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I really love how the Keena skin from illmatic looks on my shape. It's super cute and I'm wearing the lightest shade (I also bought 2nd shade), but there are several other shades that really do well to embody darker complexions, which as a woman of color (despite not being very dark in RL), I appreciate very much. There are so many nice skins out there that only come in a handful of shades, and as someone who already has a difficult time finding the perfect foundation in RL, the frustration is sometimes carried into SL where most skins don't cater to the vast skin tones (and undertones - I'm way yellow in RL and that's sometimes my problem - too many foundations with too much pink/red in it!) that are out there. I know it's hard work to make as many shades as RL brands like MAC or Make Up Forever, where they have neutral, warm and cool tones spanning almost every shade - it's pretty crazy to make all those colors for SL - but I wish more skin designers would make more of an effort to try to include everyone - even if it's just adding 2 or 3 extra tones to your collection. Even if the darker shades are the lowest-selling, at least they will be there for the girls who either want to show off their ethnic pride or just want to wear a dark skin. Even if you think that women of color wouldn't/don't shop at your store, you'd be surprised! Some of my favorite stores to shop at (for clothes, accessories, etc) have skins that come in maybe 3 shades, most times those shades never going any deeper than tan or sunkissed. It's disappointing, and sometimes leaves a feeling of exclusion.
Anyway, I'm ranting. Personally, I find Keena a bit too red for me, but it's such a beautiful face that I can't help but fall in love with it, and I know I will be alternating it with my main skin quite frequently. Kudos to Kaiden for making such an awesome skin and keeping "the rest of us" in mind.
Garza real
Ardea cinerea
Familia: Ardeidos – Ardeidae
Aspecto: Garza grande, de complexión robusta, predominantemente de color gris, con un pico recto, fuerte, en forma de daga. Las garzas pueden diferenciarse de las grullas durante el vuelo, y a menudo también cuando están de pie, por la forma en que encorvan su cuello.
Tamaño: Largo 84-102 cm, envergadura alar 155-175 cm, peso 930-1.150 g.
Nido: Una gran pila desarreglada de ramas, generalmente construido muy alto en un abeto o pino. Las aves pueden usar el mismo nido durante muchos años.
Reproducción: Pone 6 huevos en mayo, incubados de forma alternada por los padres, en 4 a 6 períodos, durante 25 a 28 días. Las aves jóvenes aprenden a volar aproximadamente a los 50 días. Muchas garzas reales anidan en colonias.
Distribución: Ave migratoria de verano que se reproduce poco en Finlandia (solo hay alrededor de 100 parejas). En los últimos años, los avistamientos de invierno se han vuelto más comunes.
Migración: Pasa el invierno en el oeste y sur de Europa. La migración de otoño puede tener lugar entre mediados de agosto y principios de noviembre, y las aves regresan de marzo a mayo.
Alimentación: Acecha inmóvil a lo largo de costas, lista para emboscar, en espera de que peces y animales acuáticos pequeños estén a su alcance.
Sonidos: Un chillido fuerte, molesto, similar al llamado de la pagaza piquirroja.
La garza real tiene partes superiores de color gris claro, y partes inferiores de color blanco grisáceo. Su cabeza es mayormente blanca, excepto por una raya negra que se extiende desde encima de sus ojos hasta la parte posterior de su cuello, donde algunas de sus plumas se alargan para formar una cresta. Los adultos con plumaje de apareamiento pueden tener un color rosáceo a los lados del cuello, y algunas filas de rayas oscuras en el cuello y el pecho. La garza real tiene el pico de color amarillo o naranja amarillento, patas de color marrón opaco e iris amarillo.
Las aves inmaduras generalmente se parecen a las adultas, pero su capuchón y su cuello son más grises (y el cuello no tiene color rosáceo). Su pico es más pardusco y el iris es blanco.
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Sri Trailokya ganapathy Homam
Who is Sri TrilokyaMohanakara Ganapathi?
Sri TrilokyaMohanakara Ganapathi is the one, who deludes three worlds. Sri Trilokya Mohana kara Ganapathi by His maya (mohana) shakthi (power), hides three worlds from each other. In this significant form, Lord Ganesha appears with a complexion like ripe paddy, He holds His shakti (Trilokya gowri), who has a lotus in Her hand, on His lap. He has three eyes and the crescent moon on his crown. He holds a pomegranate, gada (mace), sugarcane bow, chakra (discus), lotus, noose, blue lily, sprig of paddy, tusk, and pot of gems.
Trilokyamohana gowri (Mookambika) is considered as His shakthi, Goddess of three worlds.
