change, with mythological origins in the deity Nirriti.

- Chandi is the epithet of Durga, considered to be the power of Parvati; she is black in color and rides on a lion, slayer of the demon Mahishasura.

- Ten Mahavidyas are the ten aspects of Shakti. In tantra, all have importance and all are different aspects of Parvati.

- 52 Shakti Peethas suggests all goddesses are expansions of the goddess Parvati.

- Navadurga nine forms of the goddess Parvati

- Meenakshi, goddess with eyes shaped like a fish.

- Kamakshi, goddess of love and devotion.

- Lalita, the playful Goddess of the Universe, she is a form of the Devi Parvati.

- Akhilandeshwari, found in coastal regions of India, is the goddess associated with water.

- Annapurna is the representation of all that is complete and of food.

 

STORY OF THE ATTAINMENT OF THE NAME DURG

A demon named Durgasur has undertook severe austerities to please Lord Brahma. Being pleased with his penances, as his blessing, he cannot be killed by any man, demon, God or male deity. He gathered his large demonic forces and declared war against the Gods. Durgasur and Indra's forces engage in a severe war. In the end, Durgasur defeats Indra and he, with the help of his fellow demons take over the three worlds, and the heavens. Durgasur, full of pride and arrogance started tormenting and torturing innocent common people like villagers, wrecking down the religious schools and students and teachers, molesting other sages' wives and wreaking atrocities on the sages also. All the Gods, sages, their wives, the common people, teachers and students, united all together went to Kailash to seek the refuge of Lord Shiva but he was not there. They turned to his wife, Goddess Parvati, the full form of the Adi Parashakti and requested her to kill Durgasur and put an end to his every bad deed and atrocity. Parvati, hearing the atrocities of Durgasur, felt compassionate for them and she promised to stop Durgasur. She invokes Kaalratri, in the form of a damsel and requested her to go to Durgasur and ordered him to stop his atrocities on vulnerable people and Gods. Kaalratri went to Durgasur's territory and she requested him to cease his every atrocity on the Gods and common people and to hand over their respective abodes by going back to where he came from or get slayed at the hands of Parvati. Hearing this, Durgasur becomes very annoyed and he refuses to stop his atrocities on the world and ordered his demons to catch hold of the female messenger. Kaalratri turns furious and so she grew massive in her original form. She tells him to make preparations for his death. Durgasur becomes angry and commands his army to attack Kailash. Kaalratri returns to Parvati and conveyed the complete message to her. Parvati, on hearing this, she tells Durgasur that his last wish is to fight and his wish would be fulfilled by her. Parvati infuses Kaalratri in her body. Then, she, along with the Gods and common people approach the battlefield, waiting for Durgasur. Parvati creates a luminous circle around them as their own safety shield. Durgasur and his corps reach the battleground. Seeing them, Parvati sprouted a thousand hands holding all types of weapons. Seeing this thousand-armed form of Parvati, the Gods and common people express their gratitude awhile Durgasur and his army corps are terrified. At her call, all her Shaktis, of female forms, having a number of arms, weapons, wearing different garments, ornaments and apparels, riding on all kinds of animal vehicles, some of them were fierce and some of them were beneficial, they were of different names and incarnations and/or forms of Adi Parashakti. The war began. The fierce forms of Parvati managed to destroy the entire demon army of Durgasur. A severe duel erupted between Parvati and Durgasur. In the end, Parvati kills Durgasur with her trident. Seeing this end or Durgasur, the Gods and common people's joy knew no bounds and started worshipping her. She was instantly pleased. The Gods gave Parvati the name Durga as she killed demon Durgasur. Parvati restored all the worlds and abodes of the Gods and common people and the worlds were at peace again.

 

LEGENDS

Parvati's legends are intrinsically related to Shiva. In the goddess-oriented Shakta texts, that she is said to transcend even Shiva, and is identified as the Supreme Being. Just as Shiva is at once the presiding deity of destruction and regeneration, the couple jointly symbolise at once both the power of renunciation and asceticism and the blessings of marital felicity.

 

Parvati thus symbolises many different virtues esteemed by Hindu tradition: fertility, marital felicity, devotion to the spouse, asceticism, and power. Parvati represents the householder ideal in the perennial tension in Hinduism in the household ideal and the ascetic ideal, the later represented by Shiva. Renunciation and asceticism is highly valued in Hinduism, as is householder's life - both feature as Ashramas of an ethical and proper life. Shiva is portrayed in Hindu legends as the ideal ascetic withdrawn in his personal pursuit in the mountains with no interest in social life, while Parvati is portrayed as the ideal householder keen about the nurturing worldly life and society. Numerous chapters, stories and legends revolve around their mutual devotion as well as disagreements, their debates on Hindu philosophy as well as the proper life.

 

Parvati tames Shiva, the "great unpredictable madman" with her presence. When Shiva does his violent, destructive Tandava dance, Parvati is described as calming him or complementing his violence by slow, creative steps of her own Lasya dance. In many myths, Parvati is not as much his complement as his rival, tricking, seducing, or luring him away from his ascetic practices.

 

Three images are central to the mythology, iconography and philosophy of Parvati: the image of Shiva-Shakti, the image of Shiva as Ardhanarishvara (the Lord who is half-woman), and the image of the linga and the yoni. These images that combine the masculine and feminine energies, Shiva and Parvati, yield a vision of reconciliation, interdependence and harmony between the way of the ascetic and that of a householder.

 

The couple is often depicted in the Puranas as engaged in "dalliance" or seated on Mount Kailash debating concepts in Hindu theology. They are also depicted as quarreling. In stories of the birth of Kartikeya, the couple is described as love-making; generating the seed of Shiva. Parvati's union with Shiva symbolises the union of a male and female in "ecstasy and sexual bliss". In art, Parvati is depicted seated on Shiva's knee or standing beside him (together the couple is referred to as Uma-Maheshvara or Hara-Gauri) or as Annapurna (the goddess of grain) giving alms to Shiva.

 

Shaiva approaches tend to look upon Parvati as the Shiva's submissive and obedient wife. However, Shaktas focus on Parvati's equality or even superiority to her consort. The story of the birth of the ten Mahavidyas (Wisdom Goddesses) of Shakta Tantrism. This event occurs while Shiva is living with Parvati in her father's house. Following an argument, he attempts to walk out on her. Her rage at Shiva's attempt to walk out, manifests in the form of ten terrifying goddesses who block Shiva's every exit.

 

David Kinsley states,

 

The fact that [Parvati] is able to physically restrain Shiva dramatically makes the point that she is superior in power. The theme of the superiority of the goddess over male deities is common in Shakta texts, [and] so the story is stressing a central Shakta theological principle. ... The fact that Shiva and Parvati are living in her father's house in itself makes this point, as it is traditional in many parts of India for the wife to leave her father's home upon marriage and become a part of her husband's lineage and live in his home among his relatives. That Shiva dwells in Parvati's house thus implies Her priority in their relationship. Her priority is also demonstrated in her ability, through the Mahavidyas, to thwart Shiva's will and assert her own.

 

ARDHANARISVARA

Parvati is portrayed as the ideal wife, mother and householder in Indian legends. In Indian art, this vision of ideal couple is derived from Shiva and Parvati as being half of the other, represented as Ardhanarisvara. This concept is represented as an androgynous image that is half man and half woman, Siva and Parvati respectively.

 

IDEAL WIFE, MOTHER AND MORE

In Hindu Epic the Mahabharata, she as Umā suggests that the duties of wife and mother are as follows - being of a good disposition, endued with sweet speech, sweet conduct, and sweet features. Her husband is her friend, refuge, and god. She finds happiness in physical, emotional nourishment and development of her husband and her children. Their happiness is her happiness. She is positive and cheerful even when her husband or her children are angry, she's with them in adversity or sickness. She takes interest in worldly affairs, beyond her husband and family. She is cheerful and humble before family, friends, and relatives; helps them if she can. She welcomes guests, feeds them and encourages righteous social life. Her family life and her home is her heaven, Parvati declares in Book 13 of the Mahabharata.

 

Rita Gross states, that the view of Parvati only as ideal wife and mother is incomplete symbolism of the power of the feminine in mythology of India. Parvati, along with other goddesses, are involved with the broad range of culturally valued goals and activities. Her connection with motherhood and female sexuality does not confine the feminine or exhaust their significance and activities in Hindu literature. She is balanced by Durga, who is strong and capable without compromising her femaleness. She manifests in every activity, from water to mountains, from arts to inspiring warriors, from agriculture to dance. Parvati's numerous aspects, states Gross, reflects the Hindu belief that the feminine has universal range of activities, and her gender is not a limiting condition.

 

GANESHA

Hindu literature, including the Matsya Purana, Shiva Purana, and Skanda Purana, dedicates many stories to Parvati and Shiva and their children. For example, one about Ganesha is:

 

Once, while Parvati wanted to take a bath, there were no attendants around to guard her and stop anyone from accidentally entering the house. Hence she created an image of a boy out of turmeric paste which she prepared to cleanse her body, and infused life into it, and thus Ganesha was born. Parvati ordered Ganesha not to allow anyone to enter the house, and Ganesha obediently followed his mother's orders. After a while Shiva returned and tried to enter the house, Ganesha stopped him. Shiva was infuriated, lost his temper and severed the boy's head with his trident. When Parvati came out and saw her son's lifeless body, she was very angry. She demanded that Shiva restore Ganesha's life at once. Shiva did so by attaching an elephant's head to Ganesha's body, thus giving rise to the elephant headed deity.

 

PARVATI IN CULTURE

FESTIVALS

Teej is a significant festival for Hindu women, particularly in northern and western states of India. Parvati is the primary deity of the festival, and it ritually celebrates married life and family ties.[68] It also celebrates the monsoon. The festival is marked with swings hung from trees, girls playing on these swings typically in green dress (seasonal color of crop planting season), while singing regional songs. Historically, unmarried maidens prayed to Parvati for a good mate, while married women prayed for the well-being of their husbands and visited their relatives. In Nepal, Teej is a three-day festival marked with visits to Shiva-Parvati temples and offerings to linga. Teej is celebrated as Teeyan in Punjab.

 

The Gowri Habba, or Gauri Festival, is celebrated on the seventh, eighth, and ninth of Bhadrapada (Shukla paksha). Parvati is worshipped as the goddess of harvest and protectress of women. Her festival, chiefly observed by women, is closely associated with the festival of her son Ganesha (Ganesh Chaturthi). The festival is popular in Maharashtra and Karnataka.

 

In Rajasthan the worship of Gauri happens during the Gangaur festival. The festival starts on the first day of Chaitra the day after Holi and continues for 18 days. Images of Issar and Gauri are made from Clay for the festival.

 

Another popular festival in reverence of Parvati is Navratri, in which all her manifestations are worshiped over nine days. Popular in eastern India, particularly in Bengal, Odisha, Jharkhand and Assam, as well as several other parts of India such as Gujarat, this is associated with Durga, with her nine forms i.e. Shailputri, Brahmacharini, Chandraghanta, Kushmanda, Skandmata, Katyani, Kalratri, Mahagauri, Siddhidaatri.

 

Another festival Gauri tritiya is celebrated from Chaitra shukla third to Vaishakha shukla third. This festival is popular in Maharashtra and Karnataka, less observed in North India and unknown in Bengal. The unwidowed women of the household erect a series of platforms in a pyramidal shape with the image of the goddess at the top and a collection of ornaments, images of other Hindu deities, pictures, shells etc. below. Neighbours are invited and presented with turmeric, fruits, flowers etc. as gifts. At night, prayers are held by singing and dancing. In south Indian states such as Tamil Nadu and Andhra Pradesh, the Kethara Gauri Vritham festival is celebrated on the new moon day of Diwali and married women fast for the day, prepare sweets and worship Parvati for the well-being of the family.

 

ARTS

From sculpture to dance, many Indian arts explore and express the stories of Parvati and Shiva as themes. For example, Daksha Yagam of Kathakali, a form of dance-drama choreography, adapts the romantic episodes of Parvati and Shiva.

 

The Gauri-Shankar bead is a part of religious adornment rooted in the belief of Parvati and Shiva as the ideal equal complementing halves of the other. Gauri-Shankar is a particular rudraksha (bead) formed naturally from the seed of a tree found in India. Two seeds of this tree sometimes naturally grow as fused, and considered to symbolic of Parvati and Shiva. These seeds are strung into garlands and worn, or used in malas (rosaries) for meditation in Saivism.

 

NUMISMATICS

Ancient coins from Bactria (Central Asia) of Kushan Empire era, and those of king Harsha (North India) feature Uma. These were issued sometime between 3rd- and 7th-century AD. In Bactria, Uma is spelled Ommo, and she appears on coins holding a flower. On her coin is also shown Shiva, who is sometimes shown in ithyphallic state holding a trident and standing near Nandi (his vahana). On coins issued by king Harsha, Parvati and Shiva are seated on a bull, and the reverse of the coin has Brahmi script.

 

MAJOR TEMPLES

Parvati is often present with Shiva in Saivite Hindu temples all over South Asia and southeast Asia.

 

Some locations (Pithas or Shaktipeeths) are considered special because of their historical importance and legends about their origins in the ancient texts of Hinduism. Other locations celebrate major events in Parvati's life. For example, the World Heritage Site at Khajuraho is one such site where Parvati temple is found. It is one of the four major sites associated with Parvati, along with Kedarnath, Kashi and Gaya. The temple’s origin in Khajuraho has been traced to the Hindu mythology in which Khajuraho is the place where Parvati and Shiva got married.

 

One interpretation of the (Khajuraho) temples is that they were built to celebrate the mythic marriage of Shiva and his consort. At Maha-shivratri in Khajuraho, they celebrate the marriage of Shiva and Parvati. (...) The erotic sculptures are a metaphor of the union of Shiva and Parvati, the marriage of two cosmic forces, of light and darkness, sky and earth, spirit and matter.

 

Each major Parvati-Shiva temple is a pilgrimage site that has an ancient legend associated with it, which is typically a part of a larger story that links these Hindu temples across South Asia with each other.

