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Anna May Wong-1938
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
"Spare a girl a little time, handsome?"
I whirled around. A girl was standing there, a girl unlike any I had ever seen before. She was Klahdish in appearance and could have passed for another of my dimension except for her complexion and hair. Her skin was a marvelous golden-olive hue, and her head was crowned with a mane of light green hair that shimmered in the sun. She was a little taller than me, and incredibly curvacious, her generous figure straining against the confines of her clothes.
"...or have you really got a thing about dung heaps?" she concluded.
She had almond cat-eyes that danced with mischief as she talked.
--- "Another Fine Myth" by Robert Asprin
________________________________________________
"Don't let him kid you," my mentor grinned. "Tanda and Chumley are from Trollia, where the men are Trolls and the women are Trollops. With men like this back home, you can understand why Tanda spends as much time as she does dimension hopping."
--- "Myth Directions" by Robert Asprin
________________________________________________
Tanada, aka Tanda, is a character from Robert Asprin's "Myth Adventures" series. She is a Trollop Assasin from the dimension of Trollia. This picture is an attempt I made for recreating her likeness in Second Life.
The skin is a free Eloh Elliot skin that I used. I downloaded the GIMP XMP files and edited the hue of the skin, changing it from the light skin tone to the golden-olive hue that you see in the avatar. I also revealed the green eyeshadow and red lips that were hidden layers already included with the skin.
The hair is Arianna in Dark Mint from Calico Kitty. I do have lighter greens, but the contrast looked better with the dark green. That is a slight variation from the description.
The shape is my Asian shape that was modified to become more curvaceous, as the description calls for. In so doing, I increased her breast size, her hip width, and her butt size.
The final piece to complete the look was the fantasy leather outfit. For that, I found the Takarai Hunter outfit from Demons and Angel's on the Marketplace. I had to resize some of the prim attachments to fit, but overall it seemed to come out well.
The snapshot was taken in my forest and brought into GIMP where I sharpened the image before uploading it here.
The first time i seen peaches growing so fresh on the tree,ready to be picked, looking so juicy under that soft suede like skin.. the sunshine ,lighting and shadows made the photos i think...tried to do 3 in one capture macro,dof and bokeh...just loving those colours too...help yourself and have a super and safe weekend all xx
As shot RAW captured
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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
For smooth, glowing skin
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管樂雅集 - 迷你長笛妹 / 中秋賞樂年紀最小的演奏者 - 認真的表情令人動容
Wind instrument music elegant gathering - Miniature flute younger sister / Mid-Autumn Festival enjoys Music The youngest performer - The earnest expression changed everyone complexion
Reunión elegante de la música del instrumento de viento - Una hermana más joven de la flauta miniatura /El festival del Mediados de-Otoño disfruta de música El ejecutante más joven - La expresión seria cambió cada uno tez
管楽は風雅に集います - ミニフルートの妹 / 中秋に笑うことを与えます年齢の最小の演奏者 - まじめな表情は感動した面持ちをさせられます
Elegante Versammlung der Windinstrument-Musik - Jüngere Schwester der Miniflöte /Genießt Mittler-Herbst Festival Musik Der jüngste Ausführende - Der ernsthafte Ausdruck änderte jeder Teint
Tainan Taiwan / Tainan Taiwán / 台灣台南
--------------------------------------------------------------------------
其實我是黑管妹的粉絲
I am a fans of The sister with a clarinet
Soy los ventiladores de la hermana con un clarinet
私はクラリネットを持つ姉妹のファンである
Ich bin Ventilatoren der Schwester mit einem Clarinet
--------------------------------------------------------------------------
光圈全開
The aperture all opens
La abertura toda se abre
開きはすべて開く
Alle Blendenöffnung öffnet
原圖JPG直出無後製
Original picture JPG is straight has no children the system
El JPG original del cuadro es recto no tiene ninguÌn niño el sistema
原図JPGはずっと跡継ぎがいなくてつくることを出します
Ursprünglicher Abbildung JPG ist hat keine Kinder das System gerade
本圖無合成無折射
This chart does not have the refraction without the synthesis
Esta carta no tiene la refracción sin la síntesis
当合成がないことを求めて屈折がありません
Dieses Diagramm hat die Brechung nicht ohne die Synthese
可用放大鏡開1:1原圖
The available magnifying glass opens 1:1 original picture
La lupa disponible abre el cuadro de la original del 1:1
利用できる拡大鏡は1:1の原物映像を開ける
Die vorhandene Lupe öffnet 1:1vorlagenabbildung
UMKC Conservatory Dance welcomes Edgar Anido, dancer with Complexions Contemporary Ballet, NYC. Mr. Anido works with dance students on one of his choreographed works for the Fall Dance Concert, Oct. 31-Nov. 2, 2013, 7:30 p.m. White Recital Hall.
My complexion may resemble Domino's Pepperoni Passion, and the bags under my eyes would take you over the limit at Heathrow, but I think my eyebrows look pretty damn fine. Despite there being about five beauty places within spitting distance of my humble abode, I insist on schlepping down the road to Palmers Green for eyebrow threading. It hurts like heartbreak, but the results are well worth it. Far more glamourous than my own haphazard attempts with cheapo tweezers.