Why Sri TrilokyaMohanakara Ganapathi Homam?
Sri TrilokayaMohanakara Ganapathi Homam benefits the devotees in several ways. Sri TrilokyaMohanakara Ganapathi form is concealment of four forms, Pramodha – Only refuge for the shelterless, Sumukha – pleasant faced represents highly merciful, Durmukha – Bright as thousand suns and one cannot see His face and Vighnanasaka – Destroyer of obstacles of devotees. Worshipping this form is highly recommended to gain complete protection and to remove any kind of obstacles in life.
Also this form is encapsulation of eight sakthis (power or energies) like vama, jyestha, raudri, kalakali, balavikarini, balapramathani, manonmani and sarvabhudatamani. These powers associated with the cosmic universe and used for His maya shakthi (mohana).
Benefits and Significance
Worshipping this form gives complete protection from black magic, bad influence of energies, effect of evil-eye, negative energies etc, as nothing can stand in front of the effulgence of thousand suns brightness of Sri TrilokyaMohanakara Ganapathi. In general this form, gives us the shelter for all the time and obstacles are rectified immediately. As this form is highly merciful, the prayers are immediately answered and also brings immediate material benefits to overcome diseases, financial struggle, marriage delay etc. This Homam is for complete set of benefits.
Assistance from Vedic Folks
We at Vedic Folks are proud to possess the most authoritative experts who have the knowledge and ease to invoke these powerful radiations of Sri TrilokyaMohanakara Ganapathi, who can complete protection, remove any obstacles and grants good health with long life.
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Even though there are fixed timings to conduct such Homas, your horoscope will be analyzed by our Vedic Astrologers, according to which the time slots are arranged.
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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
Rosavelia aguilar
eduardo caballero
walmart abastos
just bitten,age defyung dna,implementos,new complexion
septiembre
2/9
Garza real
Ardea cinerea
Familia: Ardeidos – Ardeidae
Aspecto: Garza grande, de complexión robusta, predominantemente de color gris, con un pico recto, fuerte, en forma de daga. Las garzas pueden diferenciarse de las grullas durante el vuelo, y a menudo también cuando están de pie, por la forma en que encorvan su cuello.
Tamaño: Largo 84-102 cm, envergadura alar 155-175 cm, peso 930-1.150 g.
Nido: Una gran pila desarreglada de ramas, generalmente construido muy alto en un abeto o pino. Las aves pueden usar el mismo nido durante muchos años.
Reproducción: Pone 6 huevos en mayo, incubados de forma alternada por los padres, en 4 a 6 períodos, durante 25 a 28 días. Las aves jóvenes aprenden a volar aproximadamente a los 50 días. Muchas garzas reales anidan en colonias.
Distribución: Ave migratoria de verano que se reproduce poco en Finlandia (solo hay alrededor de 100 parejas). En los últimos años, los avistamientos de invierno se han vuelto más comunes.
Migración: Pasa el invierno en el oeste y sur de Europa. La migración de otoño puede tener lugar entre mediados de agosto y principios de noviembre, y las aves regresan de marzo a mayo.
Alimentación: Acecha inmóvil a lo largo de costas, lista para emboscar, en espera de que peces y animales acuáticos pequeños estén a su alcance.
Sonidos: Un chillido fuerte, molesto, similar al llamado de la pagaza piquirroja.
La garza real tiene partes superiores de color gris claro, y partes inferiores de color blanco grisáceo. Su cabeza es mayormente blanca, excepto por una raya negra que se extiende desde encima de sus ojos hasta la parte posterior de su cuello, donde algunas de sus plumas se alargan para formar una cresta. Los adultos con plumaje de apareamiento pueden tener un color rosáceo a los lados del cuello, y algunas filas de rayas oscuras en el cuello y el pecho. La garza real tiene el pico de color amarillo o naranja amarillento, patas de color marrón opaco e iris amarillo.
Las aves inmaduras generalmente se parecen a las adultas, pero su capuchón y su cuello son más grises (y el cuello no tiene color rosáceo). Su pico es más pardusco y el iris es blanco.
Model: Anne Marie Oprescu
Hairstyle, Stylist, Scenography and Photoshop: Giulia Ravaglia
Who would ever be able to imagine the mixture of cultures that are reflected in his features:
a mix of sange greek, French, Croatian and Romanian; features special, sweet and at the same time net
a crystal blue eyes and pale complexion
Female, woman and girl loves fashion, art and languages
It has a character all to interpret: sensitive, a little touchy and so sweetly naive
He likes to stay to himself, in his world, in his art. He has a thousand dreams and a place in his heart already occupied
not betray you ever and is capable of affezzionarsi to you as nobody here, you do not forget easily. is in Italy for years and speaks fluent
It is here to study Italian art and culture, which has always fascinated me as a child;
his family has remained in his home country and understand how it can be complicated
away agi family ties only to chase their dreams,
for this reason I consider it a strong girl, determined and courageous, because it takes a lot of courage
to go halfway around the world alone. For this reason it is to be estimated, and certainly has my estimation.