 

Some temples where Parvati can be found include Annapurneshwari temple, Attukal Bhagavathy temple, Chengannur Mahadeva temple, Oorpazhachi Kavu, Valiya Kavu Sree Parvathi Devi temple, Sri Kiratha Parvathi Temple Paramelpadi, Korechal Kirathaparvathi temple, Sree Bhavaneeswara Temple Palluruthy, Irumkulangara Durga Devi Temple, Chakkulathukavu Temple, Nedukavu Parvathy Devi temple, Karthyayani Devi temple, Varanad Devi Temple, Veluthattu Vadakkan Chowa temple, Thiruvairanikulam Mahadeva temple, Ardhanariswara temple and Kadampuzha Devi Temple in Kerala, Meenakshi Amman Temple in Tamil Nadu, Kamakshi Amman Temple in Tamil Nadu, Sri Siva Durga Temple , Mandaikadu Bhagavathi Temple and Devi Kanya Kumari in Tamil Nadu, Mookambika Devi Temple and Banashankari Temple in Karnataka, Maanikyambika Bhimeswara temple in Andhra pradesh, Vishalakshi Temple, Vishalakshi Gauri temple and Annapurna devi temple in Uttar Pradesh, Parvati Temple in Madhya Pradesh, Tulja Bhavani Temple in Maharashtra, Nartiang Durga Temple in Meghalaya, Tripura Sundari Temple in Tripura.

 

OUTSIDE INDIA

Sculpture and iconography of Parvati, in one of her many manifestations, have been found in temples and literature of southeast Asia. For example, early Saivite inscriptions of the Khmer in Cambodia, dated as early as the fifth century AD, mention Parvati (Uma) and Siva. Many ancient and medieval era Cambodian temples, rock arts and river bed carvings such as the Kbal Spean are dedicated to Parvati and Shiva.

 

Boisselier has identified Uma in a Champa era temple in Vietnam.

 

Dozens of ancient temples dedicated to Parvati as Uma, with Siva, have been found in the islands of Indonesia and Malaysia. Her manifestation as Durga has also been found in southeast Asia.[86] Many of the temples in Java dedicated to Siva-Parvati are from second half of 1st millennium AD, and some from later centuries. Durga icons and worship have been dated to be from the 10th- to 13th-century.

 

In Nakhorn Si Thammarat province of Thailand, excavations at Dev Sathan has yielded a Hindu Temple dedicated to Vishnu (Na Pra Narai), a lingam in yoni, a Shiva temple (San Pra Isuan). The sculpture of Parvati found at this excavation site reflect the South Indian style.Bali, IndonesiaParvati, locally spelled as Parwati, is a principal goddess in modern day Hinduism of Bali. She is more often called Uma, and sometimes referred to as Giriputri (daughter of the mountains). She is the goddess of mountain Gunung Agung. Like Hinduism of India, Uma has many manifestations in Bali, Indonesia. She is the wife of deity Siwa. Uma or Parwati is considered as the mother goddess that nurtures, nourishes, grants fertility to crop and all life. As Dewi Danu, she presides over waters, lake Batur and Gunung Batur, a major volcano in Bali. Unlike India where Sri refers to Lakshmi, Sri is another name of Uma in Bali; her icons and pillar temples grace terraced rice fields (sawahs). Parwati's small pillar temples in rice fields is to seek her blessings of abundance and a good crop. Her ferocious form in Bali is Dewi Durga. As Rangda, she is wrathful and presides cemeteries. As Ibu Petri, Parwati of Balinese Hinduism is the goddess of earth. The legends about various manifestations of Parwati, and how she changes from one form to another, are in Balinese literature, such as the palm-leaf (lontar) manuscript Andabhuana.

 

RELATED GODDESS

BUDDHISM

Tara found in some sects of Buddhism, particularly Tibetan and Nepalese, is related to Parvati. Tara too appears in many manifestations. In tantric sects of Buddhism, as well as Hinduism, intricate symmetrical art forms of yantra or mandala are dedicated to different aspects of Tara and Parvati.

 

ANCIENT CIVILIZATIONS

Parvati is closely related in symbolism and powers as Cybele of Greek and Roman mythology and as Vesta the guardian goddess of children. In her manifestation as Durga, Parvati parallels Mater Montana. She is the equivalent of Magna Mater (Universal Mother). As Kali and punisher of all evil, she corresponds to Proserpine and Diana Taurica.

 

As Bhawani and goddess of fertility and birthing, she is the symbolic equivalent of Ephesian Diana. In Crete, Rhea is the mythological figure, goddess of the mountains, paralleling Parvati; while in some mythologies from islands of Greece, the terrifying goddess mirroring Parvati is Diktynna (also called Britomartis). At Ephesus, Cybele is shown with lions, just like iconography of Parvati is sometimes shown with a lion.

 

Carl Jung, in Mysterium Coniunctionis, states that aspects of Parvati belong to the same category of black goddesses as Artemis, Isis and Mary. Edmund Leach equates Parvati in her relationship with Shiva, with that of Greek goddess Aphrodite - a symbol of sexual love.

 

108 NAMES OF PARVATI

Parvati is known by 108 different names. Following are the name along with it meaning.

 

Aadya: The meaning of this name is initial reality.

Aarya: It is the name of the Goddess

Abhavya: Signifies fear

Aeindri: The power of Lord Indra.

Agnijwala: Signifies fire

Ahankaara: Indicates pride.

Ameyaa: The name signifies beyond measure.

Ananta: Signifies one who is infinite.

Ananta: The Infinite

Anekashastrahasta: It means the possessor of many hand weapons

AnekastraDhaarini: It means the possessor of many weapons

Anekavarna: Person with multiple complexions.

Aparna: Signifies a person who does not eat anything during fasting

Apraudha: Signifies a person who does not age

Bahula: Various forms

Bahulaprema: Loved by everyone

Balaprada: Signifies the giver of strength

Bhaavini: The Beautiful Woman

Bhavya: Future

Bhadrakaali: One of the forms of Goddess Kali

Bhavani: The abode of the universe

Bhavamochani: The absolver of the universe

Bhavaprita: Loved by everyone in the universe

Bhavya: Indicates magnificence

Braahmi: God Brahma’s power

Brahmavaadini: Present everywhere

Buddhi: Intelligence

Buddhida: The bestower of wisdom

Chamunda: Name of Goddess who killed the demons Chanda and Munda

Chandaghanta: Mighty bells

ChandaMundaVinashini: Goddess who killed asuras Chanda and Munda

Chinta: Tension

Chita: Death-bed

Chiti: The thinking mind

Chitra: The Picturesque

Chittarupa: Thinking or thoughtful state.

Dakshakanya: It is the name of daughter of Daksha

Dakshayajnavinaashini: Interrupter of the sacrifice of Daksha

Devamata: Mother Goddess

Durga: The Invincible

Ekakanya: The girl child

Ghorarupa: Fierce outlook

Gyaana: Knowledge

Jalodari: Abode of the ethereal universe

Jaya: The Victorious

Kaalaratri: Goddess who is black and is similar to the night.

Kaishori: The adolescent

Kalamanjiiraranjini: Musical anklet

Karaali: Violent

Katyayani: Sage Katyanan worships this name

Kaumaari: Adolescent

Komaari: Beautiful adolescent

Kriya: Action

Krrooraa: Brutal

Lakshmi: Goddess of Wealth

Maaheshvari: Power of Lord Shiva

Maatangi: Goddess of Matanga

MadhuKaitabhaHantri: Goddess that killed the demons Madhu and Kaitabha

Mahaabala: Strength

Mahatapa: Penance

Mahodari: Keeping the universe in a huge belly

Manah: Mind

Matangamunipujita: Worshipped by Sage Matanga

Muktakesha: Open tresses

Narayani: Lord Narayana destructive attributes

NishumbhaShumbhaHanani: Goddess who killed brothers Shumbha Nishumbha

Mahishasura Mardini: Goddess who killed demon Mahishasura

Nitya: Eternal one

Paatala: The color red

Paatalavati: Wearing the color red and white

Parameshvari: Ultimate Goddess

Pattaambaraparidhaana: Dress made of leather

Pinaakadharini: Trident of Shiva

Pratyaksha: Real

Praudha: Old

Purushaakriti: Taking the form of a man

Ratnapriya: Adorned

Raudramukhi: Fierce face like destroyer Rudra

Saadhvi: Sanguine

Sadagati: Bestowing Moksha

Sarvaastradhaarini: Possessor of missile weapons

Sarvadaanavaghaatini: Ability to kill all the demons

Sarvamantramayi: Instruments of thought

Sarvashaastramayi: Deft in all theories

Sarvavahanavahana: Rides all vehicles

Sarvavidya: Knowledgeable

Sati: Women who burned on the pyre of her husband

Satta: Above all

Satya: Truth

Satyanandasvarupini: Eternal bliss

Savitri: Daughter of the Sun God Savitr

Shaambhavi: Consort of Shambhu

Shivadooti: Ambassador of Lord Shiva

Shooldharini: Person who holds a monodent

Sundari: Gorgeous

Sursundari: Very Beautiful

Tapasvini: Engaged in penance

Trinetra: Person with three eyes.

Vaarahi: Person who rides on Varaah

Vaishnavi: Invincible

Vandurga: Goddess of forests

Vikrama: Violent

Vimalauttkarshini: Providing joy

Vishnumaya: The spells of Lord Vishnu

Vriddhamaata: Mother who is old

Yati: Person one who renounces the world

Yuvati: Woman

 

WIKIPEDIA

Complexion: www.nexusmods.com/dragonageinquisition/mods/652/?

 

Sliders: www.nexusmods.com/dragonageinquisition/mods/708/?

Stephen Gardiner (27 July 1483 – 12 November 1555)

Gardiner was a conservative and an opponent of Anne Boleyn, Cranmer, Cromwell and of any innovation in the Church, although he acquiesced grudgingly in the steadily increasing influence of the Reformation on the royal counsels. A description of his character from George Cavendish declared him "a swarthy complexion, hooked nose, deep-set eyes, a permanent frown, huge hands and a vengeful wit. He was ambitious, sure of himself, irascible, astute, and worldly."

 

In early August 1529 he was appointed the king's secretary. He had already been archdeacon of Taunton for several years. The archdeaconries of Worcester and of Norfolk were also added to a list of pluralities before November 1529 and in March 1530 respectively; in April 1531 he resigned all three for that of Leicester. In 1530 the King demanded a precedent from Cambridge to procure the decision of the university as to the unlawfulness of marriage with a deceased brother's wife: in accordance with the new plan devised for settling the question without the pope's intervention. In this Gardiner succeeded. In November 1531 the king rewarded him with the bishopric of Winchester, vacant since Wolsey's death.

 

During the reign of Edward VI Lord Seymour, Jane Seymour’s brother, appointed himself Lord Protector to advise and to act for the King in his minority. At this time several prominent statesmen were incarcerated in the Tower of London.

 

At the accession of Queen Mary I, the Duke of Norfolk and other state prisoners of high rank were in the Tower along with Gardiner; but the Queen, on her first entry into London, set them all free. After recanting his work regarding her mother’s divorce and her bastardy and restoring the ‘Old Faith’, Mary restored Gardiner to his Bishopric and appointed him Lord Chancellor. It was he who placed the crown on the Queen's head at her coronation. He also opened her first parliament and for some time was her leading councillor. As chancellor he had the onerous task of negotiating the Queen's marriage treaty with Philip II of Spain, for which he shared a general repugnance. In executing it, he took care to make the terms as advantageous for England as possible, with express provision that the Spaniards should in nowise be allowed to interfere in the government of the country. He officiated at their wedding in Winchester Cathedral in 1554. After the appointment of Cardinal Pole, and the reconciliation of the realm to the see of Rome, he still remained in high favour. How far he was responsible for the persecutions which afterwards arose is open to debate. He no doubt approved of the act, which passed the House of Lords while he presided there as chancellor, for the revival of the heresy laws.

 

Bishop Gardiner died at Westminster on 12 November 1555. He was temporarily buried in a vault at the church of St Mary Overie, and in February 1556 his body was conveyed to Winchester Cathedral, where, after a number of ceremonies, a final funeral service was conducted on 28 February 1556, at which time it was recorded that he had not been buried and that no ground was broken, in the expectation that in due course his executors would build a chapel within the cathedral for his incarceration. Abridged from Wikipedia: en.wikipedia.org/wiki/Stephen_Gardiner His chantry chapel, built in 1556, is situated in the south presbytery aisle.

Hey glam guys! It’s been a while! Back with another bomb release for you guys

 

3 new lelutka male skins are avaliable @ Glamocracy Mainstore

Includes -

-eyebrow / no eyebrow

 

“TAE” Lelutka Skin is compatible to complexion body appliers avaliable in mocha & espresso

Includes

- eyebrow / no eyebrow

“ZAK” Lelutka Skin is compatible to complexion body appliers avaliable in mocha & espresso

 

“ROD” Lelutka Skin is compatible to complexion body appliers avaliable in mocha & espresso

Includes

- eyebrow / no eyebrow

 

LM : maps.secondlife.com/secondlife/Kangean%20Star/174/90/5

Diante Skin- public figure Body Applier: Velour Pluto

She's a truly one of a kind SireTiina.Baby.doe custom ;-P

 

Carved by Tiina

Tattoo by I.G Sirenita

Makeup and Eyes by Me

Hair Sammydoe

 

(She's a joint commission. Nfs)

"There is no beautifier of complexion, or form, or behaviour, like the wish to scatter joy and not pain around us."

 

-Ralph Waldo Emerson

From Woman's World Patterns. Fall and Winter Styles. 1925

Enabling Garden, Chicago Botanic Garden

 

There are more than flowers to see in the CBG. This young couple with extremely pale complexion really caught my eye when I was photographing my wife, who is on the right. They just didn't seem to fit in. But then it might be just my stereotype. There are zombie nature lovers, I guess...

This simple yet elegant portrait of the talented actress Anna May Wong was taken during her successful run in the Broadway production of On the Spot. She would later star in the film version entitled Dangerous to Know (1938). The portrait was taken by noted British photographer Dorothy Wilding, who gained much attention for her images of the Royal family.

