Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.

 

HISTORY

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.

 

Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.

 

As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.

 

KATHAKALI PLAYS

Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.

 

The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.

 

Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.

 

MUSIC

The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.

 

As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.

 

PERFORMANCE

Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).

 

ACTING

A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.

 

There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.

 

The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.

 

One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.

 

NOTABLE TRAINING CENTRES & MASTERS

Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.

 

‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.

 

Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.

 

Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.

 

KATHAKALI STYLES

Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:

 

Vettathu Sampradayam

Kalladikkodan Sampradyam

Kaplingadu Sampradayam

 

Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.

 

OTHER FORMS OD DANCE & OFFSHOOTS

Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.

 

As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.

 

Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).

 

Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.

 

NOTED KATHAKALI VILLAGES & BELTS

There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.

 

AWARDS FOR KATHAKALI ARTISTS

Sangeet Natak Akademi Awardees - Kathakali (1956–2005)

Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}

 

KATHAKALI ATTAMS (ELAKI ATTAMS)

Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).

 

The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.

 

VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA

Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.

 

When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).

 

"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.

 

The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.

 

UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY

Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.

 

Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."

 

Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.

 

SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM

While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.

 

When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."

 

THANDEDATTAM: RAVANA IN BALI VADHAM

After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."

 

ASHRAMA VARNANA: ARJUNA IN KIRATHAM

Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."

 

Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."

 

A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.

 

AN ATTAM BASED ON A SLOKA

Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.

 

Kusumo Kusumolpatti Shrooyathena Chathushyathe

Bale thava Mukhambuje Pashya Neelolpaladwayam

 

Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).

 

A CONVERSATION BASED ON A SLOKA

Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:

Pitha: Kushalee Mama hritha Bhujaam

Naatha Sachee Vallabha:

Maatha: kim nu Pralomacha Kushalinee

Soonurjayanthasthayo

Preethim va Kushchate Thadikshnavidhow

Cheta Samutkanuthe

Sutha: tvam Radhamashu Chodaya vayam

Dharmadivam Mathala

 

Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.

 

SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM

Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.

 

He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.

 

Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:

 

Ekopi Thraya Iva Bhathi Kandukoyam

 

Kanthayaa: Karathala Raktharaktha:

Abhrastho Nayanamareechi Neelaneelo

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to

Bhumau Talcharana Naghamshu Gaurgaura:

 

Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".

 

At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.

 

TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM

[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]

 

SCENE 1

When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.

 

SCENE 2

(The tapas itself is shown as a part of autobiographical narration of adult ravana)

 

Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.

 

I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.

 

In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.

 

[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]

 

KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM

[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]

 

Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).

 

“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”

 

Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.

 

WIKIPEDIA

The village is known as "Fechan" to the local residents. It has two shops, one of which is no longer a post office, a hairdresser, a church, a doctors' surgery and a primary school "Hoddom Primary School". It also has three hotels: "The Ecclefechan Hotel" with its white-painted frontage is prominent on the High Street and the main junction in the village; the "Cressfield Hotel" which has an adjoining caravan park; "Kirkconnel Hall Hotel" which sits to the north.

 

Thomas Carlyle (1795–1881), the essayist, satirist and historian was born in Ecclefechan on 4 December 1795 at The Arched House. Carlyle left Ecclefechan at the age of thirteen and walked the 84-mile-long (135 km) journey to Edinburgh in order to attend university. In 1828 Carlyle moved to Craigenputtock with his wife Jane. He never forgot his roots and insisted that Ecclefechan should become his final resting place. He was buried in Ecclefechan churchyard on 5 February 1881.

 

Archibald Arnott (1772–1855), Napoleon's doctor on St Helena, was born in Ecclefechan on 18 April 1772 at Kirconnel Hall. He returned to Ecclefechan in his retirement and he was also buried in the Ecclefechan churchyard.

 

Robert Burns (1759–1796) composed a song entitled The Lass O' Ecclefechan.