Paradox complexion soap is formulated to brighten and revitalize dull skin with detoxifying bamboo charcoal, organic herbs, Fuller’s earth clay, goat’s milk, and a refreshing and purifying blend of lemon, juniper berry, and litsea cubeba essential oils.
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
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Complexion Fair
Eyes Very Cheerful.
Nose Not Supercilious
Mouth Smiling
Visage Beaming
General Expression Extremely agreeable
Vietnamese girls endevour to retain a pale complexion so they take every precaution to avoid the sun.
Most people have suffered zits at some time, whether in small batches or a full blown pimples problem. Luckily, there have been many breakthroughs in the treatment and prevention of zits, as well as approaches to maintain a clear complexion. This article contains some of these methods.
Many people see no problem with popping pimples. Should they be sore or extremely bothersome and you feel you need to pop them, then at least wash your hands and fingernails thoroughly beforehand to avoid any extra bacteria getting into the pores. Pop responsibly and you should see a reduction in the seriousness of your pimples in no time.
Resist the temptation to pick at, pop or squeeze your pimples, whiteheads and blackheads. Use one of the many pimples treatments that are available. You risk infecting your pimples and creating a scar if you bother your pimples. In fact, it can cause discolorations in your skin that may take years to disappear.
Do not use tooth whitening products. If you often have breakouts around your lips, you should reevaluate your oral care and beauty regimen. Many whitening products contain chemicals that are irritants. Your mouth's skin is delicate and can be easily irritated.
Pimples breakouts are also caused by extreme cold and warm conditions, so be aware of that when traveling outside. You will sweat more when it gets really warm. Sweat will clog your pores. This can often cause acne. Cold weather can easily cause dry skin. Neither is preferable.
If you typically wear makeup, avoid wearing it for a while. You can also treat zits by switching to a foundation that is water-based. Make-up can exacerbate your break-outs by clogging your pores. Taking a vacation from it might just help to clear up your complexion.
Be sure that you are not mixing acne treatments. A lot of people in a flurry to stop acne tend to mix many lotions thinking one could work better than the other. Pimples creams contain harsh ingredients that can greatly damage your skin should they be combined haphazardly.
Many people aren't aware of how to best get rid of their pimples. You are not the only one struggling with pimples. healthandillness.net/acne-cure/
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NCSSM, a publicly funded high school in North Carolina, provides exciting, high-level STEM learning opportunities. If you appreciate this resource, please consider making a tax-deductible donation to the NCSSM Foundation. Thank you! connections.ncssm.edu/giving
Music Hall’s 2008 – 2009 Season Opener started with Complexions Contemporary Ballet including an encore performance for long time supporter Maggie Allesee’s Birthday Celebration.
Complexions was created by Dwight Rhoden and Desmond Richardson and boasts dancers from New York City Ballet, National Ballet of Canada and the Dance Theater of Harlem. The evening performances included Hissy Fits, Gone, Momentary Forevers, Ava Maria, Wonder-Full and Routines (pictured).
Missed this event? They will be back in 2010 check www.musichall.org for exciting up coming events!
Music Hall’s 2008 – 2009 Season Opener started with Complexions Contemporary Ballet including an encore performance for long time supporter Maggie Allesee’s Birthday Celebration.
Complexions was created by Dwight Rhoden and Desmond Richardson and boasts dancers from New York City Ballet, National Ballet of Canada and the Dance Theater of Harlem. The evening performances included Hissy Fits, Gone, Momentary Forevers, Ava Maria, Wonder-Full and Routines (pictured).
Missed this event? They will be back in 2010 check www.musichall.org for exciting up coming events!
@ Internationale Tanzmesse nrw, Düsseldorf
In To the Ones I Love, Thierry Smits places nine dancers of African descent on the stage. More precisely, for this choice is a vital one, he uses nine dancers whose complexions hark back to Africa. In short, they are dark – either black or of mixed race. These dancers have different nationalities but belong to the world, and the fact that they are scattered over several continents proves that the world belongs to them despite the discriminatory reflexes that are incarnated in today’s immigration policies and talk about national identity. The mixing of races and cultures mocks these retreats behind the walls of identity, defies all categorisation, and transmits a troubling, implacable message of change, for tomorrow humankind will be mixed or it will not be.
Thierry Smits’s message is not political, however. It deliberately sets out to be aesthetic and refuses all concessions to exoticism. The principle is to set bodies used to “Western” choreographic techniques but nevertheless shaped by other traditions and dances in motion. They dance in a white decor and are literally transported by Johan Sebastian Bach’s music, by its overflowing generosity and immense virtuosity. The challenge is obviously to manage the unexpected outcomes of the meeting of different cultural references.
In putting nine bodies sculpted and sublimated by dance and music on the stage, Thierry Smits issues a message of love by giving a metaphorical dimension to the difference of the loved one, for the other one whom one loves is, by definition, different from the one of oneself. To celebrate twenty years of choreographic creation, Thierry Smits is treating himself to a moment of immense pleasure whilst offering his audience, family, friends, and lovers this visual gift, proof of a constantly renewed energy and an endless hunger to love passionately.