FIRST ASIAN AMERICAN STAR!

Written by PHILIP LEIBFRIED

 

Her complexion was described as "a rose blushing through old ivory;" she was beautiful, tall (5'7"), slender, and Chinese-American. The last fact kept her from attaining the highest echelon among Hollywood's pantheon of stars, but it did not affect her popularity, nor keep her from becoming a household name. She was Anna May Wong, nee Wong Liu Tsong, a name which translates to "Frosted Yellow Willows," and she was born, appropriately enough, on Flower Street in Los Angeles' Chinatown on 3 January 1905, above her father's laundry. Anna May Wong's contribution to show business is a unique one; she was the first Asian female to become a star, achieving that stardom at a time when bias against her race was crushing. With determination and talent allied to her exotic beauty, she remained the only Asian female star throughout her forty-year career, never fully overcoming all prejudices in maintaining that position. Perhaps the rediscovery of her art will elevate her star to the pantheon of great performers and serve as a guiding light to Asian performers who still struggle to find their rightful place. Anna May Wong's life and career is something that is important for all who value greatly the Asian / Asian Pacific American communities' many artists and what we can all contribute!

Excerpt from : That Old Feeling: Anna May Wong

Part II of Richard Corliss' tribute to the pioneer Chinese-American star.

Daughter of the Dragon. Paramount 1931.

Based on a Fu Manchu novel by Sax Rohmer.

Daughter of the Dragon extended the curse sworn by Dr. Fu on the Petrie family to the next generation. Fu Manchu (Warner Oland), long ago injured and exiled in an attempt on Petrie Sr., returns to London and confronts the father: "In the 20 years I have fought to live," he says in his florid maleficence, "the thought of killing you and your son has been my dearest nurse." He kills the father, is mortally wounded himself and, on his deathbed, reveals his identity to his daughter Ling Moy (Wong) and elicits her vow that she will "cancel the debt" to the Fu family honor and murder the son, Ronald (Bramwell Fletcher)... who, dash it all, is madly infatuated with Ling Moy. Ronald has seen "Princess Ling Moy Celebrated Oriental Dancer" perform, and the vision has made him woozy. "I wish I could find a word to describe her," this calf-man effuses. "Exotic that's the word! And she's intriguing, if you know what I mean." In a near-clinch, Ling Moy wonders if a Chinese woman can appeal to a British toff. When he begs her to "chuck everything and stay," she asks him, "If I stayed, would my hair ever become golden curls, and my skin ivory, like Ronald's?" But the lure of the exotic is hard to shake. "Strange," he says, "I prefer yours. I shall never forget your hair and your eyes." They almost kiss ... when an off-camera scream shakes him out of his dream. It is from his girlfriend Joan (Frances Dade), and the societal message is as clear and shrill: white woman alerting white man to treachery of yellow woman. Ling Moy, a nice girl, previously unaware of her lineage, might be expected to struggle, at least briefly, with the shock of her identity and the dreadful deed her father obliges her to perform. But Wong makes an instant transformation, hissing, "The blood is mine. The hatred is mine. The vengeance shall be mine." Just before his death, Fu mourns that he has no son to kill Ronald. But, in a good full-throated reading, Wong vows: "Father, father, I will be your son. I will be your son!" The audience then has the fun of watching her stoke Ronald's ardor while plotting his death. When she is with him, pleading and salesmanship radiate from her bigeyes. But when an ally asks her why she keeps encouraging the lad, she sneers and says, "I am giving him a beautiful illusion. Which I shall crush." As a villainess, she is just getting started. Revealing her mission to Ronald, she tells him she plans to kill Joan "Because you must have a thousand bitter tastes of death before you die." (The ripe dialogue is by Hollywood neophyte Sidney Buchman, whose distinguished list of credits would include Mr. Smith Goes to Washington, Here Comes Mr Jordan and The Talk of the Town.) She soon ascends on a geyser of madness as she decides on a new torture: "My vengeance is inspired tonight. You will first have the torture of seeing her beauty eaten slowly away by this hungry acid." An aide holds a hose gadget over Joan's soon-to-be-corroded face, and Ronald cries for Ling Moy to stop. Very well she says. "Ling Moy is merciful." She barks at Ronald: "Kill her!" He must decide if his favorite white girl is to be etched with acid or stabbed to death. Great stuff! Melodrama is the art of knowing how precisely too far to goThe film is a triangle: not so much of Ling Moy, Ronald and Joan as of Ling Moy, Ronald and a Chinese detective, Ah Kee, played by Sessue Hayakawa, the Japanese actor who in the teens was Hollywood's first Asian male star. He's not plausibly Chinese here, and he is in a constant, losing battle with spoken English. But he is a part of movie history, in the only studio film of the Golden Age to star two ethnically Asian actors. And he gives his emotive all to such lines as "It is the triumph of irony that the only woman I have ever deeply loved should be born of the blood that I loathe." And in the inevitable double-death finale neither the villainess nor the noble detective can survive the machinations of Hollywood justice he gently caresses the long hair of the lady he would love to have loved. "Flower Ling Moy," he says, a moment before expiring. "A flower need not love, but only be loved. As Ah Kee loved you."

The Personal Anna May Wong

This 5'7 beauty loved to study and could speak in an English accent, as well as being fluent in German and French with more than a passing knowledge of other tongues including Italian and Yiddish. For exercise she rode horses, played golf, and tennis. She liked to cook and regaled her guests with succulent Chinese dishes at frequent dinner parties. She preferred casual clothes, wearing slacks and sweaters at home, but cultivated an oriental motif in her very smart formal wardrobe. She studied singing with Welsh tenor Parry Jones before she participated in the film Limehouse Blues as George Raft's mistress. Anna loved to dance to contemporary music. Anna was quoted as saying, "I think I got my first chance because they thought I was peculiar. But, now I like to believe that the public are fond of me because they think I'm nice."

The story of Anna May Wong’s life traced the arc of triumph and tragedy that marked so many of her films. Wong's youthful ambition and screen appeal got her farther than anyone else of her race. But her race, or rather Hollywood's and America's fear of giving Chinese and other non-whites the same chance as European Americans, kept her from reaching the Golden Mountaintop. We can be startled and impressed by the success she, alone, attained. And still weask: Who knows what Anna May Wong could have been allowed to achieve if she

had been Anna May White?

Anna May Wong passed away on Feb. 3rd 1961 she was 56 years old.

  

Filmography:

The Red Lantern. Metro 1919. The First Born. Robertson Cole 1921.

Shame. Fox 1921. Bits of Life. Assoc. First National 1921.

The First Born. Robertson Cole 1921. Thundering Dawn. Universal 1923

The Toll of the Sea. Metro 1922 Drifting. Universal 1923 Fifth Avenue. PRC 1926.

Lillies of the Field. Assoc. First National 1924. The Thief of Bagdad. United Artists 1924

The Fortieth Door. Pathé serial 1924. The Alaskan. Paramount 1924.

Peter Pan. Paramount 1924. Forty Winks. Paramount 1925.

The Silk Bouquet/The Dragon Horse. Hi Mark Prod. 1926 The Desert's Toll. MGM 1926.

A Trip to Chinatown. Fox 1926. The Chinese Parrot. Universal. 1927.

Driven from Home. Chadwick 1927. Mr. Wu. MGM 1927.

Old San Francisco. Warner Bros. 1927. Why Girls Love Sailors. Pathé short 1927.

The Devil Dancer. United Artists 1927. Streets of Shanghai. Tiffany 1927.

Across to Singapore. MGM 1928. Pavement Butterfly (aka City Butterfly).

The City Butterfly. German 1929. Across to Singapore. MGM 1928.

The Crimson City. Warner Bros. 1928. Song. German 1928

Chinatown Charlie. First National 1928. Piccadilly, British International 1929.

Elstree Calling. British International 1930. The Flame of Love. British International 1930.

Hay Tang. German 1930. L'Amour Maitre Des Choses. French 1930.

Daughter of the Dragon. Paramount 1931. Shanghai Express. Paramount 1932.

A Study in Scarlet. World Wide 1933. Tiger Bay. Associated British 1933.

Chu Chin Chow. Gaumont 1934. Java Head. Associated British 1934.

Limehouse Blues. Paramount 1934. Daughter of Shanghai. Paramount 1937.

Hollywood Party. MGM short subject 1937. Dangerous to Know. Paramount 1938.

The Toll of the Sea. Metro 1922. The Thief of Bagdad 1924

 

Shanghai Express 1932

thinking of you

for a friend

(with a rosy complexion)

who had the flu

Snow White and her Prince have now been fully deboxed. They are posed standing, supported by the built-in doll stands in the base of the display case.

 

This regular version of the Snow White and the Prince Disney Fairytale Designer Collection Doll Set has the same two base dolls as the D23 special edition dolls that I reviewed earlier. That is the dolls themselves are identical in every way (except for the serial numbers on the back of the Prince dolls). They also have outfits of almost identical designs, but made of different materials and with differing colors. So the dolls have different looks, especially the Snow Whites.

 

Snow White has the body of a 2012 Disney Store Classic Princess doll. That is, she has hard plastic legs, with hinged knee joints and ball jointed ankles. She is missing the usual manufacturer's marks printed on Disney limited edition dolls, including the part number and her edition size and serial number. She is also missing the twist waist joint of the previous Designer Princess and Designer Villain dolls. She has a pale complexion, the same as the 2012 Snow White, with whom she shares the same body. However, her neck joint has more freedom of movement, especially downward, and her painted on panties are deep golden yellow, much darker than the 2012 Snow White.

 

Her face mold appears to be the same as the 2012 and 2013 Classic Snow White, but with a considerably different face paint than either of them. She has large dark brown eyes that are glancing to her left, with four short thick lashes over each eye and four very short and thin lashes under each eye. Over her eyes is gold eyeshadow, and thin black eyebrows gently following the curve of her eyes. She also had short rooted eyelashes that are just barely curving upwards, and are even in length. She has a small button nose, a small mouth with blood red lips forming a charming open mouth smile. She has light pink rouge over most of her cheeks, and a round face with small chin. She is a very beautiful and faithful representation of the sweet and charming movie character.

 

Her hair is a considerable departure from the traditional short flip hairdo. Her jet black hair is parted to the left of her head, and pulled tightly over her head into a medium length braided ponytail that tapers down to a point and is secured by black rubberband, and is sewn to her collar on her right side. There is a small amount of hair product applied just above her forehead, to a thin strip of her hair. In my doll, that strip keeps on separating from the rest of her hair. I haven't been able to integrate it with the rest of her hair; perhaps I will have to apply more hair product to keep it place. There is a thin bright red satin ribbon around the top of her head that ends in a small bow at left side of her head.

 

Her outfit is a take on her traditional Princess gown. Her bodice and skirt are separate pieces. The bodice is dark blue velvet with gold piping and elaborate gold embroidery, and decorated with a bow made of metallic gold thread. The floral design is similar to the D23 doll, but differs in its details. She has puffy sleeves of the same dark blue velvet, with separate ribbons of bright red satin that float over the velvet. The sleeves have black lace cuffs decorated with gold hearts, and the oversized collar is pure white lace folded in a fan-like manner behind her neck and head. Her skirt is dark golden taffeta with gold embroidering incorporating fleur-de-lis, flowers and hearts. The embroidery in the skirt is identical to that of the D23 doll. The taffeta gives the skirt has a wrinkled, antique appearance. It has a thin pale tan satin lining. There are golden rhinestones scattered throughout the bodice and skirt of her dress. Under her dress is a floor length white satin slip with the lacey pattern at the hem showing below her skirt. It is sewn to her skirt at two spots at the hem, which I chose to leave alone for now. It is also sewn to the waist band of the skirt, so it is a permanent part of the skirt. She is wearing golden tan flat shoes (or slippers), the same as the D23 doll. It is a beautifully designed and beautifully made outfit that is a darker and more ornated version of the Princess outfit of the movie character.

 

The Prince appears to have the standard Disney Store Prince body, with articulation at the neck, shoulders, hinge jointed elbows, ball jointed hips, and internal knee joints with limited movement. His hands and feet are large, but his head is disproportionately small compared to Snow White. His face has a neutral expression, with small, narrow deep blue eyes, wide mouth and a straight nose. His molded dark brown hair looks okay. His face doesn't look that movie accurate to me; I actually prefer the playline Classic Prince. As with all Disney Prince dolls, he is sturdily built, and can free stand fairly stably. But for safe keeping, it is best to put him up in the included doll stand, which has a wide C-clamp that goes around his waist very snuggly.

 

The Prince's outfit is very well made and fitted to his body. It consists of a dark blue faux leather vest, a bright red velvet and satin cape with gold piping permanently attached at the shoulders of the vest, a dark blue faux leather belt with a gold metal buckle and a short black faux leather scabbard attached, white satin shirt, black pants and black boots with a worn look and creases. In the scabbard is a steel gray sword with a brown handle. The sword is thin and very flexible. It was slightly bent out of the box, but was easily bent back into shape. The D23 Prince's vest is much thicker, and feels much more like real leather than this Prince doll. But this Prince has an outfit that is much closer in color to the movie character. He looks great in his outfit, and very dashing, but I wish his expression had more emotion, and was more cheerful.

 

Snow White and the Prince - Limited Edition Doll Set

Disney Fairytale Designer Collection

US Disney Store

Released and purchased in store on August 20, 2013.

Released online August 21, 2013.

$129.95 US

#558 of 6000

First Look

 

I will photograph the set boxed, during the deboxing, and fully deboxed. I will also pose the dolls next to comparable dolls, for instance the Gold D23 Snow White doll set.

 

Product information from the US Disney Store website:

 

Snow White and the Prince Doll Set - Disney Fairytale Designer Collection

$129.95

Item No. 6070040900883P

 

Fairest two of all

 

With lips red as the rose and skin as white as snow, the Princess has never looked fairer. Paired with her handsome Prince, this stunning set of Disney Fairytale Designer Collection dolls will be cherished happily ever after.

 

Magic in the details...