Model: Anne Marie Oprescu
Hairstyle,Stylist,Scenography and Photoshop: Giulia Ravaglia
Chi mai riuscirebbe ad immaginare il misto di culture che si rispecchiano nei suoi lineamenti:
un mix di sange greco,francese,croato e rumeno; lineamenti particolari, dolci e allo stesso tempo netti
occhioni di un azzurro cristallino e carnagione tenue
Femminile, donna e ragazza, ama la moda, l'arte e le lingue
ha un carattere tutto da interpretare: sensibile, un poco permalosa e così dolcemente ingenua
ama stare tra se e se, nel suo mondo, nella sua arte. Ha mille sogni nel cassetto e un posto nel suo cuore già occupato
non ti tradirebbe mai ed è capace di affezzionarsi a te come nussuno, non ti dimentica facilmente. é in Italia da anni ormai e parla perfettamente la lingua
è qui per studiare l'arte e la cultura italiana, che l'ha sempre affascinata fin da bambina;
la sua famiglia è rimasta nel suo paese d'origine e capisco come possa essere complicato
allontanarsi agi affetti familiari solo per inseguire il proprio sogno,
proprio per questo la ritengo una ragazza forte, determina e coraggiosa, perchè ci vuole un bel coraggio
ad andare dall'altra parte del mondo da sole. Per questo motivo è da stimare, e di sicuro ha tutta la mia di stima.
Rosavelia aguilar
eduardo caballero
walmart abastos
just bitten,age defyung dna,implementos,new complexion
septiembre
5/9
Shweta again..her complexion makes it difficult to shoot as she is bright"er" than most of the things around so camera just looses its mind..:)..difficult and interesting..that is wat she is for my camera..
makeup: Ania Jakacka, model: Vanessa Kajumbi, photo: Tomasz Zienkiewicz | zieniu.pl; shot at: zieniu studio
From the trained artists with impeccable voices & porcelain complexion (see comment), to the average homemakers & men on the street, Chengdy folks simply love song, dance & drama.
Every day, 10-20 groups of amateurs gather at the Renmin Gongyuan (People's Park) to sing & dance their hearts away under the shades of the trees, encouraged by the very appreciative crowd. With such enthusiasm, none need a stage - any corner of the park will do.
Chengdu, Sichuan, China.
Something cold...
Boy, I just loooove sparkly sparks complexion and hair! Such a gorgeous deep rich blue.
And Amy, she's sporting some of your lovely eyechips! They are perfect for her!
A solid-cast statuette depicts a seated nude youth, arm propped on one raised knee and head drowsily cradled in the palm of his hand. His dense curls, furrowed forehead, broad nose, and fleshy lips are features that ancient artists employed to characterize Black Africans. Believed to inhabit Aethiopia, a rich and powerful kingdom located south of Egypt, their dark complexion and woolly hair distinguished them from Mediterranean peoples. From the spool-shaped base, the figurine can be identified as an ornamental finial that originally crowned a candelabrum. The same finial on a complete example, which has a tall shaft and four prongs to hold candles, is in the Museo Etrusco Nazionale di Villa Giulia in Rome (inv. 24417). Reflected in candlelight, the somnolent figure was appropriate on luxury banquet bronzes that illuminated the shadowy interiors of Etruscan tombs and residences.
Images of crouching and slumbering youths derive from ancient Egyptian models and express various mythical and social identities. Occasionally the motif designates a reposing attendant or servant, but it often occurs on votive artifacts related to the nurturing of children and infant gods. Sculptors in the bronze workshops of Etruria adapted this schema for decorative appliqués on candelabra and torches used in religious ceremonies, as well as for knobs on lidded containers of perfume or incense. In the wealthy Etruscan burials that contained such figures, the visual allegory of sleep and reawakening may have been linked with Dionysian cult and the belief in rebirth and immortality in the Afterlife.