Vespasian: and Titus
This naturalistic portrait of the emperor Vespasian (reigned AD 69-79) clearly shows the lined complexion of this battle-hardened emperor, and also the curious 'strained expression' which the Roman writer Suetonius said he had at all times. The loss of the nose is characteristic of the damage often suffered by ancient statues, either through deliberate mutilation or through falling or being toppled from their base.
Vespasian was born in the Roman town of Reate (Rieti), about forty miles (sixty-five kilometres) north-west of Rome in the Sabine Hills. Vespasian distinguished himself in military campaigns in Britain and later became a trusted aide of the emperor Nero. Together with one of his sons, Titus, Vespasian conquered Judaea in AD 75 and celebrated with a magnificent triumphal procession through Rome. Part of the event, in particular the displaying of the seven-branched candlestick or 'Menorah' from the Temple at Jerusalem, is shown on the Arch of Titus, in Rome. The proceeds from the conquest of Judaea provided funds for the building of the Colosseum and other famous buildings in Rome.
Vespasian was known for his wit as well as his military skills. When, during one of his attempts to boost the treasury, Vespasian raised a tax on public urinals. Titus complained that this was below imperial dignity. Vespasian is said to have held out a handful of coins from the new tax and said 'Now, do these smell any different?'. Even on his death bed Vespasian's wit did not desert him. He was perhaps parodying the idea of the deification of emperors, when he said 'Oh dear, I think I'm becoming a god'.
S. Walker, Greek and Roman portraits (London, The British Museum Press, 1995)
S. Walker, Roman art (London, 1991)
B. Levick, Vespasian (Routledge, 1999)
Description
Marble head from a statue of the emperor Titus.
Dimensions
Height: 12 inches
Educational Use only
Description
Marble head from a statue of the emperor Titus.
Dimensions
Height: 12 inches
Photo courtesy David Emery
Vespasian: and Titus
This naturalistic portrait of the emperor Vespasian (reigned AD 69-79) clearly shows the lined complexion of this battle-hardened emperor, and also the curious 'strained expression' which the Roman writer Suetonius said he had at all times. The loss of the nose is characteristic of the damage often suffered by ancient statues, either through deliberate mutilation or through falling or being toppled from their base.
Vespasian was born in the Roman town of Reate (Rieti), about forty miles (sixty-five kilometres) north-west of Rome in the Sabine Hills. Vespasian distinguished himself in military campaigns in Britain and later became a trusted aide of the emperor Nero. Together with one of his sons, Titus, Vespasian conquered Judaea in AD 75 and celebrated with a magnificent triumphal procession through Rome. Part of the event, in particular the displaying of the seven-branched candlestick or 'Menorah' from the Temple at Jerusalem, is shown on the Arch of Titus, in Rome. The proceeds from the conquest of Judaea provided funds for the building of the Colosseum and other famous buildings in Rome.
Vespasian was known for his wit as well as his military skills. When, during one of his attempts to boost the treasury, Vespasian raised a tax on public urinals. Titus complained that this was below imperial dignity. Vespasian is said to have held out a handful of coins from the new tax and said 'Now, do these smell any different?'. Even on his death bed Vespasian's wit did not desert him. He was perhaps parodying the idea of the deification of emperors, when he said 'Oh dear, I think I'm becoming a god'.
S. Walker, Greek and Roman portraits (London, The British Museum Press, 1995)
S. Walker, Roman art (London, 1991)
B. Levick, Vespasian (Routledge, 1999)
Description
Marble head from a statue of the emperor Titus.
Dimensions
Height: 12 inches
Educational Use only
Description
Marble head from a statue of the emperor Titus.
Dimensions
Height: 12 inches
Photo courtesy David Emery
There is no beautifier of complexion, or form, or behavior, like the wish to scatter joy and not pain around us. 'Tis good to give a stranger a meal, or a night's lodging. 'Tis better to be hospitable to his good meaning and thought, and give courage to a companion. We must be as courteous to a man as we are to a picture, which we are willing to give the advantage of a good light.
- Ralph Waldo Emerson
Parvati (Devanagari: पार्वती, IAST: Pārvatī) is known as the motherly form of Mother Goddess Gauri Jagadamba, Parvati is another form of Shakti, the wife of Shiva and the gentle aspect of Maha Devi or Durga, the Great Goddess. Parvati is considered to be a complete incarnation of Adi Parashakti or Goddess Durga, with all other Goddesses being her incarnations or manifestations. Parvati is nominally the second consort of Shiva, the Hindu God of destruction and rejuvenation. However, she is not different from Sati, being the reincarnation of Shiva's first wife. Parvati is the mother of the Gods Ganesha, Kartikeya, Ashoka Sundari. Some communities also believe her to be the sister of Vishnu. She is also regarded as the daughter of King Himavan. Parvati, when depicted alongside Shiva, generally appears with two arms, but when alone, she is depicted having four, eight or ten arms, and is astride on a tiger or lion. Generally considered a benevolent Goddess, Parvati also has wrathful incarnations, such as Durga, Kali, Tara, Chandi, and the Dasha Mahavidyas (ten great wisdoms), Tripur Sundari (Shodashi), Bhuvaneshwari, Bhairavi, Chinnamasta, Dhumavati, Bagla Mukhi, Matangi and Kamala, as well as benevolent forms like Katyayani, Maha Gauri, Kamalatmika, Bhuvaneshwari and Lalita.