 

Please Note: Each Guest will be limited to ordering a maximum of one of this item per order.

 

As part of the Disney Fairytale Designer Collection this pair of Snow White and Prince dolls were carefully crafted by artists inspired by Walt Disney's 1937 classic, Snow White and the Seven Dwarfs. The original Disney Princess and her Prince have been reimagined in exquisite detail with these limited edition dolls. Brought to life with thoughtful attention, they uniquely capture the essence of the fairytale couple, creating a one of a kind set that will be a treasured keepsake of collectors, Disney fans and every princess at heart.

 

•Global Limited Editon of 6000

•Includes Certificate of Authenticity

•Romantic side-swept hair

•Dramatic lace collar

•Elaborately embroidered velvet bodice with puff sleeves with red satin detailing

•Layered gown ornately decorated with golden gemstones, taffeta, lace, and embroidered foliage

•Dramatic make-up and rooted eyelashes

•Red bow headband

•Prince features velvet cape

•Satin shirt with faux leather waistcoat and belt

•Boots and sword

•Dolls sold in a special keepsake display case with intricate details on the base, including a golden plate with the name of Snow White and the Prince

•Includes special Disney Fairytale Designer Collection Gift Bag

•Part of the Disney Fairytale Designer Collection

 

* Intended for adult collectors -- Not a child's toy.

 

The bare necessities

 

•Plastic / polyester

•Snow White: 11 1/2''

•Prince: 12'' H

•Imported

 

The "Nude" colour variation of Vertebrata gown doesn't suit Inro's Peach complexion as well, but "Dust" is very elegant on her. The "Nude" colour is perfect for tanned Numina Devon and both colour compliment the Chocolate skin of Inamorata Nnaji dolls like Searph and Cherub perfectly.

Please don't use this image on websites, blogs or other media without my explicit permission.

© rogerperriss@aol.com All rights reserved.

Wonder Woman

A change of texture !!! D:

 

To the land of Fair Skin Complexion it is !!!

El sendero del Dolor

  

La representación del Calvario inició ayer a las 17:00 horas con unas palabras del Diácono Anuar Canavati González

 

Texto Por Abraham Vázquez, de www.elnorte.com

  

Monterrey, México (6 abril 2007).-

 

Allá va, cuesta arriba por las calles de la Colonia Independencia. Los músculos tensos y el rostro fruncido bajo el peso de una cruz de madera que casi le dobla el peso.

 

Miguel Lozano Beltrán, joven de 21 años y de complexión delgada -pesa 60 kilos- vive quizá la tarde más determinante de su vida al interpretar a Cristo en la tradicional representación del Viacrucis, de la Basílica de Guadalupe.

 

Quien durante años fuera el pulcro monaguillo del templo, lleva ahora las ropas roídas y la piel zanjada por los azotes, que con un látigo de cuero le propinan sin clemencia los soldados romanos.

 

Es Viernes Santo y este Calvario, que inició a las 17:00 horas con unas palabras del Diácono Anuar Canavati González, unos minutos después tiene a Lozano Beltrán en el trayecto de un camino de dolor que ha marcado a la humanidad desde hace más de 2 mil años.

 

Y aunque todos conocen el trágico desenlace de esta historia, Cristo renueva la esperanza de la comunidad y se echa al bolsillo a madres de familia, obreros, sacerdotes, diáconos, ex Cristos que vivieron la misma experiencia años atrás y hasta chavos banda.

 

Sus verdugos, en contraste, unos hombres corpulentos y fornidos, a los que a nadie les gustaría encontrarse en un callejón oscuro, son quienes recogen la peor parte.

 

"Parecen sicarios. Dan miedo, pero como quiera me dan ganas de darles unas buenas cachetadas", expresa María Álvarez Torres, vecina de la Independencia.

 

"¡Déjalo!", "¡Ya párenle!", "¡No seas bañado güey!", les gritan otros.

 

Cerca de 5 mil personas, de acuerdo con cifras de los organizadores, se aprietan al paso del Calvario de casi 2 kilómetros por las calles Libertad, Jalisco, Lago de Pátzcuaro y Privada Ojeda, que recorre Lozano Beltrán en el Barrio San Luisito y que culminará en el predio de Tanques de Guadalupe.

 

"Tam... tam tam... Tam... tam tam... Tam"

 

El batir de un tambor fúnebre abre el paso de Cristo entre la multitud. Está sobre la calle Jalisco, una cuesta que tendrá que subir antes de encontrar su destino final.

 

A la retaguardia lo sigue una veintena de personas ataviadas con túnicas de colores: el morado, naranja y amarillo sobresalen. Ahí están Poncio Pilatos, Barrabás y el César, el pueblo de Israel, en su mayoría niños, y una decena de centuriones.

 

Los hombres lucen caras acongojadas. Las mujeres parecen avanzar con el Jesús en la boca.

 

Entre ellas se encuentra Verónica, interpretada por Guadalupe Candela Ramos, quien inmersa en su papel, solloza hasta perder el habla cuando se topa a Jesús, antes de la segunda caída.

 

Con paciencia le seca el sudor a Cristo, quien reposa sobre el asfalto.

 

"Estos minutos sirven para tomar aire", comenta Ernesto Castillo Jiménez, quien hace un par de años interpretó a Cristo.

 

Aunque ve a Lozano Beltrán con un físico más delgado, confía en que puede salir adelante.

 

Momentos después, como Lázaro, aquel personaje bíblico, luego de pasar su segunda caída, Cristo se levanta y sigue adelante. Como hizo después de su primera caída, ocurrida atrás, y como hará en su tercer derrumbe.

 

Para muchos lo fácil es pensar que este sufrimiento se hubiera evitado, si en la antigua Roma, un procurador llamado Poncio Pilatos hubiera absuelto a un hombre, de 33 años, acusado de incitar a la sublevación y de no pagar impuestos al César.

 

Para quienes están aquí, quizá la frase "la Pasión de Cristo" tiene que ver más con una idea de redención de los males de la humanidad.

 

Un cielo cerrado y oscuro que amenaza con caerse a pedazos entrega a la presentación del Viacrucis del Barrio San Luisito un aire más melancólico que el de años anteriores, en los cuales el Sol hostigaba a las sombras.

 

El Viacrucis ha recorrido ya más de la mitad de su paso, se enfila hacia la cruz. Sobre Lago de Pátzcuaro y la Privada Ojeda, quien se ve más maltrecho es uno de los ladrones que avanzan tras de Cristo.

 

"Pero ¿quién se acuerda de nosotros?", parece preguntarse entre sus gestos de dolor Félix Amaya, quien casi desde el inicio anda descalzo y con un ojo cerrado, debido a un latigazo que le hinchó el párpado izquierdo.

 

"Todo va muy bien, esperamos que no llueva (los golpes dolerían más con el agua)", expresa Diego Quiroz Navarro, quien interpretó a Cristo en el 2003, y que ahora ve cómo golpean a los protagonistas de esta Pasión.

 

Luego de pasar por la angosta privada, el destino es un cerrito donde está enclavado el predio Tanques de Guadalupe.

 

Caídas fuera del guión, lágrimas y un silencio sepulcral llenan el ambiente de sitio. Cristo y los ladrones, Dimas y Gestas, libran una última batalla contra su resistencia física por llegar a su destino final: la cruz.

 

Tras ser montados en ella, ante la mirada atónica de los presentes, minutos después de las 19:00 horas se cierra esta historia: "Todo se ha cumplido", expresó un abatido Cristo.

 

IV

 

Hay golpes en la vida tan fuertes... y más allá de los que se notan en su espalda, uno de éstos fue el que se llevó la vida de Lozano Beltrán una vez que terminó la Vía Dolorosa.

 

Luce fatigado y maltrecho, con la espalda roja, pero la experiencia lo ha dejado tan sacudido que desea iniciar una vida nueva.

 

"Quiero encontrar a Dios", expresa el joven.

 

"Mi idea era dar un mensaje a la gente y creo que sí lo logré. Me siento muy diferente".

 

Lozano Beltrán, quien estudia preparatoria, indica que quiere cambiar y asegura que ya piensa en el sacerdocio.

 

"Desde que terminé mi secundaria, hace 5 años, había pensado en el sacerdocio. Esto fue un paso para acercarme al Señor mucho más de lo que yo pensaba", comenta.

 

"Le doy gracias a Dios por permitirme llegar a donde Él quería", dice Lozano Beltrán antes de fundirse en un abrazo con su hermana Aracely.

  

Model: Lucy-Anne (Mayhem #284670)

 

Strobist info:

A large octagon above high. Triggered with Profoto Air Remote.

 

Shot at Adrian Pini's Studio, London

 

Colour adjustment and post edited with Adobe Lightroom and CS5.

 

Copyright KROP!

Modèle: Sarah C modèle

Makup: Jessica d'Erfurth l Make-up Artist

Photographe : Digitregards, Photographe Portraitiste Marseille, PACA

Like ✓ Comment ✓ Share ✓

 

© 2016 DigitRegards Photographie

Facebook | Website | 500px | Flickr | My Book

 

Yashica FX-3

Copyright Juliane Kravik.

Contact me if you want to use the picture.

 

Exhibition in Bergen, "100 Faces". December 11. 2010 - January 30. 2011.

 

Espen Faugstad and Juliane Kravik.

 

Our PROMOTION VIDEO.

 

Video of the Exhibition

 

Visit our Website .

  

An attractive young woman--with dark features and a pale complexion--uses a classical guitar to cover herself in an elegant and mysterious pose, displaying her beautiful guitar-shaped figure nonetheless.

Painting by Solias Mendis appearing to depict 3 female acrobats of different complexions at Kelaniya Temple near Colombo, Sri Lanka.

 

Kelaniya Great High Temple is one of Sri Lanka's most revered sacred Buddhist sites as it is believed to mark the location of a sermon given by the Buddha during what is believed to be his third visit to the island of Lanka. Kelaniya is one of 16 Solosmasthana sites on the island that Sri Lankan Buddhists believed were visited by the Buddha during his 3 visits to the island.

Die Palastanlage ist Deutschlands größtes Innenstadtschloss. Es umfasst 10 Höfe und gliedert sich in drei Hauptkomplexe: 1) Maximilianische Residenz, 2) Königsbau (Hauptkomplex), 3) Festsaalbau.

 

The palace complexion Munich is Germany's largest city castle. It includes 10 yards and is divided into three main complexes: 1) Maximilian Residence, 2) Königsbau (main complex), 3) Festsaalbau.

Love this girl sooo much! ♥♥♥

youtu.be/7Bzml6ltNh4

 

youtu.be/fF2F2mXsRog Full Feature

 

Anna May Wong, Warner Oland, Sessue Hayakawa

World-class Asian criminal genius Fu Manchu seeks retribution on the hated enemy he holds responsible for the murder of his wife and son, enlisting his equally sinister daughter until she's diverted by a crafty Scotland yard inspector. One of the numerous Sax Rohmer screen adaptations from the early sound era.

Princess Ling Moy, a young and beautiful Chinese aristocrat lives next door, unbeknownst to her, to Dr. Fu Manchu, a brilliant but twisted genius who is out to rule the world. She is involved with Ah Kee, a handsome young man, who also unbeknownst to her, is a secret agent out to thwart the heinous plots of Fu Manchu. As it turns out, Fu is not only her next-door neighbor, he is also, (unbeknownst to her), her father. When she finds out, will she take her father's part and fight the men out to get Fu, or will she become a brave heroine and save the world even if it is from the devious doings of her own Dad? Yes, it's dated, and there isn't nearly enough of Warner Oland in it; but it moves along well, has a lot of action, Wong and Hayakawa were fine actors, and if you're a Charley Chan fan, it's worth it to how much, if any, of Fu Oland used when creating Charley Chan.

FIRST ASIAN AMERICAN STAR!

Written by PHILIP LEIBFRIED

 

Her complexion was described as "a rose blushing through old ivory;" she was beautiful, tall (5'7"), slender, and Chinese-American. The last fact kept her from attaining the highest echelon among Hollywood's pantheon of stars, but it did not affect her popularity, nor keep her from becoming a household name. She was Anna May Wong, nee Wong Liu Tsong, a name which translates to "Frosted Yellow Willows," and she was born, appropriately enough, on Flower Street in Los Angeles' Chinatown on 3 January 1905, above her father's laundry. Anna May Wong's contribution to show business is a unique one; she was the first Asian female to become a star, achieving that stardom at a time when bias against her race was crushing. With determination and talent allied to her exotic beauty, she remained the only Asian female star throughout her forty-year career, never fully overcoming all prejudices in maintaining that position. Perhaps the rediscovery of her art will elevate her star to the pantheon of great performers and serve as a guiding light to Asian performers who still struggle to find their rightful place. Anna May Wong's life and career is something that is important for all who value greatly the Asian / Asian Pacific American communities' many artists and what we can all contribute!

Excerpt from : That Old Feeling: Anna May Wong

Part II of Richard Corliss' tribute to the pioneer Chinese-American star.

Daughter of the Dragon. Paramount 1931.

Based on a Fu Manchu novel by Sax Rohmer.