 

Ecclefechan also has links to the Guinness family, the story of the Whistling Ploughboy of Ecclefechan under the title A Guinness With a Difference was produced by ministries and charts the ploughboy's influence under God on the Guinness family.

 

"Oor Wullie" of The Sunday Post fame once got a day off school for spelling "Ecclefechan" correctly, and the Jocks and the Geordies of The Dandy once reminisced the Great Battle of Ecclefechan.

 

Local produce includes Ecclefechan Tart and a blended Scotch whisky called "The Fechan" whose label denotes the Arched House, which gained local notoriety with the tag line "Gie us The Fechan whisky". The Ecclefechan Tart gained national prominence in late 2007 when the supermarket Sainsbury's promoted it as an alternative to mince pies at Christmas, and the tarts sold over 50,000 packs in November 2007. A version made by the Moray confectioner Walkers is now nationally available in the United Kingdom.

Built in 1929 at no. 534 Ashmun Street.

 

"Sault Ste. Marie (/ˌsuː seɪnt məˈriː/ SOO-seint-ma-REE) is the only city in, and county seat of, Chippewa County in the U.S. state of Michigan. With a population of 14,144 at the 2010 census, it is the second-most populated city in the Upper Peninsula after Marquette. It is the central city of the Sault Ste. Marie, MI Micropolitan Statistical Area, which encompasses all of Chippewa County and had a population of 38,520 at the 2010 census.

 

Sault Ste. Marie was settled as early as 1668, which makes it Michigan's oldest city and among the oldest cities in the United States. Located at the northeastern edge of the Upper Peninsula, it is separated by the St. Marys River from the much-larger city of Sault Ste. Marie, Ontario. The two are connected by the Sault Ste. Marie International Bridge, which represents the northern terminus of Interstate 75. This portion of the river also contains the Soo Locks, as well as a swinging railroad bridge. The city is also home to Lake Superior State University.

 

For centuries Ojibwe (Chippewa) Native Americans had lived in the area, which they referred to as Baawitigong ("at the cascading rapids"), after the rapids of St. Marys River. French colonists renamed the region Saulteaux ("rapids" in French).

 

In 1668, French missionaries Claude Dablon and Jacques Marquette founded a Jesuit mission at this site. Sault Ste. Marie developed as the fourth-oldest European city in the United States west of the Appalachian Mountains, and the oldest permanent settlement in contemporary Michigan state. On June 4, 1671, Simon-François Daumont de Saint-Lusson, a colonial agent, was dispatched from Quebec to the distant tribes, proposing a congress of Indian nations at the Falls of St. Mary between Lake Huron and Lake Superior. Trader Nicolas Perrot helped attract the principal chiefs, and representatives of 14 Indigenous nations were invited for the elaborate ceremony. The French officials proclaimed France's appropriation of the immense territory surrounding Lake Superior in the name of King Louis XIV.

 

In the 18th century, the settlement became an important center of the fur trade, when it was a post for the British-owned North West Company, based in Montreal. The fur trader John Johnston, a Scots-Irish immigrant from Belfast, was considered the first European settler in 1790. He married a high-ranking Ojibwe woman named Ozhaguscodaywayquay, the daughter of a prominent chief, Waubojeeg. She also became known as Susan Johnston. Their marriage was one of many alliances in the northern areas between high-ranking European traders and Ojibwe. The family was prominent among Native Americans, First Nations, and Europeans from both Canada and the United States. They had eight children who learned fluent Ojibwe, English and French. The Johnstons entertained a variety of trappers, explorers, traders, and government officials, especially during the years before the War of 1812 between Britain and the United States.

 

For more than 140 years, the settlement was a single community under French colonial, and later, British colonial rule. After the War of 1812, a US–UK Joint Boundary Commission finally fixed the border in 1817 between the Michigan Territory of the US and the British Province of Upper Canada to follow the river in this area. Whereas traders had formerly moved freely through the whole area, the United States forbade Canadian traders from operating in the United States, which reduced their trade and disrupted the area's economy. The American and Canadian communities of Sault Ste. Marie were each incorporated as independent municipalities toward the end of the 19th century.