ETYMOLOGY
Parvata is one of the Sanskrit words for "mountain"; "Parvati" translates to "She of the mountains" and refers to Parvati being born the daughter of Himavan, lord of the mountains and the personification of the Himalayas. Other 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). Parvati's name is also sometimes considered a form of 'pavitra', meaning 'sinless' or 'holy' in Sanskrit. Her consort is Shiva and she is the sagun swaroop of the Supreme Being Adi Parashakti that is the material form of the supreme power.
She is also known by 108 names from the Durga Saptashati. These include Durga (invincible), Shakti (power), Ambika ('dear mother'), Gauri ('fair complexioned'), Bhairavi ('ferocious'), Kali ('dark'), Umā, Lalita, Mataji ('revered mother'), Sahana ('pure'), Maheshwari ('great goddess'). Bhavani, Shivaradni ('Queen of Shiva'), and many hundreds of others. The Lalita sahasranama contains an authoritative listing of 1,000 names of Parvati.
Two of Parvati's most famous epithets are Uma and Aparna. The name Uma is used for Sati in earlier texts, but in the Ramayana, it is used as 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').
The apparent contradiction that Parvati is addressed as the fair one, Gauri, as well as the dark one, Kali or Shyama is a philosophical matter. It suggests that the one calm and placid wife, Uma, in times of danger, can transfer back to her primal fierce and angry or (sometimes) Maternal nature as Kali, who stands uncloaked, with a foot on her husband's chest. The twin opposite colors, white and black represent the two opposing nature of the Goddess. Parvati is also the goddess of love and devotion, or Kamakshi.
GODDESS OF POWER
Parvati is the source of all the powers and weapons. She is the base of all kinds of powers that are used for doing any work. It is also believed that without her, Shiva remains as Shava or Corpse, for she is the ultimate source of power for all beings, gods and Devas. That is why she is considered as goddess of power. According to the Devi Bhagavatam, she is the most powerful of all. When her anger reaches its peak, she can destroy the whole universe in just seconds. Even Trinity i.e. Brahma, Vishnu and Shiva, never try to make her angry at any cost.
Sarvarupe Sarveshe Sarvashakti Samanvite Bhayebhyastrahi no devi durge devi namostute
It translates to: We bow down to Devi Durga, who is source of all forms (sarvarupe), who is the goddess of all beings (sarveshe), in whom all power exists (Sarvashakti samanvite) and who destroys all fear (bhaye bhyastrai no devi).
RISE TO PROMINENCE
Parvati herself does not explicitly appear in Vedic literature, though the Kena Upanishad (3.12) contains a goddess called Uma-Haimavati. 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.." Both textual and archaeological evidence suggests 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.
Prof. Weber suggests that like Shiva is combination of various Vedic gods Rudra and Agni, the Puranic Parvati is a combination of Uma, Haimavati, Ambika and earlier Parvati, identified as wives of Rudra; of others like Kali, who could be a wife of Agni and of Gauri and others inspired by Nirriti. Tate suggests Parvati is a mixture of the Vedic goddess Aditi and Nirriti, and being a mountain goddess herself, was associated with other mountain goddesses like Durga and Kali in later traditions.
BIRTH AND MARRIAGE
The Puranas repeatedly tell the tale of Sati's marriage to Shiva against her father Daksha's wishes and her subsequent self-immolation at Daksha's sacrifice, leaving Shiva grief-stricken and having lost interest in worldly affairs. In the Brahma Vaivarta Purana, Sati appears before Shiva, in her divine form, and reassures him that she will return as the daughter of Himavan. Sati is reborn as Parvati, the daughter of Himavat and Minavati, and is named Parvati, 'daughter of Himavant '. Sati, as well as Parvati, are considered manifestations of Mahadevi, the great Goddess. In the Ramayana, the river goddess Ganga is depicted as the elder sister of Parvati. In the Harivamsa, Parvati has two younger sisters called Ekaparna and Ekapatala. According to Devi Bhagawata Purana and Shiva Purana mount Himalaya and his wife Mena perform extreme austerities to appease the goddess Adi Shakti. Pleased with their penance the Adi Shakti agrees to be born as their daughter. When born goddess Parvati has four arms and manifests a divine light which pervades the entire Himalaya region on the auspicious tritiya day. Mena implores to the child to withdraw its four armed form and make herself visible as a two armed normal child to which the goddess agrees and becomes a normal girl child.