Daughter of the Dragon extended the curse sworn by Dr. Fu on the Petrie family to the next generation. Fu Manchu (Warner Oland), long ago injured and exiled in an attempt on Petrie Sr., returns to London and confronts the father: "In the 20 years I have fought to live," he says in his florid maleficence, "the thought of killing you and your son has been my dearest nurse." He kills the father, is mortally wounded himself and, on his deathbed, reveals his identity to his daughter Ling Moy (Wong) and elicits her vow that she will "cancel the debt" to the Fu family honor and murder the son, Ronald (Bramwell Fletcher)... who, dash it all, is madly infatuated with Ling Moy. Ronald has seen "Princess Ling Moy Celebrated Oriental Dancer" perform, and the vision has made him woozy. "I wish I could find a word to describe her," this calf-man effuses. "Exotic that's the word! And she's intriguing, if you know what I mean." In a near-clinch, Ling Moy wonders if a Chinese woman can appeal to a British toff. When he begs her to "chuck everything and stay," she asks him, "If I stayed, would my hair ever become golden curls, and my skin ivory, like Ronald's?" But the lure of the exotic is hard to shake. "Strange," he says, "I prefer yours. I shall never forget your hair and your eyes." They almost kiss ... when an off-camera scream shakes him out of his dream. It is from his girlfriend Joan (Frances Dade), and the societal message is as clear and shrill: white woman alerting white man to treachery of yellow woman. Ling Moy, a nice girl, previously unaware of her lineage, might be expected to struggle, at least briefly, with the shock of her identity and the dreadful deed her father obliges her to perform. But Wong makes an instant transformation, hissing, "The blood is mine. The hatred is mine. The vengeance shall be mine." Just before his death, Fu mourns that he has no son to kill Ronald. But, in a good full-throated reading, Wong vows: "Father, father, I will be your son. I will be your son!" The audience then has the fun of watching her stoke Ronald's ardor while plotting his death. When she is with him, pleading and salesmanship radiate from her bigeyes. But when an ally asks her why she keeps encouraging the lad, she sneers and says, "I am giving him a beautiful illusion. Which I shall crush." As a villainess, she is just getting started. Revealing her mission to Ronald, she tells him she plans to kill Joan "Because you must have a thousand bitter tastes of death before you die." (The ripe dialogue is by Hollywood neophyte Sidney Buchman, whose distinguished list of credits would include Mr. Smith Goes to Washington, Here Comes Mr Jordan and The Talk of the Town.) She soon ascends on a geyser of madness as she decides on a new torture: "My vengeance is inspired tonight. You will first have the torture of seeing her beauty eaten slowly away by this hungry acid." An aide holds a hose gadget over Joan's soon-to-be-corroded face, and Ronald cries for Ling Moy to stop. Very well she says. "Ling Moy is merciful." She barks at Ronald: "Kill her!" He must decide if his favorite white girl is to be etched with acid or stabbed to death. Great stuff! Melodrama is the art of knowing how precisely too far to goThe film is a triangle: not so much of Ling Moy, Ronald and Joan as of Ling Moy, Ronald and a Chinese detective, Ah Kee, played by Sessue Hayakawa, the Japanese actor who in the teens was Hollywood's first Asian male star. He's not plausibly Chinese here, and he is in a constant, losing battle with spoken English. But he is a part of movie history, in the only studio film of the Golden Age to star two ethnically Asian actors. And he gives his emotive all to such lines as "It is the triumph of irony that the only woman I have ever deeply loved should be born of the blood that I loathe." And in the inevitable double-death finale neither the villainess nor the noble detective can survive the machinations of Hollywood justice he gently caresses the long hair of the lady he would love to have loved. "Flower Ling Moy," he says, a moment before expiring. "A flower need not love, but only be loved. As Ah Kee loved you."

The Personal Anna May Wong

This 5'7 beauty loved to study and could speak in an English accent, as well as being fluent in German and French with more than a passing knowledge of other tongues including Italian and Yiddish. For exercise she rode horses, played golf, and tennis. She liked to cook and regaled her guests with succulent Chinese dishes at frequent dinner parties. She preferred casual clothes, wearing slacks and sweaters at home, but cultivated an oriental motif in her very smart formal wardrobe. She studied singing with Welsh tenor Parry Jones before she participated in the film Limehouse Blues as George Raft's mistress. Anna loved to dance to contemporary music. Anna was quoted as saying, "I think I got my first chance because they thought I was peculiar. But, now I like to believe that the public are fond of me because they think I'm nice."

The story of Anna May Wong’s life traced the arc of triumph and tragedy that marked so many of her films. Wong's youthful ambition and screen appeal got her farther than anyone else of her race. But her race, or rather Hollywood's and America's fear of giving Chinese and other non-whites the same chance as European Americans, kept her from reaching the Golden Mountaintop. We can be startled and impressed by the success she, alone, attained. And still weask: Who knows what Anna May Wong could have been allowed to achieve if she

had been Anna May White?

Anna May Wong passed away on Feb. 3rd 1961 she was 56 years old.

  

Filmography:

The Red Lantern. Metro 1919. The First Born. Robertson Cole 1921.

Shame. Fox 1921. Bits of Life. Assoc. First National 1921.

The First Born. Robertson Cole 1921. Thundering Dawn. Universal 1923

The Toll of the Sea. Metro 1922 Drifting. Universal 1923 Fifth Avenue. PRC 1926.

Lillies of the Field. Assoc. First National 1924. The Thief of Bagdad. United Artists 1924

The Fortieth Door. Pathé serial 1924. The Alaskan. Paramount 1924.

Peter Pan. Paramount 1924. Forty Winks. Paramount 1925.

The Silk Bouquet/The Dragon Horse. Hi Mark Prod. 1926 The Desert's Toll. MGM 1926.

A Trip to Chinatown. Fox 1926. The Chinese Parrot. Universal. 1927.

Driven from Home. Chadwick 1927. Mr. Wu. MGM 1927.

Old San Francisco. Warner Bros. 1927. Why Girls Love Sailors. Pathé short 1927.

The Devil Dancer. United Artists 1927. Streets of Shanghai. Tiffany 1927.

Across to Singapore. MGM 1928. Pavement Butterfly (aka City Butterfly).

The City Butterfly. German 1929. Across to Singapore. MGM 1928.

The Crimson City. Warner Bros. 1928. Song. German 1928

Chinatown Charlie. First National 1928. Piccadilly, British International 1929.

Elstree Calling. British International 1930. The Flame of Love. British International 1930.

Hay Tang. German 1930. L'Amour Maitre Des Choses. French 1930.

Daughter of the Dragon. Paramount 1931. Shanghai Express. Paramount 1932.

A Study in Scarlet. World Wide 1933. Tiger Bay. Associated British 1933.

Chu Chin Chow. Gaumont 1934. Java Head. Associated British 1934.

Limehouse Blues. Paramount 1934. Daughter of Shanghai. Paramount 1937.

Hollywood Party. MGM short subject 1937. Dangerous to Know. Paramount 1938.

The Toll of the Sea. Metro 1922. The Thief of Bagdad 1924

 

Shanghai Express 1932

 

Some 300000 people demonstrated in Paris streets this afternoon to stand up for the same-sex marriage.

Paris, January 27th, 2013.

From Clok Around The Rock, SLR shots.

Ruddy Darter a.k.a. 'Bloody Barry' (Check Latin-Dutch-German names). LOL

A very scarlet looking medium sized dragonfly enjoying 34 °C

 

1600PX

 

There are lots of similar reddish darters. Hadn't posted this variety before. Some others in 2nd comment

     

I love her complexion so much. I think Pullip Kuhn is one of the prettiest release ever. Her make up is perfect and her "fair" skin tone is very photogenic.

A gender-bend of Deapool. Lady Deadpool also has some complexion "problems," as well.

Villa Sheherezada is the most unusual building in Dubrovnik. It is also known as the Taj Mahal of the Mediterranean as it is the only building built in the eastern style.

Its construction was completed in 1929, commsisioned by the wealthy Russian Jew, Vilim Zimdin who was its first owner and resident. Zimdin at the time had a mysterious lover, Maurka dark complexion, called Sherehezada, who he wished to build a special oriental style palace for, like the one described in the book 1,001 nights. The villa gets its name from her nickname.

The wealthy Zimdin brought Viennese architect Alfred Keller to Dubrovnik and dictated his megalomaniac idea, left him a tonne of money and gave him a period of two years. The bathroom wass transported by boat from America and the organ from St. Petersburg.

 

Keller was able to finish the building with colourful terraces and elements of oriental architecture that completely stand out from traditional Dubrovnik stone construction. Zimdin, however, did not want to stop at Dubrovnik's Taj Mahal. He wanted to turn the Church in St. Jacob into a casino, from the old port he tried to make a promenade by the sea and even build a bridge to the island of Lokrum to develop commercial facilities...The city authorities did not allow him to.

 

With the outbreak of World War Two, the dreams of this wealthy banker ended and the communist regime that came into power, nationalised the villa after executing General Belaj. Zimdin had left the villa in the Rusian general's care after heading to America with his wife (it was said that his lover followed him). It's interesting that neither the Italian, nor German fascists never set foot in the mansion during the war.

 

With the creation of Yugoslavia, the communists wished to turn the villa into Tito's palace but he didn't like the idea so he didn't stasy there (his villa was built in Lapad). Zimdin's descendants wanted the villa back but instead they signed it over to state ownership under the Hotel Argentina as its upkeep was too expensive.

 

During the 1960s it became a strip club and at the start of the new century changed its role again, becominga villa for the wealthy. Hollywood couple Elizabeth Taylor and Ricahrd Burton spent two months there, transforming Zimdin's lovenest into their own. Tito even visited them during their stay.

Today it has been renovated as an elite residence costing sevral thousand euros per night to stay. The residence is decorated with designer furniture, jacuzzis in every bedroom, a private beach, a personal butler adn breathtaking views of the sea from every room.

Russian millionaire Viktor Vekselberg and Kazakh President Nursultan Nazarbajev.

dubrovnikdigest.com/en/surrounding/villa-sheherezada

 

---------------------

7206 R Vila Šeherezada, Villa Cheherezada, sent 12.VIII.1961 to Ana Legović, D. Tucovića 3, Rijeka, Crno bela fotografija Izrada zadružna knjiga, Beograd, Snimio M. Mrđanov, no 2100

Why not tell a story to your children this weekend...

 

The Orphan Boy and His Dog

Story adapted from a T'boli tale by Laura Simms

 

This tale was gathered originally by three T'Boli Scholars: Faw-Wanan, Waning Negwan, and Gadu Udal. The tales were collected and written down in 1973 and later translated into English. (The T'boli live on the southern part of the island of Mindanoa in the Philippines. They are Malay in complexion and gather in seven villages around Lake Sebu. The datu is the head man in charge of village affairs. Until recently, they have had little contact with the modern world, but are known for their sophisticated weaving and their epic literature. Laura Simms visited the T'Boli in autumn 1996. The manuscript from which this story is adapted was given to Laura by anthropologist Helen Alegado in Davoa City, Mindanoa.)

 

There was an orphan boy who was unhappy. His only companion was a little dog. He lived with his aunt and uncle who mistreated him. They beat the child, gave him only leftovers to eat, and rags instead of clothes. The poor child worked all day and slept in the ashes by the fire at night.

 

The orphan boy did whatever he was told. He worked hard and never complained. If he disobeyed he was burned or beaten, and the little dog was beaten as well. Everyone in the village made fun of the child, "He is lazy and stupid." The other children avoided him calling out, "He is an ugly child who has no clothes."

 

One morning, the boy was sent to fetch water. The puppy followed behind him. When they got to the well, the dog began to bark. A tiny old man stood near the cliff. His white beard hung to the earth. The child was frightened, but the puppy began to yelp and ran toward the little man.

 

The little man said, "Do not be afraid of me. I have something to tell you." The boy walked toward the man as if he was under a spell.

 

"I have seen how much you suffer," said the little man, "You and your puppy must follow me." They followed the man to the foot of a tree.

 

"I do not see anything," remarked the boy.

 

The man said, "Your eyes are blurred." He gave the boy and the dog medicine with which they washed their eyes.

 

Then the little man said, "Keep your eyes closed until I tell you to open them." The boy was afraid. He heard the man unsheathe his bolo (sword). The child trembled, afraid to move. But he could not stand his fear and opened his eyes. He saw a huge snake moving toward him. He screamed, "I am going to die."

 

He heard a strange voice, like the buzz of a mosquito, "If you obey me you will have good fortune. But if you keep your eyes open, you will have bad fortune. Do not be afraid of the snake." The boy closed his eyes.

 

All of a sudden, he heard his puppy wail. Then someone tapped him on the forehead saying, "open your eyes." When he opened his eyes he saw a large dog standing before him. When he looked at himself he was dressed in sparkling clothes. His scars and dirt were gone. He was standing next to a house with glass walls.

 

The man spoke, "You are away from your village and you are away from danger. In my house there are many treasures. But, you can not eat any food in my world because you will not be able to return home. My family is away for four days. You must return home and then come back here to meet them. Your people have been very cruel to you, but one day they will honor you."

 

The old man gave the boy and the dog some special medicine so they could return to the glass house when they needed to return, then he turned them into their former selves, and turned himself back into a little old man.

 

The orphan was standing beside the well. He heard his aunt calling angrily for him, "What takes you so long to draw water?"

 

The orphan boy ran with the water. The little dog ran behind him. At home, his aunt beat him and the dog with a bamboo stick and pushed them into the garbage.

 

At that time, in the house where the boy was living, there was to be a great wedding feast. The three sons of the datu were to marry three princesses.

 

The orphan boy was given three times as many chores to do in preparation for the wedding. The three sons were not present because they were looking for the many gifts that the girls asked for their dowries: tedyung (black cloth to make skirts), kamagi (gold for jewelry), fanid ndol (the woven cloth called tinaluk), kfilan (special swords), ulew ndol (red turbans) and brass musical instruments.

 

The three daughters arrived and waited.

 

The orphan and the puppy left the kitchen to watch the celebrations. But the people called out, "Drive that ugly filthy child and his hideous dog away. They will bring bad luck. They are a source of embarrassment." The aunt mercilessly beat the boy and the puppy and then forced them to work again. No one took pity on the child.

 

The child and the dog ran as fast as they could to the well. They covered themselves with the medicine the old man had given them and passed through to the other world. The man welcomed them. He introduced the boy to his wife and two children. The man's wife was a beautiful. Her hair was coiled on the top of her head as elegantly as a finely woven basket. If she was to let down her hair it would reach her feet. She said, "Stay with us until the feast is over. You have suffered enough."

 

The orphan boy was given food to eat. The big dog was also given food. The man gave the boy two charms: one for good luck and one for bad luck. He said, "Use the good charm tonight at midnight. The youngest princess will see who you are. But, be careful not to confuse the two charms."

 

Then the boy and the puppy returned as they were before. When they reached the house they were beaten again, because they had been gone so long.