 

As a result of the fur trade, the settlement attracted Ojibwe and Ottawa, Métis, and ethnic Europeans of various nationalities. It was a two-tiered society, with fur traders (who had capital) and their families and upper-class Ojibwe in the upper echelon. In the aftermath of the War of 1812, however, the community's society changed markedly.

 

The U.S. built Fort Brady near the settlement, introducing new troops and settlers, mostly Anglo-American. The UK and the US settled on a new northern boundary in 1817, dividing the US and Canada along St. Mary's River. The US prohibited British fur traders from operating in the United States. After completion of the Erie Canal in New York State in 1825 (expanded in 1832), the number of settlers migrating to Ohio and Michigan increased dramatically from New York and New England, bringing with them the Yankee culture of the Northern Tier. Their numbers overwhelmed the cosmopolitan culture of the earlier settlers. They practiced more discrimination against Native Americans and Métis.

 

The falls proved a choke point for shipping between the Great Lakes. Early ships traveling to and from Lake Superior were portaged around the rapids[8] in a lengthy process (much like moving a house) that could take weeks. Later, only the cargoes were unloaded, hauled around the rapids, and then loaded onto other ships waiting below the rapids. The first American lock, the State Lock, was built in 1855; it was instrumental in improving shipping. The lock has been expanded and improved over the years.

 

In 1900, Northwestern Leather Company opened a tannery in Sault Ste. Marie. The tannery was founded to process leather for the upper parts of shoes, which was finer than that for soles. After the factory closed in 1958, the property was sold to Filborn Limestone, a subsidiary of Algoma Steel Corporation.

 

In March 1938 during the Great Depression, Sophia Nolte Pullar bequeathed $70,000 for construction of the Pullar Community Building, which opened in 1939. This building held an indoor ice rink composed of artificial ice, then a revolutionary concept. The ice rink is still owned by the city." - info from Wikipedia.

 

Now on Instagram.

 

Become a patron to my photography on Patreon or donate.

Steel sculpture; female figure of a stilt-walker (Moko Jumbie). Figure has articulated limbs, painted black. Wears a loincloth composed of plastic and synthetic fibres, shoulder pieces made from nylon netting and gold-sprayed metal breast ornaments. Openwork copper pipe skirt soldered together and hooked onto waist of figure. Numerous composite objects attached to figure including wooden masks and comb; metal bells, keys and toy aeroplane; plastic ornaments sprayed gold; textile decorations. Figure wears gold-sprayed leather and synthetic trainers with toes exposed. Wooden mask with attached vertical headdress made of strips of sheet metal sprayed gold with multiple small metal objects attached including keys, figures, chains, and bells. Wings secured to back of figure, sprayed black and gold. Figure has spiral copper armlet on right proper arm.

 

Created by Zak Ové for the British Museum's Celebrating Africa season.

 

The Museum commissioned these figures to coincide with London’s Notting Hill Carnival at the end of August. Moko Jumbie figures became a key feature of carnival in Trinidad in the early 1900s. Oral traditions describe the Moko Jumbie as a guardian of villages who could foresee danger and protect inhabitants from evil forces. Traditionally, Moko Jumbie figures wore long colourful skirts or trousers over their stilts and masks covering their faces. They were sometimes accompanied by dwarfs – represented in the installation in the Great Court by two ‘lost souls’, on loan to the Museum from Zak Ové – who provided a visual height contrast.