Parvati is depicted as interested in Shiva's tales and appearance from her very birth and eventually remembering her previous life as Sati. As Parvati grows into a young woman, she begins tapas (austerities) to please Shiva to grant her wish to reunite with him. She is portrayed as surpassing all other ascetics in austerity, undergoing severe mortifications and fasting. Finally, Shiva tests her devotion by appearing himself in disguise to criticize Shiva. Untouched by the act, Parvati retains her desire for Shiva, compelling him to marry her. After the marriage, Parvati moves to Mount Kailash, the residence of Shiva.
Kalidasa's epic Kumarasambhavam ("Birth of Kumara") details with matchlessly lyrical beauty the story of the maiden Parvati: her devotions aimed at gaining the favor of Shiva, the subsequent annihilation of Kamadeva, the consequent fall of the universe into barren lifelessness, the subsequent marriage of Parvati and Shiva, the birth of Kumara, and the eventual resurrection of Kamadeva after Parvati intercedes for him to Shiva.
MAIN FORMS OF PARVATI
As per devi bhagwata Purana, Goddess Parvati is lineal progenitor of all other goddesses. She is one who is source of all forms of goddesses. She is worshiped as one with many forms and name. Her different mood brings different forms or incarnation.
- Durga is demon fighting form of this Goddess, and some texts suggest Parvati took the form of Goddess Durga to kill Demon Durgam.
- Kali is another aspect that was assisted by Goddess Chandi while fighting with rakta bija. She was born from the forehead of the goddess. But many interpretations of scriptures suggests that it was Goddess Chamunda who has gotten same iconography as goddess Kali who is nobody but an aspect of Kali, even Parvati is considered to be Goddess Kali herself in her ferocious form.
- Goddess Chandi is the epithet of Maa Durga, who is created by the collection of all demigods and trimurti power, and then considered to be power of sagun parashakti (Parvati), She is black in color and rides on lion, she is known as the original slayer of Demon Mahishasura, considered to be a form taken by Durga herself.
- Ten Mahavidyas are the ten aspects of Shakti, in tantra all have great importance in majority, they all took birth from Goddess Sati, previous Incarnation of Shakti before Goddess Parvati. There is no difference between Sati and Parvati.
- 52 Shakti Peethas of Sati, proves that all Goddesses are expansions of the Goddess Parvati.
- Nava Durga nine forms of goddess Parvati.
SEVERAL INCARNATIONS OF THE GODDESS
- Goddess Meenakshi
- Goddess Kamakshi
- Goddess Lalita, the Original Goddess of Universe, Parvati is referred as her complete incarnation.
- Goddess Akhilandeshwari.
- Goddess Annapurna the representation of all that is complete and of food is Parvati Herself.
- and many others . . .
ASSOCIATION WITH SHIVA
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, represented by Shiva. In classical Hindu mythology, the "raison d’être" of Parvati, and before that of Sati, is to lure Shiva into marriage and thus into a wider circle of worldly affairs.
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 theme of Shiva-Shakti
- The image of Shiva as Ardhanarishvara (the Lord who is half-woman)
- The image of the linga and the yoni
These images that combine the two deities, Shiva and Parvati, yield a vision of reconciliation, interdependence and harmony between the way of the ascetic and that of a householder.
The couple are often depicted in the Puranas as engaged in "dalliance" or seated on Mount Kailash or discussing abstract concepts in Hindu theology. Occasionally, they are depicted as quarrelling. In stories of the birth of Kartikeya, the couple are 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 primarily as the Shiva's submissive and obedient wife and helpmate. 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 manifests in the form of ten terrifying goddesses who block Shiva's every exit.
As the scholar David Kinsley explains:
- 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.
Aum Girijayai cha vidmahe Shivapriyayai cha dhimahi tanno durgah prachodayat
May the goddess Durga, who is the daughter of the mountains and the beloved of lord Shiva illumine me with spiritual wisdom
Sarvamangala mangalye shive sarvardha sadhike sharanye tryambake gouri narayani namostute
I bow down to and take the refuge of the three eyed Mother Gouri(Parvati) of fair countenance,who is the embodiment of supreme auspiciousness, the giver of all the benedictions,the beloved of Lord Shiva and the power of lord Narayana.
RELATIONSHIP TO VISHNU
During the initial stages when Parvathi was performing intense puja to Shiva to obtain Shiva as her husband, Shiva kept testing her by destroying the Shiva lingam she constructed to perform puja. Vishnu then helped in constructing a Shiva lingam for Parvati which was not destroyed by Shiva because of the respect Shiva had towards Vishnu. Thus Vishnu helped Paravthi in continuing her puja for Shiva. This is when Parvathi tied a knot to Vishnu's hand and claimed him as her brother. This is the reason during the marriage of Shiva and Parvathi, Vishnu got involved in all the ceremonies that are supposed to be done by the bride’s brother. This is how Parvati is related to Vishnu as a sister.
The interesting story about the relationship between Vishnu and Parvati is more clearly depicted in Markandeya Purana where it is said that Mahalakshmi or Durga was the only one. Then she transforms into Mahakali and Mahasarasvati. After which she ask them to evolve pair. Here Mahalakshmi gives rise to brahma and lakshmi, Mahakali evolved Shiv and Saraswati while Mahasarsvati gave rise to Vishnu and parvati. Then Mahalakshmi ordered rest to interchange pairs for marriage and Shiv was provided with parvati, vishnu with lakshmi and brahma with saraswati. Its quite interesting that Mahasarsvati who is goddess of education gives birth to parvati and vishnu and both of them in future tells Geeta to Himalaya and Arjun respectively.