The Greek historian Herodotus described Aethiopians as tall, long-lived, and most handsome (Histories 3.114). Through trade and military alliance with Carthage, Etruscans were well acquainted with African communities. Consequently, they occupy a notable presence in the arts of cosmopolitan towns with international sanctuaries and commercial ports. On a water jar made in Caere (modern-day Cerveteri) with the myth of Herakles vanquishing Busiris, the vase-painter observantly illustrated Egyptian priests aided by African warriors. Temple roofs in Caere and its coastal sanctuary at Pyrgi were decorated with antefixes depicting the heads of Black Africans, female divinities, and Silens, perhaps symbolizing the expanse of the known world. In later Hellenistic and Roman art, however, mass-produced perfume flasks and oil lamps circulated stereotypical images of slumbering servants transformed into functional tools of the labors they were obliged to perform, such as holding lamps or attending to bathers. Versions of this iconography devolve into negative caricatures of the weary slave, as on a Roman handle in the shape of a baboon holding a lantern: www.getty.edu/art/collection/object/104066.
Further reading: For the Caeretan hydria (Vienna, Kunsthistorisches Museum, inv. IV 3576) with Herakles and Busiris, see J. Hemelrijk, Caeretan Hydriae, 2009, pls. 118–25. The motif of dozing youths is discussed in J. Masséglia, Body Language in Hellenistic Art and Society, 2015, pp. 159–67. On the iconography of Aethiopians, in Hellenistic and Roman applied arts, see S. Bell, “Images and Interpretation of Africans in Roman Art and Social Practice.” In The Oxford Handbook of Roman Imagery and Iconography, L. K. Cline and N. T. Elkins, eds. 2021, pp. 425-63; and N. Lenski, “Working Models: Functional Art and Roman Conceptions of Slavery,” in M. George ed., Roman Slavery and Roman Material Culture, 2013, pp. 129–57.
Etruscan, ca. 450-425 BCE, made in Etruria.
Getty Villa Museum (96.AC.128)
My two Aurora Dolls have been fully deboxed, and are standing side by side. They are both supported by Kaiser stands. They were made for the Disney Maleficent live action movie (wide release on May 30, 2014), by Tollytots, a division of Jakks Pacific. On the left the Beloved Aurora Doll, in the simpler blue satin outfit. On the right is the Royal Coronation Aurora Doll, in a much more detailed gold brocade dress, with matching train. She also has a gold crown of a floral design. The dolls have identical bodies and faces, very similar hair styles, and shoes of the same style (but different colors). They are both about 11 1/2 inches tall in their high heeled shoes, but Coronation Aurora appears to be 1/8 inch taller.
Review of Beloved Aurora Doll
Both Beloved and Royal Coronation Aurora dolls have identical faces. Her face is pretty, but bland and generic. She only has a passing resemblance to the movie character, as portrayed by Elle Fanning. She doesn't have very realistic features, but looks like an ordinary doll painted to look like an animated character. She has a light complexion, small blue green eyes gazing straight ahead, brown eyebrows, small straight nose, light pink lips on a small mouth, large chin, and light rouge on her cheeks.
Her hair out of the box is much neater than Coronation Aurora's hair. Like the other doll, she has a long side curl down the left side of her head. It is bit stiff from hair product, and is a much tighter curl than the one on Coronation Aurora. There is also some hair product in the side bangs right over her forehead. The rest of her hair is loose and gently wavy down the her back to her hips, and is soft and smooth. Her hair is thinly rooted hair over most of her head, so a bald spot is visible right behind her side bangs. Also bald spots are easily visible if her hair is moved around on the top of her head. It would help if she had some hair ornaments or headdress to help hide the bald spots.
Her outfit is very simple. It is a full length one piece dress, made of light blue satin, with gold glitter decoration, white organza trim at the collar, flared full length sleeves, and a plastic belt around her waist with a hanging piece down the front of her dress. The satin is shiny and very smooth, and the glitter does not shed at all. In addition to the gold glitter, there is also printed flowers in the hem of the dress. She is wearing the same style high heeled shoes as Coronation Aurora, but these are light blue in color instead of tan.
Her body is identical to that of Coronation Aurora. See the review below for details.
Packaging and Deboxing the Beloved Aurora Doll
Deboxing the Beloved Aurora Doll by Tollytots/Jakks Pacific was more difficult than for the Coronation Aurora doll. In order to remove the front plastic cover from the box, it was necessary to almost tear the back of the box apart, as the two layers of the backing were taped and glued shut. The tabs of the plastic cover were also taped and glued to the inside of the backing. The box would need a lot of tape to put it back together securely, if it were to be reused for storing or displaying the doll in the box. And the tearing apart of the backing of course creased and weakened the cardboard.
Aurora is standing on a small cardboard spacer. Behind her is a printed background from the movie, which is common to all the dolls in this series. Unfortunately, the bottom of the backing was not square to the back side, so the doll would fall face forward if I tried to stand her up in the backing.