Zak Ové works with sculpture, film and photography. He uses these ‘new-world’ materials to pay tribute to both spiritual and artistic African identity. This Moko Jumbie display is part of a larger body of work that draws inspiration from the Trinidad carnival. The works are born from Ové’s documentation of and interest in the African Diaspora and African history. The artist’s intellectual and creative responses to this history are filtered through his own personal and cultural upbringing in London and Trinidad. The relationship between carnival and Africa derives from the enforced movement of peoples during the Transatlantic Slave Trade. Between around 1500 and 1900, millions of people were transported from West and Central Africa to the Caribbean and North, Central and South America.

Carnival in Trinidad began as a predominantly elite event. In the late 1700s French immigrants arrived on the island to run plantations, bringing with them enslaved Africans. The plantation owners staged elaborate masquerade balls during the carnival season. Africans also brought their own masking traditions of which the Moko Jumbie is but one. Masking for Africans in the Caribbean was a way to connect to ancestors and nature as well as ideas of ‘home’. But traditional masquerades were also used to satirically depict their masters and turn a critical eye on plantation society. After full emancipation in 1838, Africans took over the streets at carnival time, using song, dance and masquerade to re-dress the still existing social inequalities.

[British Museum]

FR Bident presque alterne - EN Greater beggarticks - ES Bidentada de huerto - CA Bident de vinya

 

Bidens subalternans DC. (colonie)

Haie (alt. 20 m)

Lloret de Mar (province de Gérone, Catalogne, Espagne)

 

Néophyte (Centre de l'Amérique du Sud)

Don't ask....

Bonnefantenmuseum, Maastricht NL - Aldo Rossi

The Bonnefantenmuseum is situated on the banks of the river Maas (Meuse) in the suburb which has been linked to the city since ancient times by the Roman bridge from which the city gets its name (Masa tractum). The museum is composed of three parts: the central building is flanked by a cylindrical body covered by a high dome; this is crowned by a belvedere from which the river and the city on the opposite bank can be admired. In the building there is a long staircase covered in wood; this and other features are the very substance of this architecture which reminds us of the seafaring tradition of the Dutch cities as well as of the great river which crosses Europe and flows through Maastricht.

How difficult and indescribable are both architecture and memory! For this reason I would like to attempt a personal and necessarily incomplete description of my attempt to see the museum in a light that avoids those problems which, because of the word itself, seem to have pathological associations rather than advanced ones. Perhaps I will end up by demonstrating that the museum, like the histories of all of us, like every vice and virtue and everything that has to the limited dimensions of a marble slab which only the foolish minds of the Enlightenment wished to measure in metres and centimetres. This museum is an attempt to reject this foolishness.

The first room which the visitor encounters is the entrance hall: it has the distinctive form of a telescope. This is a typical example of a Lichtraum, the precedent for Zürich University; moreover this form is not typically northern, but represents the most important contact between Spanish architecture and the colonies. Thus there is a direct link between Vermeer and Zurbarán. The light of the houses in the monasteries preserves in the monument the ephemeral nature of both daily life and the religious one. This room, which fills the height of the building, is decorated with an aquamarine material; the light and colour appear to cause its very substance to disintegrate.

From the entrance hall the visitor proceeds directly to the living heart of the museum, which is entered with fear and trepidation. How difficult it is, almost impossible I daresay, to define this essence! Is the museum a collection of mementoes of life or is it itself part of our lives? My architecture leaves an open verdict in this regard. Nonetheless, the substance of the museum is the origin and end of our cultural decadence.

Now let us climb the stairs. It is hardly worth mentioning that this steep and awkward staircase. In the ancient Dutch tradition, is linked to the world, knowing only too well that beyond geometry there is only a shipwreck. And drawing a parallel between the two great seafaring nations I would like to quote the words of the great Portuguese poet: "Portugal is the country where the land ends and the sea begins". And, in fact, do we not confound the buildings of Macao, Singapore and northern Japan with those of these countries that are so thoroughly European and yet so exotic?