MOTHER OF GANESHA
Though Ganesha considered to be son of Shiva and Parvati, the Matsya Purana, Shiva Purana, and Skanda Purana ascribe the birth of Ganesha to Parvati only, without any form of participation of Shiva in Ganesha's birth.
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 and it started a chain of events leading to war of the entire heavenly kingdom and the lone child. Midst the war, Shiva 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 immediately revealed her true self as Adi Shakti, the primodial power. She called upon the nine forms within her, the nine forms surrounded her. She ordered them to destroy the whole world and if her son does not get back to life, then everyone and everything will be destroyed and demanded that Shiva restore Ganesha's life at once. The Gods prostrated at her feet and an elephant's head was attached to Ganesha's body, bringing him back to life. To appease Parvati further, Shiva declared that the child be made head of the ghost-followers (Gana's)of Shiva and worshipped by everyone before beginning any activity, and gods accepted this condition.
Ganesha is identified as a god named after his mother. He is called Umaputra, Parvatisuta, Gaurisuta meaning son of Parvati and Heramba, "mother's beloved (son)".
ICONOGRAPHY
Naturally, Parvati’s unique characteristics have become more and more obscured, as she absorbed more and more goddesses into her iconography. Therefore, her depictions have become rather generic today. When shown with Shiva, she carries a blue lotus in full bloom, shows the abhaya mudra (hand gesture of fearlessness) and usually has one of her children on her knee. The only hint of her former occult status is the somewhat languid appearance of her eyes, as one who has recently emerged from deep meditation. Other goddesses are usually shown with large staring eyes as this is considered a mark of beauty. The consorts of the other two Gods of the trinity, Saraswati and Lakshmi, may be depicted alone, but Parvati hasn’t been depicted this way for many centuries.
The goddess is usually represented as a fair and beautiful. The colour of her vestments is milk-white, the colour of enlightenment and knowledge. Since white is a combination of all hues it shows that She has all the qualities or Gunas. Since white also depicts huelesness, it indicates that She is devoid of all Gunas. Hence, She is referred to as Trigunatmika (having the three gunas - Sattva, Rajas, and Tamas) - and at the same time being Nirguna (without any gunas). She has three eyes. Her accoutrements tend to be those of a Rishi (seer). She is also usually depicted with jatamukuta or a crown of matted hair, as Shiva is usually depicted. She is also shown as having a crescent moon bound in her locks, like Shiva.
Images of Parvati, wearing a sacred thread something not many women are associated with and as this marks the second-birth or dwija it is seems an advanced concept far beyond early pashupatas, and with her hair styled in a top knot like a Rishi (seer) survive into the Chola period (approximately ninth century A.D.). In fact, these two particularities were the only means of distinguishing her statuary from the images of the Goddess Shri of the time.
Her Mudras (symbolic hand gestures) are Kataka-fascination and enchantment, Hirana - the antelope, the powers of nature and the elusive, Tarjani - gesture of menace, and Chandrakal - the moon, a symbol of intelligence. Kataka must be affected by one of the foremost hands as it is a means of drawing the worshiper closer. Tarjani must be described with the left hand, which symbolises contempt, and usually in the back set of hands. If Parvati is depicted with two hands, then Tarjani and Chandrakal may be dropped but Hirana and Kataka are signature except in very modern representations, where Abhaya (fearlessness), and Varada, (beneficence), are used.
ASSOCIATION WITH OTHER GODDESSES
In several myths, the presence of a dark, violent side of this otherwise benign Parvati is suggested. When approached by the gods to defeat demons, Parvati morphs back to her true self, shakti, which 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. In Linga Purana, Parvati summons 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. She ran around the three worlds in her mad, blind fury and creation was endangered. To lower Kali's rage, Shiva appeared as a crying baby in the middle of a battlefield. The cries of the baby raised the maternal instinct of Kali who started breast-feeding Shiva and resorted back to her benign form as Parvati. Kali is associated and identified with Parvati as Shiva's consort.
In Skanda Purana, Parvati is said to have assumed a form of a warrior-goddess and defeated a demon called Durg who assumes the form of a buffalo. Thereafter, she is by the name Durga. In myths relating to her defeat of demons Sumbha and Nisumbha, Durga emerges from Parvati when Parvati sheds her outer sheath, which takes an identity of its own as a warrior goddess.
Although Parvati is considered to be synonymous with Kali, Durga, Kamakshi, Meenakshi, Gauri and many others in modern day Hinduism, many of these “forms” or incarnations originated from different sects, or traditions, and the distinctions from Parvati are pertinent.
The Shastras (sanctioned works of religious doctrine) attribute the golden colour of goddess Gauri’s skin and ornaments to the story of Parvati casting off her unwanted dark complexion after Shiva teased her, but the cult of Gauri tells a different story. Gauri is in essence a fertility Goddess, and is venerated as a corn mother which would seem to suggest that she owes her colouring to the hues of ripening grain, for which she is propitiated.