 

All evening and all night the boy tended the fire and stirred the rice. Eventually, everyone went to sleep. Only the youngest princess could not sleep because she did not want to marry one of the three datus. As the orphan was stirring the rice he thought, "The three datus think that they are the most powerful leaders. But they do not realize that I, whom they despise, will be the most powerful datu."

 

At midnight, he carefully chose the good luck charm and rubbed it on himself. The fireplace instantly turned into a well-woven mat. The bamboo frame of the stove became two pillows. The fire turned into a lamp and the stones on which he slept became valuable gongs. Everything in the kitchen became a priceless treasure of this world, and theorphan boy became a handsome young man and the dog became ferocious.

 

The youngest princess went into the kitchen. To her amazement she saw the young man and his place of treasures. She saw his beauty and the power of the dog. She knew it was not a dream. She awoke her mother, but when the old woman went to look, she saw only the filthy orphan boy and his ragged dog.

 

The youngest princess returned to her bed. She fell asleep and dreamed. The little old man came to her dream and said, "When you must choose a young man tomorrow, choose the orphan boy. You will live in a house of glass and mirrors and be surrounded by treasures. He will be kind and loving. The orphan boy will be the strongest datu." She awoke to the sound of bells and gongs. The wedding ceremonies were beginning.

 

Each of the young men was seated under nets. Behind the men were rows of horses, cows, water buffalo, sheep and goats. This was the dowry to be given to the fathers of the brides.

 

As the sun rose, each of the girls was to sit beside their chosen husband under the mosquito net. But the youngest princess had made a form from a pillow the size of a girl and she placed that beneath the net beside the youngest datu. When it was discovered, her father yelled at her. "You must go and choose your husband."

 

The youngest princess started running. She ran near to the datu, but instead of sitting down beside him, she ran all the way to the orphan boy and sat beside him near the fire. Her father tried to pull her away. She cried out, "If you pull me away or harm the orphan, I will die with him."

 

The youngest datu was enraged. He lifted up his sword and went to kill the orphan and the princess. But, the orphan took out his good luck charm. He rubbed it on himself and on the dog. He shed his ugly skin and stood up a powerful and handsome young man. The dog grew ten times its size and pounced on the datu's son. Everything in the kitchen turned to treasures.

 

The people who saw what had happened fell to their knees. The aunt, who had been so cruel, ran to the boy, and put her head by his feet. But, the dog intercepted and bit her hands.

 

The orphan boy married the princess, and from that day onwards he became the most powerful datu. They lived in that village for a long time.

 

Then, one morning, all the people saw a flash of lightening. Suddenly, the little old man appeared. His white beard hung down to the earth. When the sky cleared, the boy, the princess, the old man and the dog were gone. They all lived happily in the other world in the house of treasures.

 

The beautiful Caroline Catz on location in Port Isaac. The classic English beauty with peachy complexion, a real national Treasure.

It is true, that by listening you are really giving a hand!

He was definitely taking it all in!

I think I do a lot of sunning, probably bad for my complexion!

Eid al Fitr is an important religious holiday celebrated by Muslims worldwide that marks the end of Ramadan.

 

This young woman was celebrating with her family and many others at Canada Place in Vancouver. She has an almost angelic smile.

Somewhat inspired by The Swing by Jean Honore Fragonard 🎨 I’d like to imagine this is what Antoinette would be up to on a hot summer’s day in Versailles 🌸🌷🌺💖🙌💖 Shall I compare thee to a summer's day?

Thou art more lovely and more temperate.

Rough winds do shake the darling buds of May,

And summer's lease hath all too short a date.

Sometime too hot the eye of heaven shines,

And often is his gold complexion dimmed;

And every fair from fair sometime declines,

By chance, or nature's changing course, untrimmed;

But thy eternal summer shall not fade,

Nor lose possession of that fair thou ow'st,

Nor shall death brag thou wand'rest in his shade,

When in eternal lines to Time thou grow'st. So long as men can breathe, or eyes can see, So long lives this, and this gives life to thee.

So delighted to have another beauty from Sharon Avital to join my ever growing family! Previously, she had been named named Asia , but I felt her personality evoked an earthy connection with nature that Dakota suited her perfectly.

 

I also tried my hand at blushing a PN body that would match her Sunshine Holiday complexion. Dang, you should see her body without the clothes but we are trying to be more discriminate here as for she is making her debut after all!

 

Well, I am thrilled to have her and I am so proud to be sharing one of my lovely girls with you on Mother's Day!

 

Happy Mother's Day to you all!!

Nuestra Señora de Piat

Piat, Cagayan

Sambali Festival

July 01, 2011

 

*This image was taken during the procession. The bright sky complements the majestic, dark complexion of our Lady of Piat, chiaroscuro.

Black Cat at the Toronto Fan Expo 2019

 

Dumb name, I realize. But anyways, the only thing I see wrong with this is a little bit of Joe's complexion doesn't match but I still think it came out good for the most part. Colored version in the comments!

Vishnu (/ˈvɪʃnuː/; Sanskrit: Viṣṇu) is a popular Hindu deity, the Supreme God of Vaishnavism (one of the three principal denominations of Hinduism) and one of the three supreme deities (Trimurti) of Hinduism. He is also known as Lord Narayana and Lord Hari. As one of the five primary forms of God in the Smarta tradition, He is conceived as "the Preserver or the Protector" within the Trimurti, the Hindu Trinity of the divinity.

 

In Hindu sacred texts, Vishnu is usually described as having dark complexion of water-filled clouds and as having four arms. He is depicted as a blue being, holding a padma (lotus flower) in the lower left hand, the Kaumodaki gada (mace) in the lower right hand, the Panchajanya shankha (conch) in the upper left hand and the discus weapon Sudarshana Chakra in the upper right hand.

 

Adherents of Hinduism believe Vishnu's eternal and supreme abode beyond the material universe is called Vaikuntha, which is also known as Paramdhama, the realm of eternal bliss and happiness and the final or highest place for liberated souls who have attained Moksha. Vaikuntha is situated beyond the material universe and hence, cannot be perceived or measured by material science or logic. Vishnu's other abode within the material universe is Ksheera Sagara (the ocean of milk), where he reclines and rests on Ananta Shesha, (the king of the serpent deities, commonly shown with a thousand heads). In almost all Hindu denominations, Vishnu is either worshipped directly or in the form of his ten avatars, the most famous of whom are Rama and Krishna.

 

The Puranabharati, an ancient text, describes these as the dashavatara, or the ten avatars of Vishnu. Among the ten described, nine have occurred in the past and one will take place in the future as Lord Kalki, at the end of Kali Yuga, (the fourth and final stage in the cycle of yugas that the world goes through). These incarnations take place in all Yugas in cosmic scales; the avatars and their stories show that gods are indeed unimaginable, unthinkable and inconceivable. The Bhagavad Gita mentions their purpose as being to rejuvenate Dharma, to vanquish those negative forces of evil that threaten dharma, and also to display His divine nature in front of all souls.

 

The Trimurti (three forms) is a concept in Hinduism "in which the cosmic functions of creation, maintenance, and destruction are personified by the forms of Brahma the creator, Vishnu the maintainer, preserver or protector and Shiva the destroyer or transformer." These three deities have also been called "the Hindu triad" or the "Great Trinity", all having the same meaning of three in One. They are the different forms or manifestation of One person the Supreme Being or Narayana/Svayam Bhagavan.

 

Vishnu is also venerated as Mukunda, which means God who is the giver of mukti or moksha (liberation from the cycle of rebirths) to his devotees or the worthy ones who deserve salvation from the material world.

 

ETYMOLOGY

The traditional explanation of the name Vishnu involves the root viś, meaning "to settle" (cognate with Latin vicus, English -wich "village," Slavic: vas -ves), or also (in the Rigveda) "to enter into, to pervade," glossing the name as "the All-Pervading One". Yaska, an early commentator on the Vedas, in his Nirukta, (etymological interpretation), defines Vishnu as viṣṇur viṣvater vā vyaśnoter vā, "one who enters everywhere". He also writes, atha yad viṣito bhavati tad viṣnurbhavati, "that which is free from fetters and bondages is Vishnu".

 

Adi Shankara in his commentary on the Sahasranama states derivation from viś, with a meaning "presence everywhere" ("As he pervades everything, vevesti, he is called Vishnu"). Adi Shankara states (regarding Vishnu Purana, 3.1.45): "The Power of the Supreme Being has entered within the universe. The root viś means 'enter into'." Swami Chinmayananda, in his translation of Vishnu Sahasranama further elaborates on that verse: "The root vis means to enter. The entire world of things and beings is pervaded by Him and the Upanishad emphatically insists in its mantra 'whatever that is there is the world of change.' Hence, it means that He is not limited by space, time or substance. Chinmayananda states that, that which pervades everything is Vishnu."

 

SACRET TEXTS - SHRUTI & SMRITI

Shruti is considered to be solely of divine origin. It is preserved as a whole, instead of verse by verse. It includes the four Vedas (Rigveda, Yajurveda, Samaveda and Atharvaveda) the Brahmanas, the Aranyakas and the Upanishads with commentaries on them.

 

Smṛti refers to all the knowledge derived and inculcated after Shruti had been received. Smrti is not 'divine' in origin, but was 'remembered' by later Rishis (sages by insight, who were the scribes) by transcendental means and passed down through their followers. It includes the Bhagavata Purana and the Vishnu Purana which are Sattva Puranas. These both declare Vishnu as Para Brahman Supreme Lord who creates unlimited universes and enters each one of them as Lord of Universe.

 

SHRUTI

 

VAISHNAVA CANON

The Vaishnava canon presents Vishnu as the supreme being, rather than another name for the Sun God, who also bore the name Suryanarayana and is considered only as a form of Vishnu.

 

VEDAS

In the Yajur Veda, Taittiriya Aranyaka (10-13-1), Narayana suktam, Lord Narayana is mentioned as the supreme being. The first verse of Narayana Suktam mentions the words "paramam padam", which literally mean "highest post" and may be understood as the "supreme abode for all souls". This is also known as Param Dhama, Paramapadam, or Vaikuntha. Rig Veda 1:22:20a also mentions the same "paramam padam". This special status is not given to any deity in the Vedas apart from Lord Vishnu/Narayana.[citation needed] Narayana is one of the thousand names of Vishnu as mentioned in the Vishnu Sahasranama. It describes Vishnu as the All-Pervading essence of all beings, the master of - and beyond - the past, present and future, one who supports, sustains and governs the Universe and originates and develops all elements within. This illustrates the omnipresent characteristic of Vishnu. Vishnu governs the aspect of preservation and sustenance of the universe, so he is called "Preserver of the universe".

 

Vishnu is the Supreme God who takes manifest forms or avatars across various ages or periods to save humanity from evil beings, demons or Asuras. According to the extant Hindu texts and traditions, Lord Vishnu is considered to be resident in the direction of the "Makara Rashi" (the "Shravana Nakshatra"), which is about coincident with the Capricorn constellation. In some of the extant Puranas, and Vaishnava traditions, Vishnu's eye is considered to be situated at the infinitely distant Southern Celestial Pole.

 

Following the defeat of Indra and his displacement as the Lord of Heaven or Swarga, Indra asks Lord Vishnu for help and thus Lord Vishnu takes his incarnations or avatars to Earth to save mankind, thus showing his position as Supreme God to all of creation.

 

In the Puranas, Indra frequently appears proud and haughty. These bad qualities are temporarily removed when Brahma and/or Shiva give boons to Asuras or Rakshasas such as Hiranyaksha, Hiranyakashipu and Ravana, who are then able to defeat Indra in wars between Devas and Asuras. The received boons often made Asuras virtually indestructible.

 

Indra has no option but to seek help from Vishnu. Indra prays before Vishnu for protection and the Supreme Lord obliges him by taking avatars and generating himself on Earth in various forms, first as a water-dweller (Matsya, fish), then as an amphibious creature (Kurma avatar or Tortoise), then as a half-man-half-animal (Varaha the pig-faced, human-bodied Lord, and Narasimha the Lord with lion's face and claws and a human body). Later, Vishnu appears as human beings (Vamana the short-heighted person), Parashurama, Rama, Krishna, Buddha and finally as Kalki for performing his task of protecting his devotees from demons and anti-religious entities.

 

Vishnu's supremacy is attested by his victories over those very powerful entities. It is further attested by the accepted iconography and sculptures of Vishnu in reclining position as producing Brahma emerging from his navel. Brahma the creator is thus created in turn by Vishnu out of his own person. Instead Vishnu takes various avatars to slay or defeat those demons. But it is to be noted that Vishnu also provided boons to Akupresura, a bear faced demon who was destroyed by Lord Shiva.

 

Vishnu's actions lowered Indra's ranking among Hindu deities and led to the ascendancy of Vishnu.

 

Few temples are dedicated to the Sun or Suryanarayana, nor indeed Indra, nor does Indra figure largely in the Hindu religion.

 

Indra is almost completely absent from the deities considered as the chief or most important deity.

 

RIGVEDA

In the Rigveda, Vishnu is mentioned 93 times. He is frequently invoked alongside other deities, especially Indra, whom he helps in killing Vritra and with whom he drinks Soma. His distinguishing characteristic in the Vedas is his association with light. Two Rigvedic hymns in Mandala 7 are dedicated to Vishnu. In 7.99, Vishnu is addressed as the god who separates heaven and earth, a characteristic he shares with Indra.

 

The Rig Veda describes Vishnu as younger brother to Indra as Vamana. In Vaishnava canon the 'Vishnu' who is younger brother to Indra is identified as Vamana, Avatar of Vishnu, hence referred to as Vishnu by Vaishnavites. Vishnu is the Supreme God who lives in the highest celestial region, contrasted against those who live in the atmospheric or terrestrial regions. Vishnu is content with mere prayer, unlike almost all of the other gods who receive sacrificial offerings such as Havis, which is given using clarified butter, or Soma. Later foreign translators have view that Vedas place Indra in a superior position to Vishnu's Avatar of Vamana but in fact Vamana helps Indra by restoring his Kingdom.