At the top of the stairs, among energetic young people and breathless senior citizens, we may admire the skilful what the director has displayed the exhibits. Far from being a celestial director, he is a true curator who is sensitive to the different emotional levels of light and beauty. Never in the history of architecture have larger works been seen which did not correspond to a sort of alliance between the patron and the artist, the bureaucrat and the engineer. I will not carry on with the description, even if the basic tenet of Latin literature, as in the case of virgil, was description rather than invention. But I cannot dwell upon the sorrows of Dido which have already been described to excess by the great Racine. Rather let us consider a number of the features which impress visitors, even the hasty ones, in the museum as a whole. Were you to ask the simplest person in Europe, there would only be one answer: the dome. There are two main reasons for the magnificence of the dome: the first is its link with the architectural tradition of the classical world tight up to the nineteenth century Turinese architect Alessandro Antonelli; the second that between river and sea it boldly signals the lie of the land in that country. But now, just as if we were standing on the belvedere, we can view the museum as a whole, perhaps a lost whole which we only recognize thanks to those fragments of our lives which are also fragments of art and Europe of bygone days.

Aldo Rossi - July 1991

 

No Spam please ;-)

Gagne ton bracelet sur mon Blog

www.annsom-blog.com @nominationitalyofficial

・・・ #nominationitaly #MeSocialBracelets @nominationitaly @me_by_nomination #speaksocial #socialbracelet #likeme #nomination #composable #fashionblogger #instafashion #likeme #blogger #gioielli #jewels #bracelet #bracciali

 

51 Likes on Instagram

  

HAPPY VALENTINE'S DAY!

 

The ancient Egyptians were some of the greatest lovers on earth. They loved life and the afterlife; Mother Nature in all her manifestations, their families, the multitude of gods and goddesses and the creatures associated with them… the list is endless! I’ve compiled a few love poems and lines that reflect various facets. ~ AB

 

"I gaze at my heart's desire,

As she stands facing me!

My sister has come, my heart exults,

My arms spread out to embrace her;

My heart bounds in its place,

Like the red fish in its pond.

O night, be mine forever,

Now that my queen has come!"

[Ancient Egyptian Literature—A Book of Readings, Volume II: The New Kingdom, translated by Miriam Lichtheim - Page 193. The University of California Press, Berkeley, California, 1976]

 

".... your hand is in my hand

My body shakes with joy

My heart is so happy

Because we walk together

To hear your voice is pomegranate wine to me:

I draw life from hearing it.

Could I see you with every glance,

It would be better for me

Than to eat or to drink."

— The Flower Song (Excerpt)

Written during Egypt’s New Kingdom (1539-1075 B.C.) but likely composed much earlie

It's terribly grainy and not as well composed as I'd like but this photo taken two days ago speaks to me more than just about any other. Rocco Moretto is a WWII Vet that I've known for years from my frequent shoots of the Veterans on Veteran's Day. When Lockheed Martin approached me to shoot their new ad campaign featuring Veterans, Rocco (or Rocky as we all call him) was one of my first submissions for casting. We began shooting the campaign several weeks ago and Rocky and I got to know each other even better. I adore him and we speak quite often if only for me to hear his voice and to thank him again for being a new hero in my world.

Rocky was a Sergeant in Company C comprised of 220 soldiers that landed on Omaha Beach in Normandy on D Day. Of those 220, Rocky was one of 2 that made it to the Czech border for VE Day. Rocky called me a week or so ago to tell me that his VFW (Veterans of Foreign Wars) Post in Queens was being renamed in his honor and would I be his guest. I cant tell you how flattered I was. I gave Rocky a large print from our recent shoot (and made another one for his post) and he cried when I gave it to him. Which made me cry. And then I hugged this 90+ year old man and thought of all the unsung heroes living amongst us and how lucky I was.

I took in the event and watched as an aging hero was celebrated.

This particular moment had a truly incredible singer recreating a USO show (for one) and I can't look at it without smiling and getting kinda mushy because I have a true hero in my life and he is as humble and gracious and magnificent as I could imagine (and then some).