So whatever be said, Goddess Parvati has two main forms, what actually shaktas says out of which one is Lalita who is Supreme in Srikula family of shaktism and second one is Durga or kali who is supreme in kalikula family.
WORSHIP AND FESTIVALS
The Gowri Habba, or Gauri Festival, is celebrated on the seventh, eighth, ninth of Bhadrapada Shukla paksha. She 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 very popular festival in regard to the Mother Parvati is Navratri, in which all her manfestations are worshiped for nine days. Actually the festival is associated with Her warrior appearance is Mother Durga, with her nine forms i.e. Shailputri, Brahmacharini, Chandraghanta, Kashmunda, Skandmata, Katyani, Kalratri, Mahagauri, Siddhidaatri.
Another festival Gauri tritiya is celebrated from Chaitra shukla third to Vaishakha shukla third. It is believed that Parvati spends a month at her parent's home now. 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 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. Down south in Tamil Nadu and Andhra The Kethara Gauri Vritham festival is celebrated on the new moon day of Diwali and the unwidowed women of the family fast for the whole day and prepare sweets and worship the goddess for the well-being of the family.
FAMOUS TEMPLES
Annapurneshwari Temple, Cherukunnu, Kannur, Kerala is dedicated to an aspect of Parvati.
WIKIPEDIA
I purchased this doll a long time ago but never took a picture of her to celebrate her fair complexion and her sweet gaze. To me she's one of the cutest doll Mattel produced during the 80s ....
In the village of Kulusuk, population 300, local people, with coppery Inuit complexions, push their babies in baby joggers. A dead seal sits in a wheelbarrow. A giant Volvo forklift trundles by. Piles of candy-bar wrappers and Tuborg beer cans litter the snow and dirt paths that wind between the red houses. Then a man shouts, and I can see his sled dog team huffing past the grocery store where I just paid about eight dollars for two bananas. The dogs pass between a traditional wooden sled and a snowmobile resting on the edge of the frozen bay, and disappear behind distant icebergs.
Learn more: www.uvm.edu/~uvmpr/?Page=news&storyID=13845
but her nose has seen better days, it's still there, but I think the top piece is chipped or something, have to be careful it doesnt' fall off! .. but still, she has a very gentle look to her.
... she has a soft plasticky face, unlike blythe's hard plastic!
much like licca, but has that unique "glow" to the plastic/rubber is proabably hard to replicate the aging proces, like for vintage blythes! she's made in 1965, methinks, I can't quite make out the uber tiny writing on her bottom (need super magnifying glass)
slightly desaturated version of me to hide my ruddy complexion. A week into the 365 without a self-portrait? Well almost.
UMKC Conservatory Dance welcomes Edgar Anido, dancer with Complexions Contemporary Ballet, NYC. Mr. Anido works with dance students on one of his choreographed works for the Fall Dance Concert, Oct. 31-Nov. 2, 2013, 7:30 p.m. White Recital Hall.
Summary Data
State or Country of birth: Groveland, Tazwell Co., IL
Home prior to enlistment: Groveland, Tazwell Co., IL
Occupation prior to enlistment: farmer
Service: Co G 108th IL Vols - 1862 - 1863
Rank at enlistment: corporal
Highest rank attained: corporal
Principal combat experience:
... Chickasaw Bayou, Mississippi
...Arkansas Post, Arkansas
Casualties: Non-combat Injury - Youngs Point, LA
Photograph by: unknown, but likely Cole's Photographic Gallery, Peoria, Illinois, based on presence of orange two-cent Bank Check tax stamp with smudged rubberstamp cancel similar to that used on his sister's CDV.
Inscription in pencil on back: "Saml. Mooberry"
* * * * *
Samuel Mooberry was born at Groveland, in Tazwell County, Illinois on January 11, 1844. He was one of the youngest in a large family. On August 15, 1862, he enlisted at Peoria for three years in Company G, 108th Illinois Infantry. He was mustered into the service as a corporal on August 28. He was described as being 18 years old, 5'8" in height, with a fair complexion, dark eyes, and dark hair, and by occupation a farmer.
After completing its organization in Illinois, the regiment left the state for Kentucky in October 1862, and in November moved to Memphis, Tennessee. Sometime, probably in December, Mooberry "contracted a severe cold while on picket duty standing guard in the night in a snow storm" while being "improperly and insufficiently clad." This experience culminated in "a pain in the breast and a severe cough" and is likely to have contributed to the rheumatism that flared up and plagued him afterwards as well.
The men of the 108th saw their first combat in late December 1862 during General Sherman's failed Yazoo River Expedition. In an attempt to take the Confederate stronghold at Vicksburg the majority of Sherman's men approached the Vicksburg defenses from the northwest near the mouth of the Yazoo River while the remainder landed farther upstream. Mooberry and the men of the 108th Illinois found themselves pushing through the bottomland swamps of Chickasaw Bayou toward Walnut Hills, which were strongly defended. Several futile attempts were made to get around these defenses before Sherman ordered a frontal assault. Although Mooberry was unhurt, the attack was repulsed with heavy casualties. The Confederate victory frustrated Grant's attempts to take Vicksburg by direct approach and forced him to lay siege to the city six months later.