 

An alternate translation is provided by Wilson according to Sayana:

 

When Thy (younger brother) Viṣṇu (Vamana) by (his) strength stepped his three paces, then verily thy beloved horses bore thee. (Rigveda 8:12:27)

 

Wilson mentions Griffith's possible translation as a footnote. However the following verse from Rigveda renders the above translation by Wilson more probable.

 

Him whose three places that are filled with sweetness, imperishable, joy as it may list them, Who verily alone upholds the threefold, the earth, the heaven, and all living creatures. (Rig veda 1:154:4)

 

Wilson offers an alternate translation for Rigveda 10:113:2:

 

Viṣṇu offering the portion of Soma, glorifies by his own vigor that greatness of his. Indra, the lord of heaven, with the associated gods having slain Vritra, became deserving of honour. (Rigveda 10:113:2)

 

This verse sees Vishnu as one who is glorified by his own strength, while Indra became deserving of honor after having slain Vritra only in association with other gods.

 

However Vishnu's praise for other gods does not imply worship. Wilson translates:

 

Viṣṇu, the mighty giver of dwellings praises thee, and Mitra and Varuna; the company of Maruts imitates thee in exhilaration. (Rigveda 8:15:9) (page 280)

 

The following verses show categorically Vishnu as distinguished from other gods in Rigveda.

 

He who presents (offering) to Viṣṇu, the ancient, the creator, the recent, the self-born; he who celebrates the great birth of that mighty one; he verily possessed of abundance, attains (the station) that is to be sought (by all). (Rigveda 1:156:2) (page 98)

 

No being that is or that has been born, divine Viṣṇu, has attained the utmost limit of thy magnitude, by which thou hast upheld the vast and beautiful heaven, and sustained the eastern horizon of Earth.(Rigveda 7:99:2) (page 196)

 

The divine Viṣṇu, the best of the doers of good deeds, who came to the pious instituter of rite (Indra), to assist (at its celebration), knowing (the desires of the worshiper), and present at the three connected period (of worship), shows favor to the Arya, and admits the author of the ceremony to a share of the sacrifice. (Rigveda 1:156:5) (page 99)

 

Jan Gonda, the late Indologist, states that Vishnu, although remaining in the background of Indra's exploits, contributes by his presence, or is key to Indra's success. Vishnu is more than a mere companion, equal in rank or power to Indra, or sometime the one who made Indra's success possible.

 

Descriptions of Vishnu as younger to Indra are found in only the hymns to Indra, but in a kathenotheism religion like that of the Rigveda, each god, for a time, is supreme in the mind of the devotee.

 

In the Rig Vedic texts, the deity or god referred to as Vishnu is the Sun God, who also bears the name 'Suryanarayana'. By contrast, the 'Vishnu' referred to in 'Vishnu Purana', 'Vishnu Sahasranamam' and 'Purusha Sooktham' is Lord Narayana, the Consort of Lakshmi. Vaishnavites make a further distinction by extolling the qualities of Vishnu by highlighting his differences from other deities such as Shiva,[citation needed] Brahma or Surya.

 

THREE STEPS

Hymn 7.100 refers to the celebrated 'three steps' of Vishnu (as Trivikrama) by which he strode over the universe and in three places planted his step. The 'Vishnu Suktam' (RV 1.154) says that the first and second of Vishnu's strides (those encompassing the earth and air) are visible to men and the third is in the heights of heaven (sky). This last place is described as Vishnu's supreme abode in RV 1.22.20:

 

The princes evermore behold / that loftiest place where Vishnu is / Laid as it were an eye in heaven.(trans. Griffith)

 

Griffith's "princes" are the sūri, either "inciters" or lords of a sacrifice, or priests charged with pressing the Soma. The verse is quoted as expressing Vishnu's supremacy by Vaishnavites.

 

Though such solar aspects have been associated with Vishnu by tradition as well as modern-scholarship, he was not just the representation of the sun, as he moves both vertically and horizontally.

 

In hymns 1.22.17, 1.154.3, 1.154.4 he strides across the earth with three steps, in 6.49.13, 7.100.3 strides across the earth three times and in 1.154.1, 1.155.5,7.29.7 he strides vertically, with the final step in the heavens. The same Veda also says he strode wide and created space in the cosmos for Indra to fight Vritra. By his stride he made dwelling for men possible, the three forming a symbolic representation of the dwelling's all-encompassing nature. This nature and benevolence to men were Vishnu's enduring attributes. As the triple-strider he is known as Trivikrama and as Urukrama, for the strides were wide.

 

BRAHMANAS

The Brahmanas are commentaries on the Vedas and form part of the Shruti literature. They are concerned with the detail of the proper performance of rituals. In the Rigveda, Shakala Shakha: Aitareya Brahmana Verse 1 declares: agnir vai devānām ava mo viṣṇuḥ paramus, tadantareṇa sarvā anyā devatā - Agni is the lowest or youngest god and Vishnu is the greatest and the highest God.

 

The Brahmanas assert the supremacy of Lord Vishnu, addressing him as "Gajapati", the one whom all sacrifices are meant to please. Lord Vishnu accepts all sacrifices to the demigods and allots the respective fruits to the performer In one incident, a demonic person performs a sacrifice by abducting the Rishis (sages), who meditate by constantly chanting God's name. The sacrifice is meant to destroy Indra. But the rishis, who worship Indra as a demigod, alter one pronunciation of the Veda Mantra, reversing the purpose of the sacrifice. When the fruit of the sacrifice is given and the demon is on the verge of dying, he calls to Vishnu, whom he addresses as Supreme Godhead and "the father of all living entities including himself".

 

Aitareya Brahmana 1:1:1 mentions Vishnu as the Supreme God. But in the Vaishnava canon, in different ages, with Vishnu in different avatars, his relationship with the asuras or demons, was always adversarial. The asuras always caused harm, while the sages and devas or celestial beings, did penance and called to Vishnu for protection. Vishnu always obliged by taking an avatar to vanquish the asuras. In the Vaishnava canon, Vishnu never gave or granted any boons to the asuras, distinguishing him from the gods Shiva and Brahma, who did. He is the only God called upon to save good beings by defeating or killing the asuras.

 

Sayana writes that in Aitareya Brahmana 1:1:1 the declaration agnir vai devānām ava mo viṣṇuḥ paramus,tadantareṇa sarvā anyā devatā does not indicate any hierarchy among gods. Even in Rigveda Samhita, avama and parama are not applied to denote rank and dignity, but only to mark place and locality.

 

In Rigveda 1:108:9,: yadindrāghnī avamasyāṃ pṛthivyāṃ madhyamasyāṃ paramasyāmuta sthaḥ | i.e., in the lowest place, the middle (place), and the highest (place). Agni, the fire, has, among the gods, the lowest place; for he resides with man on the earth; while the other gods are either in the air, or in the sky. Vishnu occupies the highest place. The words avama and parama are understood as 'First' and 'Last' respectively. To support this claim, Sayana adduces the mantra (1,4. As'val. Sr. S. 4, 2), agnir mukham prathamo devathanam samathanam uttamo vishnur asit, i.e., Agni was the first of the deities assembled, (and) Vishnu the last.

 

In the Kausitaki Brahmana (7.1) Agni is called Aaradhya (instead of avama), and Visnu parardha(instead of parama),i.e., belonging to the lower and higher halves (or forming the lower and higher halves). The Vishnu Purana gives tremendous importance to the worship of Vishnu and mentions that sacrifices are to begin only with both the lighting of fire or 'Agni', pouring of sacrificial offerings to Vishnu in 'Agni' so that those offerings reach and are accepted by Vishnu. Worship of Vishnu through Yajnas (or Homams) and other rituals, will not achieve the desired result if Agni's role is neglected.

 

Muller says "Although the gods are sometimes distinctly invoked as the great and the small, the young and the old (Rig veda 1:27:13), this is only an attempt to find the most comprehensive expression for the divine powers, and nowhere is any of the gods represented as the subordinate to others. It would be easy to find, in the numerous hymns of the Veda, passages in which almost every single god is represented as supreme and absolute."

 

However this notion is not completely correct as per the following verses, which shows Rigveda describe one or more gods as subject to other god(s).

 

Him whose high law not Varuna nor Indra, not Mitra, Aryaman, nor Rudra breaketh, Nor evil-hearted fiends, here for my welfare him I invoke, God Savitar, with worship. (Rigveda 2.038.09)

 

I invite to this place, with reverential salutations, for my good, that divine Savita, whose functions neither Indra, nor Varun.a, nor Mitra nor Aryaman nor Rudra nor the enemies (of the gods), impede. (Rigveda 2.038.09)

 

SMRITI

 

VISHNU SMRITI

The Vishnu Smṛti, is one of the later books of the Dharmashastra tradition of Hinduism and the only one that focuses on the bhakti tradition and the required daily puja to Vishnu, rather than the means of knowing dharma. It is also known for its handling of the controversial subject of the practice of sati (self-immolation of a widow on her husband's funeral pyre). The text was composed by an individual or group. The author(s) created a collection of the commonly known legal maxims that were attributed to Vishnu into one book, as Indian oral culture began to be recorded more formally.

 

BHAGAVATA PURANA

Vishnu is the only Bhagavan as declared in the Bhagavata 1:2:11 in the verse: vadanti tat tattva-vidas tattvam yaj jnanam advayam brahmeti paramatmeti bhagavan iti sabdyate, translated as "Learned transcendentalists who know the Absolute Truth call this non-dual substance as Brahman, Paramātma and Bhagavan."

 

VISHNU PURANA

In the Vishnu Purana (6:5:79) the personality named Parashara Rishi defines six bhagas:

 

aiśvaryasya samagrasya vīryasya yaśasaḥ śriyaḥ

jñāna-vairāgyayoś caiva ṣannāḥ bhaga itīṇganā

 

Jiva Gosvami explains the verse in Gopala Champu (Pūrva 15:73) and Bhagavata Sandarbha 46:10:

 

jñāna-śakti-balaiśvarya-vīrya-tejām.sy aśeṣataḥ

bhagavac-chabda-vācyāni vinā heyair guṇādibhiḥ

 

"The substantives of the word bhagavat (bhagavat-śabda-vācyāni) are unlimited (aśeṣataḥ) knowledge (jñāna), energies (śakti), strength (bala), opulence (aiśvarya), heroism (vīrya), splendor (tejas), without (vinā) objectionable (heyair) qualities (guṇādibhiḥ)."

 

SANGAM LITERATURE

Tamil Sangam literature (300BCE to 500CE) mentions mAyOn, or the dark one, as the supreme deity who creates, sustains and destroys the universe. Paripadal 3 describes the glory of Thirumal in the most superlative terms.

 

Paripadal by kaduvan iLaveyinanAr:

 

"thIyinuL theRal nI poovinuL naaRRa nI kallinuL maNiyu nI sollinuL vaaymai aRaththinuL anbu nI maRaththinuL mainthu nI vEthaththu maRai nI boothaththu madhalu nI vencudar oLiyu nI thingaLuL aLiyu nI anaiththu nI anaiththinut poruLu nI"

 

The last line states that Lord Vishnu is the supreme deity who is the inner controller (Antaryamin) of the entire universe. This is one of the Lord's glories, which is first mentioned in Vedas and later propounded by Alwars in Prabhandams and Sri Vaishnavaite Acharyas in various commentaries

 

The Sri Ranganathaswamy Temple and Vishnu, Lakshmi is mentioned in Tamil works of literature of the Sangam era, including the epic Silapadikaram (book 11, lines 35–40):

 

āyiram viritteḻu talaiyuṭai aruntiṟaṟ

 

pāyaṟ paḷḷip palartoḻu tētta viritiraik kāviri viyaṉperu turuttit tiruvamar mārpaṉ kiṭanta vaṇṇamum

 

On a magnificent cot having a thousand heads spread out, worshipped and praised by many, in an islet surrounded by Kaveri with bellowing waves, is the lying posture of the one who has Lakshmi sitting in his chest.

 

THEOLOGICAL ATTRIBUTES

The actual number of Vishnu's auspicious qualities is countless, although his six most-important "divine glories" are:

 

Jnana (Omniscience); defined as the power to know about all beings simultaneously;

Aishvarya (Sovereignty), derived from the word Ishvara which means unchallenged rule over all;

Shakti (Power or Energy), the capacity to make the impossible possible;

Bala (Strength), the capacity to support everything by will and without any fatigue;

Virya (Vigour), the power to retain immateriality as the Supreme Spirit or Being in spite of being the material cause of mutable creations;

Tejas (Splendor), which expresses self-sufficiency and the capacity to overpower everything by spiritual effulgence.

 

Other important qualities attributed to Vishnu are Gambhirya (inestimatable grandeur), Audarya (generosity), and Karunya (compassion). Natya Shastra lists Vishnu as the presiding deity of the Sṛngara rasa.

 

The Rigveda says: Vishnu can travel in three strides. The first stride is the Earth. The second stride is the visible sky. The third stride cannot be seen by men and is the heaven where the gods and the righteous dead live. (This feature of three strides also appears in the story of his avatar Vamana/Trivikrama.) The Sanskrit for "to stride" is the root kram; its reduplicated perfect is chakram (guņa grade) or chakra (zero-grade), and in the Rigveda he is called by epithets such as vi-chakra-māņas = "he who has made 3 strides". The Sanskrit word chakra also means "wheel". That may have suggested the idea of Vishnu carrying a chakra.

 

FIVE FORMS

In Shree Vaishnavism, another school dating from around the 10th century AD, Vishnu assumes five forms:

 

In the Para Form, Para is the highest form of Vishnu found only in Sri Vaikunta also called Moksha, along with his consort Lakshmi, (and Bhumi Devi and Nila devi, avatars of Lakshmi) and surrounded by liberated souls like Ananta, Garuda, and a host of Muktas (liberated souls).

In the Vyuha form, Vishnu assumes four forms, which exercise different cosmic functions and controls activities of living beings.

In the Vibhava form, Vishnu assumes various manifestations, called Vibhavas, more popularly known as Avataras from time to time, to protect the virtuous, punish evil-doers and re-establish righteousness.

In the Antaryami; "Dwelling within" or "Suksma Vasudeva" form, Vishnu exists within the souls of all living beings and in every substance.