*So, here's to photos that fill us up to overflowing with emotion*

composed by me, taken by daniel

(composing myself: www.bigpictureclasses.com/artofcomp.php )

Steel sculpture; male figure of a stilt-walker (Moko Jumbie). Figure has articulated limbs, painted black. Wears a loincloth composed of plastic and synthetic fibres, decorated with mesh synthetic fibre vest; metal keys, bells and toy aeroplane; plastic beads; wooden masks. Figure wears gold-sprayed leather and synthetic trainers with toes exposed. Headdress composed of numerous multi-coloured synthetic and cotton doillies. Wings attached to back of figure sprayed black and gold.

 

Created by Zak Ové for the British Museum's Celebrating Africa season.

 

The Museum commissioned these figures to coincide with London’s Notting Hill Carnival at the end of August. Moko Jumbie figures became a key feature of carnival in Trinidad in the early 1900s. Oral traditions describe the Moko Jumbie as a guardian of villages who could foresee danger and protect inhabitants from evil forces. Traditionally, Moko Jumbie figures wore long colourful skirts or trousers over their stilts and masks covering their faces. They were sometimes accompanied by dwarfs – represented in the installation in the Great Court by two ‘lost souls’, on loan to the Museum from Zak Ové – who provided a visual height contrast.

Zak Ové works with sculpture, film and photography. He uses these ‘new-world’ materials to pay tribute to both spiritual and artistic African identity. This Moko Jumbie display is part of a larger body of work that draws inspiration from the Trinidad carnival. The works are born from Ové’s documentation of and interest in the African Diaspora and African history. The artist’s intellectual and creative responses to this history are filtered through his own personal and cultural upbringing in London and Trinidad. The relationship between carnival and Africa derives from the enforced movement of peoples during the Transatlantic Slave Trade. Between around 1500 and 1900, millions of people were transported from West and Central Africa to the Caribbean and North, Central and South America.

Carnival in Trinidad began as a predominantly elite event. In the late 1700s French immigrants arrived on the island to run plantations, bringing with them enslaved Africans. The plantation owners staged elaborate masquerade balls during the carnival season. Africans also brought their own masking traditions of which the Moko Jumbie is but one. Masking for Africans in the Caribbean was a way to connect to ancestors and nature as well as ideas of ‘home’. But traditional masquerades were also used to satirically depict their masters and turn a critical eye on plantation society. After full emancipation in 1838, Africans took over the streets at carnival time, using song, dance and masquerade to re-dress the still existing social inequalities.

[British Museum]

Burger and fries by Mike on Unsplash.

Bubbles in background were created with Photoshop brush.

A short time-lapse taken from the shores of Lochindorb. The lower atmosphere was very hazy, so the light pollution from Forres and Nairn shows up brighter than it would normally, but you can still make out the bursts of aurora. Composed of 344, 30 s exposures, taken with a Canon 40d, Sigma 18mm lens, f2.8, ISO800, with some enhancement using lightroom.

+++ DISCLAIMER +++

Nothing you see here is real, even though the model, the conversion or the presented background story might be based on historical facts. BEWARE!

  

Some background:

After the division of Czechoslovakia by Germany in 1939, Slovakia was left with a small air force composed primarily of Czechoslovak combat aircraft. This force defended Slovakia against Hungary in March 1939, in the Slovak–Hungarian War in March 1939 in which Hungary reoccupied Carpathian Ruthenia and parts of southern Slovakia. In this the SVZ suffered some losses against Royal Hungarian Air Force. Later, the SVZ also took part in the German Invasion of Poland. The SVZ took part in Axis offensives in the Ukraine and Russian Central front sectors of the Eastern Front under the lead of Luftwaffe in the Stalingrad and Caucasus operations. This engagement resulted in great losses of aircraft and personnel, though.