In January, Mooberry and his comrades in the 108th Illinois again saw combat, and had a taste of victory this time as Union forces moved up the Arkansas River to attack Fort Hindman at Arkansas Post. The combined army-navy movement succeeded in capturing the Confederate-held fort, but failed to get the Union any closer to a victory at Vicksburg. Returning to their base at Youngs Point on the Louisiana shore of the Mississippi River, just opposite the mouth of the Yazoo, the Union troops settled in as General Grant planned his next campaign against Vicksburg.
Winter, even in northern Louisiana, is cold enough to warrant a good campfire for warmth. Sometime in February, Mooberry was detailed to help unload a wagon load of fence rails to use as firewood. A simple enough task, yet for him it would prove to be the straw that broke the camel's back - almost literally. As was later detailed in his pension file, "Rails were being supplied for fuel. A wagonload was brought & the mess to which he belonged was to receive four of them. A man upon the wagon handed them off & [Mooberry] took them. The rails rolled & caused the man on the wagon to fall & he dropped or really thew the rail he had in his hands & hit [Mooberry] across the back as he [Mooberry] was turning & trying to get away from it producing an injury which remained by him ever since." Meanwhile Mooberry's health continued to decline as he contracted a case of dysentery. Mooberry was taken to the regimental hospital set up in a small building in camp suffering from fever and dysentery.
Records from the Army's Surgeon General's Office indicate that on March 8, 1863 Mooberry was moved from the camp hospital to the hospital boat "Nashville" where he was admitted for debility. Sometime before then his older brother had arrived from the north. Elijah Mooberry recalled, "About the 28th day of February I arrived at Youngs Point opposite Vicksburg by Special Permit from General Curtis there commanding, to look after the sick at that point. When I arrived there I found this young man with many others at Hospital or log house in camp, but in a few days [he] was removed to the Hospital Boat Nashville. Was there a short time when he was ordered back, by the Physician in charge, to his Regiment for Examination and discharge."
Samuel Mooberry's commanding officer, Lieutenant Henry C. Sommers, wrote at the time, "I certify to the best of my knowledge that the said soldier was a sound man when enlisted... The said soldier was taken with a pain in the breast and a severe cough which has rendered him unfit for duty. He is in my opinion totally unfit for the service." After examining him, Surgeon A. E. Goodwin agreed, writing, "[I] find him incapable of performing the duties of a soldier because of enfeebled health induced by exposure and incidents of camp life and continued fever and to such a degree as to unfit him for service so long as he may be suffered to remain and furthermore in my opinion will prove fatal if so continued."
Samuel Mooberry was discharged from the army at Milliken's Bend, Louisiana, on March 20, 1863, with a Certificate of Disability. Elijah Mooberry noted that his brother, "Was examined by a Board of Three Regular Army...Physicians, who gave him his discharge at once. The Foreman of the Board at that time told me he would never recover from it, as he had Pyaemia [Pyohemia] or Blood Poison and injury in his back received in hauling rails for company fires as a detail. One of the detail letting a rail fall on him when unloading the same, also had Rheumatism. These things I know from personal knowledge as I was with him when discharged from the service and returned home with him & many more who was discharged at the same time and put under my charge and especial care to St. Louis, Mo. and also to Peoria, Illinois."
Elijah escorted the sick men as far as Saint Louis, where he either turned them over to the authorities there or sent them on their way on their own. He continued on to Peoria, Illinois with his brother, who because of his illness had lost an excessive amount of weight. His general state of weakness and the injury to his back rendered him hardly able to walk.
Silas McClallen, a neighbor, wrote, "[Samuel Mooberry] was brought home by his brother when he returned from the service... When he was brought home he was unable to walk. He was confined to the house for a long time after he came home. [He] was under the Doctor's care through...the first summer after his return from the service. [He] was then poor & reduced in flesh & strength. His principal disability as [McClallen] understood was caused by an injury to his back. He was wholly disabled during the first year and since that year claimant has been able to & has done about one third of a man's work."
Another neighbor also recalled how Samuel Mooberry looked"...when he came home or was brought home from the service in April 1863. [I saw] him immediately after he came home. He was very poor, a mere skeleton. And he complained of suffering from chronic diarrhea and lameness. He was unable to stand up straight. His back appeared to have been injured and he was lame and sore otherwise or in other parts of the system. ...For about two years [Mooberry] was low and weak."
As time passed Samuel Mooberry recovered much of his strength and lost weight, although he continued to complain of periodic rheumatic pains and a sore back. On February 24, 1870, Samuel Mooberry married Clara McClallen at Groveland, Illinois. The coupe produced six children; Lydia R. (1872), Elija M. (18740,Lutie A. (1877), George F. (1880), Alfred S. (1883), and Ada P. (1887). The family lived at Morton, Illinois. Samuel Mooberry died at Morton on February 12, 1916. He was 72.