Removing her from the backing was very easy, especially compared to most Disney Store dolls. There was only plastic T-tab fasteners securing her to the backing and the plastic spacer. It was possible to reach all the fasteners and snip them off, without having to remove the large plastic spacer, including the one through the back of her head. The remaining post sticking out of her head was snipped off as close to her scalp as possible, without cutting her hair. Unlike Coronation Aurora, there was no tissue paper around her legs.
Review of Royal Coronation Aurora Doll
Her face is pretty, but bland and generic. She only has a passing resemblance to the movie character, as portrayed by Elle Fanning. She doesn't have very realistic features, but looks like an ordinary doll painted to look like an animated character. She has a light complexion, small blue green eyes gazing straight ahead, brown eyebrows, small straight nose, light pink lips on a small mouth, large chin, and light rouge on her cheeks.
She has long golden blonde hair that reaches her hips. There is a solitary long curl hanging from her left side. The rest of her hair is slightly wavy, and is grouped in a single mass, which I left alone. It would look better if it were combed out, but I was afraid that it might get frizzy if I attempted to do so. The hair is shiny and soft, and doesn't appear to have any hair product.
The dress is golden brocaded satin, with a floral design. The underside is very light tan in color. There is also a painted floral overlay in pink and green, which is only in the front of the dress (the front of the skirt and bodice). There is golden lace trim at the hem, waist and collar and cuffs. Her collar and cuffs end in white organza. The skirt is pleated, and almost floor length. The bodice has a high waist, with a golden belt sewn around it. Her sleeves are full length. There is a over sized train sewn to the back of the dress, just below the waist. It made of the same material and has the same decoration as the front of the skirt. Its underside is fully lined with gold satin. The dress looks and feels luxurious, and fit for royalty.
She is wearing tan colored heels, with a simulated strap and an unpainted embossed floral design. She is wearing a gold colored plastic crown that is made to look like a floral wreath, that goes halfway around her head. It is secured only by two T-tab fasteners, so it is not meant to be removed or used on other dolls.
Her body is made of hard plastic throughout. She has seven points of articulation: her neck, shoulders, elbows and hips. Her hands are permanently tilted back to make the standard Princess pose. Her feet are fixed at an angle to wear high heels. Her head can turn 360 degrees around, and can tilt up about 20 degrees, and tilt down 10 degrees. Her arms can swivel about the shoulders 360 degrees, and can tilt about 20 degrees. Her forearms can swivel around her elbows almost 360 degrees, but cannot go completely around. They can tilt back about 20 degrees, and forward about 60 degrees. Her hips can swivel 90 degrees both back and forth, and can tilt out about 30 degrees. She has white painted on underwear, which looks like a strapless one piece bathing suit.
Packaging and Deboxing the Coronation Aurora Doll
It was easy to debox Coronation Aurora, compared to most Disney Store dolls. First step was to remove the clear plastic cover from the box, by cutting the tape around the edges, and lifting the tabs free from the cardboard. Aurora is standing on a small cardboard spacer. Behind her is a printed background from the movie, which is common to all the dolls in this series. There was only plastic T-tab fasteners securing her to the backing and the plastic spacer. It was possible to reach all the fasteners and snip them off, without having to remove the large plastic spacer. It turned out that the fastener that was supposed to go into the back of her head didn't make it past her hair, so she didn't have a post sticking out of her head when I snipped the fastener loose. The other end of the fastener was just laying loose in her hair. There was tissue paper around her legs, but only up to her knees, to make the skirt look fuller in the box.
Purchase Details
I just received the four available Jakks Pacific dolls from the Maleficent movie in single doll packages. I ordered them from Toys R Us on Friday night and got them Tuesday, with free shipping. I appreciated the quick shipping, compared to the Disney Store. The dolls are the following, with links to the TRU site. All the dolls are 12'' H. The Coronation dolls are $39.95 each, the other two are $19.95. They are also available in some ToysRUs stores. The cheaper dolls are also available online, for the same price, from Amazon.
Mesti ramai yang tertanya-tanya, siapa gadis manis ni kan? No tiada sebarang hangky-pangky dengan terpublish nya gambar ini, cuma sejak dari awal gadis ini masuk kerja di ofis saya, dia seorang yang simple, tidak pernah kenakan make-up tebal, cukup dengan coretan nipis dibibir... As you can see here, complexion kulit gadis ini sangat bersih, hampir perfect, jarang jumpa dah skrg nie... Nak berkenalan? Hehe, takleh nak tolong.... Tengok ajer lah....