 

During the World War II, the Slovak Air force was charged with the defense of Slovak airspace, and, after the invasion of Russia, provided air cover for Slovak forces fighting against the Soviet Union on the Eastern Front. For the rest of the war the SVZ fought US Army Air Forces and Royal Air Force raids against Slovakia.

 

Among the many more or less outdated German aircraft types inherited from the Luftwaffe during the early stages of WWII was a small number of Hs 123 A-1 dive bombers. The Henschel Hs 123 was a small single-seat biplane dive bomber and close-support attack aircraft. The aircraft was designed to meet the 1933 dive bomber requirements for the reborn Luftwaffe. Both Henschel and rival Fieseler (with the Fi 98) competed for the production contract requirement, which specified a single-seat biplane dive bomber. The first prototype, the Hs 123 V1, was cleared for its maiden flight on 1 April 1935; General Ernst Udet, a World War I ace, flew it on its first public demonstration flight on 8 May 1935. The first three Henschel prototypes, with the first and third powered by 485 kW (650 hp) BMW 132A-3 engines and the second by a 574 kW (770 hp) Wright Cyclone, were tested at Rechlin in August 1936. Only the first prototype had "smooth" cowlings; from that point on, all aircraft had a tightly fitting, characteristic cowling that included 18 fairings covering the engine valves. The Henschel prototypes did away with bracing wires and although they looked slightly outdated with their single faired interplane struts and cantilever main landing gear legs attached to smaller (stub) lower wings, the Hs 123 featured an all-metal construction, clean lines and superior maneuverability. Its biplane wings were of a "sesquiplane" configuration, whereby the lower wings were significantly smaller than the top wings.

 

The overall performance of the Hs 123 V1 prototype prematurely eliminated any chance for the more conventional Fi 98, which was cancelled after a sole prototype had been constructed. During testing, the Hs 123 proved capable of pulling out of "near-vertical" dives; however, two prototypes subsequently crashed due to structural failures in the wings that occurred when the aircraft were tested in high-speed dives. The fourth prototype incorporated improvements to cure these problems; principally, stronger center-section struts were fitted. After it had been successfully tested, the Hs 123 was ordered into production with a 656 kW (880 hp) BMW 132Dc engine.

 

The Hs 123 was intended to replace the Heinkel He 50 biplane reconnaissance and dive bomber as well as acting as a "stop-gap" measure until the more modern and capable Junkers Ju 87 became available. As such, production was limited and no upgrades were considered, although an improved version, the Hs 123B, was developed by Henschel in 1938. A proposal to fit the aircraft with a more powerful 716 kW (960 hp) "K"-variant of its BMW 132 engine did not proceed beyond the prototype stage, the Hs 123 V5. The V6 prototype fitted with a similar powerplant and featuring a sliding cockpit hood was intended to serve as the Hs 123C prototype.

 

About 265 aircraft were produced and production of the Hs 123A ended in Autumn 1938. It was flown by the German Luftwaffe during the Spanish Civil War and the early to midpoint of World War II. At the outbreak of hostilities, Hs 123s were committed to action in the Polish Campaign. Screaming over the heads of enemy troops, the Hs 123s delivered their bombs with devastating accuracy. A frightening aspect of an Hs 123 attack was the staccato noise of its engine that a pilot could manipulate by changing rpm to create "gunfire-like" bursts. The Hs 123 proved rugged and able to take a lot of damage and still keep on flying. Operating from primitive bases close to the front lines, the type was considered by ground crews to be easy to maintain, quick to re-equip and reliable even under dire field conditions.

 

The Polish campaign was a success for an aircraft considered obsolete by the Luftwaffe high command. Within a year, the Hs 123 was again in action in the Blitzkrieg attacks through the Netherlands, Belgium and France. Often positioned as the Luftwaffe's most-forward based combat unit, the Hs 123s flew more missions per day than other units, and again proved their worth in the close-support role. With Ju 87s still being used as tactical bombers rather than true ground support aircraft and with no other aircraft capable of this mission in the Luftwaffe arsenal the Hs 123 was destined to continue in service for some time, although numbers were constantly being reduced by attrition.