In the Arcavatara or Image manifestation, Vishnu is visible and therefore easily approachable by devotees since Para, Vyuha, Vibhava and Antaryami forms can only be imagined or meditated upon because they are beyond our reach. Such images can be

Revealed by Vishnu, for example, a self-manifested (Swayambhu) icon (murti), e.g. The Mahavishnu Temple at Tirunelli, The Sri Ranganathaswamy Temple at Srirangam, The Tirumala Venkateshwara Temple, etc.; or

Installed by Devas or celestial beings such as such as Guruvayur Temple installed by Vayu; or

Installed by humans, and consecrated according to Vaishnava Agama shastras or scriptures such as Lord Jagannatha of Jagannath Temple (Puri) at Puri.

 

RELATIONS WITH OTHER DEITIES

 

SHIVA

The three gods of the Trimurti clan are inseparable and in harmony in view of their common vision and universal good. They are perfectly ideal in all respects.

 

Both Asuras and Devas played supportive roles in this story by keeping company with Vishnu in his incarnated forms. Hanuman is a vanara who is completely dedicated to Rama. He gives Vishnu company and obeys his command, while playing an important part in Rama's life. He is regarded in Vaishnava canon because it is through blessings that Hanuman is born. Thus, Hanuman, Vishnu's constant companion, with his idol appearing temples of Rama, Krishna and Narasimha, i.e. all of Vishnu's avatars, is considered by Vaishnavas.

 

Syncretic forces produced stories in which the two deities were shown in cooperative relationships and combined forms. Harihara is the name of a combined deity form of both Vishnu (Hari) and Shiva (Hara). This dual form, which is also called Harirudra, is mentioned in the Mahabharata.

 

LAKSHMI

Vishnu's consort is Lakshmi, the goddess of wealth (also known as Maya). The Samvit (the primary intelligence/dark matter) of the universe is Vishnu, while the other five attributes emerge from this samvit and hence Maya or dark energy of the universe is Lakshmee is his ahamata, activity, or Vishnu's Power. This power of God, Maya or Shakti, is personified and has multiple names: Shree, Lakshmi, Maya, Vishnumaya or Mahamaya. She is said to manifest as Kriyashakti, (Creative Activity) and Bhutishakti (Creation). This world requires Vishnu's creativity. He therefore needs Lakshmi to always be with Him. Her various avatars as Lord Vishnu's consorts are Varahavatar (Bhoodevi) or Bhoomi, Ramavatar Seeta, Krishnavatar Rukmini)

 

SARASWATI & GANGA

According to Brahma Vaivarta Purana, Lord Vishnu had three wives Lakshmi, Saraswati and Ganga. Due to their constant quarrelsome nature among them. Once Ganga tried to be close with Vishnu, this rebuked Saraswati but Lakshmi tried to pacify them but faced a curse rather. As per the curse, Lakshmi to appear as Tulasi. Sarawati cursed Ganga to run as a river in the world and Saraswati was cursed to run as a river in the netherworld. After this, Lord Vishnu transformed and became Brahma and Shiva to pacify Saraswati and Ganga.

 

GARUDA

Vishnu's mount (Vahana) is Garuda, the eagle. Vishnu is commonly depicted as riding on his shoulders.

 

ICONOGRAPHY

According to various Puranas, Vishnu is the ultimate omnipresent reality and is shapeless and omnipresent. However, a strict iconography governs his representation, whether in pictures, icons, or idols:

 

He has four arms and is male: The four arms indicate his all-powerful and all-pervasive nature. His physical existence is represented by the two arms in the front, while the two arms at the back represent his presence in the spiritual world. The Upanishad Gopal Uttartapani describes the four arms.

The Shreevatsa mark is on his chest, symbolizing his consort Lakshmi.

He wears the auspicious "Kaustubha" jewel around his neck and a garland of vaijayanti flowers (Vanamala). Lakshmi dwells in this jewel, on Vishnu's chest.

A crown adorns his head: The crown symbolizes his supreme authority. This crown sometimes includes a peacock feather, borrowing from his Krishna-avatar.

He wears two earrings: The earrings represent inherent opposites in creation — knowledge and ignorance; happiness and unhappiness; pleasure and pain.

He rests on Ananta, the immortal and infinite snake.

 

Vishnu is always to be depicted holding four attributes:

 

A conch shell or Shankha, named Panchajanya, is held by the upper left hand. It represents Vishnu's power to create and maintain the universe. Panchajanya represents the five elements or Panchabhoota – water, fire, air, earth and sky or space. It also represents the five airs or Pranas that are within the body and mind. The conch symbolizes that Vishnu is the primeval Divine sound of creation and continuity. It also represented as Om. In the Bhagavad Gita, Krishna avatara states that of sound vibrations, 'He is Om'.

The Chakra, a sharp, spinning, discus-like weapon, named "Sudarshana", is held by the upper right hand. It symbolizes the purified spiritualized mind. The name Sudarshana is derived from two words – Su, which means good, superior, and Darshana, which means vision or sight; together. The Chakra represents destruction of ego in the awakening and realization of the soul's original nature and god, burning away spiritual ignorance and illusion, and developing higher spiritual vision and insight to realize god.

A mace or Gada, named "Kaumodaki", is held by the lower right hand. It symbolizes that Vishnu's divine power is the source of all spiritual, mental and physical strength. It also signifies Vishnu's power to destroy materialistic or demonic tendencies (Anarthas) that prevent people from reaching god. Vishnu's mace is the power of the Divine within us to spiritually purify and uplift us from our materialistic bonds.

A lotus flower or Padma is held by the lower left hand. It represents spiritual liberation, Divine perfection, purity and the unfolding of Spiritual consciousness within the individual. The lotus opening its petals in the light of the Sun is indicative of the expansion and awakening of our long dormant, original spiritual consciousness in the light of god. The lotus symbolizes that god is the power and source from which the universe and the individual soul emerges. It also represents Divine Truth or Satya, the originator of the rules of conduct or Dharma, and Divine Vedic knowledge or Jnana. The lotus also symbolizes that Vishnu is the embodiment of spiritual perfection and purity and that He is the wellspring of these qualities and that the individual soul must seek to awaken these intrinsic Divine qualities from Vishnu by surrendering to and linking with Him.

 

To this may be added, conventionally, the vanamaala flower garland, Vishnu's bow (Shaarnga/Kodand) and his sword Nandaka. A verse of the Vishnu Sahasranama stotram states;vanamālī gadhī shārngī shanki chakri cha nandaki / shrīmān nārāyaņo vişņo vāsudevo abhirakşatu//; translation: Protect us Oh Lord Narayana who wears the forest garland,who has the mace, conch, sword and the wheel. And who is called Vishnu and the Vasudeva.

 

In general, Vishnu's body is depicted in one of the following three ways:

 

Standing on a lotus flower, often with Lakshmi, his consort, beside him on a similar pedestal.

Reclining on the coiled-up thousand-hooded Shesha Naga, with Lakshmi seated at his feet; the assemblage rests on the "Kshira Sagar" (ocean of milk). In this representation, Brahma is depicted as sitting on a lotus that grows out of Vishnu's navel.

Riding on the back of his eagle mount, known as Garuda. Another name for Garuda is "Veda atma"; Soul of the Vedas. The flapping of his wings symbolizes the power of the Divine Truth of Vedic wisdom. Also the eagle represents the soul. Garuda carrying Vishnu symbolizes the soul or jiva atma carrying the Super soul or Param atma within it.

 

AVATARS

Ten avatars (dashavatara) of Vishnu are the most prominent: Apart from the most prominent incarnations there are believed to more.

 

The most commonly believed incarnations of Vishnu are:

 

Matsya, the fish that kills Damanaka to save the vedas and also saves Manu from a great flood that submerges the entire Earth.

Kurma, the turtle that helps the Devas and Asuras churn the ocean for the nectar of immortality.

Varaha, the boar that rescues the Earth and kills Hiranyaksha.

Narasimha, the half-lion half human, who defeats the demon Hiranyakashipu.

Vamana, the dwarf that grows into a giant to save the world from King Bali.

Parashurama, "Rama of the battle axe", a sage who appeared in the Treta Yuga. He killed Kartavirya Arjuna's army and clan and then killed all the kshatriyas 21 times.

Rama, the prince and king of Ayodhya who killed the Demon King Raavan.

Krishna, the eighth avatar of Vishnu, who takes part in the Mahabharata epic. Krishna is worshipped as the Supreme Avatar of Vishnu (Supreme Personality of Godhead) in Gaudiya-Vaishnava philosophy.

Buddha, the ninth avatar of Vishnu.

Kalki, the tenth Avatar of Vishnu and said to be the harbinger of the end Kali Yuga. This avatar of Vishnu is yet to come.

 

Some versions of the above list include Hayagreeva among the Dashavataras while some include Buddha as ninth avatar of Vishnu. Another 22 avatars are given in Chapter 3, Canto 1 of the Bhagavata Purana, although it states that "the incarnations of the Lord are innumerable, like rivulets flowing from inexhaustible sources of water".

 

BEYOND HINDUISM

 

SIKHISM

Guru Granth Sahib of Sikhism mentions Vishnu, one verse goes:

 

The true Vaishnaav, the devotee of Vishnu, is the one with whom God is thoroughly pleased. He dwells apart from Maya. Performing good deeds, he does not seek rewards. Spotlessly pure is the religion of such a Vaishnaav; he has no desire for the fruits of his labors. He is absorbed in devotional worship and the singing of Kirtan, the songs of the Lords Glory. Within his mind and body, he meditates in remembrance on the Lord of the Universe. He is kind to all creatures. He holds fast to the Naam, and inspires others to chant it. O Nanak, such a Vaishnaav obtains the supreme status.

 

BUDDHISM

While some Hindus consider Buddha as an incarnation of Vishnu, Buddhists in Sri Lanka venerate Vishnu as the custodian deity of Sri Lanka and protector of Buddhism. Lord Vishnu is also known as upulvan, or uthpala varna, meaning "Blue Lotus coloured". Some postulates that Uthpala varna was a local deity who later merged with Vishnu while another belief is that Uthpala Varna was an early form of Vishnu before he became a supreme deity in Puranic Hinduism. According to Chronicles "Mahawamsa", "Chulawamsa" and folklore in Sri Lanka, Buddha himself handed over the custodianship to Vishnu. Others believe that Buddha entrusted this task to Sakra(Indra) and Sakra delegated this task of custodianship to god Vishnu. In contrary to vedic Hinduism, in assimilation of Hindu god Vishnu into Sinhalese Buddhism, Vishnu becomes a mortal being and a Bodhisattva aspiring Buddhahood. Additionally, Vishnu is considered as the god of home and hearth representing mercy, goodness, order and stability. Many Buddhist and Hindu shrines are dedicated to Vishnu in Sri Lanka. In addition to specific Vishnu "Kovils" or "devalayas", all Buddhist temples necessarily house shrine rooms (Devalayas) closer to the main Buddhist shrine dedicated to Vishnu. John Holt in his groundbreaking study examines the assimilation, transformation, and subordination of the Hindu deity Vishnu within the contexts of Sri Lankan history and Sinhala Buddhist religious culture. He then explores the role and rationale of medieval Sinhala kings in assimilating Visnu into Sinhala Buddhism. According to Holt the veneration of Vishnu in Sri Lanka is evidence of a remarkable ability, over many centuries, to reiterate and reinvent culture as other ethnicities have been absorbed into their own. Though the Vishnu cult in Ceylon was formally endorsed by Kandyan kings in early 1700s, Holt states that vishnu images and shrines are among conspicuous ruins in the medieval capital Polonnaruwa. In Buddhist mythology, when Vishnu failed to traverse the universe in three steps, he was given the title "Ardha Vishnu (Half-Vishnu)" and when Vishnu banished demons from the Vaishali (Vishala)in India, he became "Mulu Vishnu or Whole Vishnu". The extreme significance of god Vishnu in Sinhala society is reflected in recitals of the traditional "Offerings to dwarfs and crossing the door frame (bahirwayanta dola pideem saha uluwahu peneema)" that starts with Sri Vishnu invocation.In the recitals,mentioning of the aspiring Buddhahood of Vishnu which is of prime importance to Buddhists and wishes for him to live five thousand and more years highlight the central role of Vishnu in the psyche of Sri Lankan Buddhists.

 

OTHERS

James Freeman Clarke, Richard Leviton, James Cowles Prichard, and others have noted the similarities between Vishnu and Ancient Egyptian God Horus.

 

During an excavation in an abandoned village of Russia in the Volga region, archaeologist Alexander Kozhevin excavated an ancient idol of Vishnu. The idol dates from between the 7th and 10th centuries. In the interview Kozhevin, stated that, "We may consider it incredible, but we have ground to assert that Middle-Volga region was the original land of Ancient Rus. This is a hypothesis, but a hypothesis, which requires thorough research"

 

THOUSAND NAMES OF VISHNU

Vishnu's many names and followers are collected in the Vishnu Sahasranama, (Vishnu's thousand names) from within the larger work Mahabharata. The character Bheeshma recites the names before Krishna on the battlefield of Kurukshetra, praising him (Vishnu) as the supreme god. These Sahasranama are regarded as the essence of all Vedas by followers of Vaishnavism, who believe sincere chanting of Vishnu Sahasranama results in spiritual well-being and a greater awareness of God.

 

The names are generally derived from the Anantakalyanagunas (meaning: infinite auspicious attributes).

 

According to the Siddhartha-samhita there are twenty-four forms of Lord Vishnu. The twenty-four forms are

 

Vasudeva

Sankarshana

Pradyumna

Anirudha

Keshava

Narayana

Madhava

Govinda

Vishnu

Madhusudana

Trivikrama

Vamana

Sridhara

Hrishikesha

Padmanabha

Damodara

Purushottama

Achyuta

Narasimha

Janardana

Hari

Krishna

Adhokshaja

 

Upulvan, Uthpala Varna - In Sri Lanka, Vishnu is also referred to as Upulvan ( Blue Lotus Coloured)

 

WIKIPEDIA