 

The Hs 123 was not employed in the subsequent Battle of Britain as the English Channel proved an insuperable obstacle for the short-ranged aircraft, and the sole leftover operator, II.(Schl)/LG 2, went back to Germany to re-equip with the Messerschmitt Bf 109E fighter bomber (Jabo) variant. The Bf 109E fighter bomber was not capable of carrying any more bombs than the Hs 123. It did, however, have a greater range and was far more capable of defending itself. On the downside were the notoriously tricky taxiing, ground handling, and takeoff/landing characteristics of the Bf 109, which were exacerbated with a bomb load.

 

At the beginning of the Balkans Campaign, the 32 examples of the Hs 123 that had been retired after the fall of France were taken back into service and handed over to the Slovak Air Force to replace the heavy losses on the Eastern Front after combat fatigue and desertion had reduced the pilots' effectiveness. Most of Slovakia's obsolete biplanes were replaced with modern German combat aircraft, including the Messerschmitt Bf 109, so that the Hs 123s were initially regarded with distrust – but the machines proved their worth in the ensuing battles. The Slovak Hs 123s took part in the Battle of Kursk and supported ground troops, some were outfitted with locally designed ski landing gears which proved to be a very effective alternative to the Hs 123’s spatted standard landing gear which was prone to collect snow and mud and even block. After this deployment at the Russian front, the Slovak Air Force was sent back to defend Slovak home air space, primarily executed with Messerschmitt Bf 109 E and G types, Avia B-534, and some other interceptor types, also helped by Luftwaffe units active in the area.

Being confined to national borders, the Slovak Hs 123s were put in reserve and relegated to training purposes, even though they were occasionally activated to support German ground troops. From late August 1944 the remaining Hs 123s also actively took part in the suppression of the Slovak National Uprising against Germany.

 

Since Hs 123 production had already stopped in 1940 and all tools had been destroyed, the permanent attritions could not be replaced - due to a lack of serviceable airframes and spare parts the type’s numbers dwindled. When Romania and the Soviet Union entered Slovakia, they organized with some captured aircraft and defectors a local Insurgent Air Force to continue the fight against Axis forces in country, including the last operational Slovak Hs 123s. No aircraft survived the war.

  

General characteristics:

Crew: 1

Length: 8.33 m (27 ft 4 in)

Wingspan: 10.5 m (34 ft 5 in)

Height: 3.2 m (10 ft 6 in)

Wing area: 24.85 m² (267.5 sq ft)

Empty weight: 1,500 kg (3,307 lb)

Gross weight: 2,215 kg (4,883 lb)

 

Powerplant:

1× BMW 132Dc 9-cylinder air-cooled radial piston engine with 660 kW (880 hp),

driving a 2-bladed metal variable-pitch propeller

 

Performance:

Maximum speed: 341 km/h (212 mph, 184 kn) at 1,200 m (3,937 ft)

Range: 860 km (530 mi, 460 nmi) with a 100 l drop tank

Combat range: 480 km (300 mi, 260 nmi) with 200 kg (440.9 lb) of bombs

Service ceiling: 9,000 m (30,000 ft)

Rate of climb: 15 m/s (3,000 ft/min)

 

Armament:

2× 7.92 mm MG 17 machine guns, 400 rpg

Up to 450 kg (992.1 lb) of bombs under fuselage and wings

  

The kit and its assembly:

A relatively simple what-if project, and it took a while to figure out something to do with a surplus Airfix Hs 123 A kit in The Stash™ without a proper plan yet. The Hs 123 is an overlooked aircraft, and the fact that all airframes were used during WWII until none was left makes a story in Continental Europe a bit difficult. I also did not want to create a German aircraft – Finland was an early favorite, because I wanted to add a ski landing gear (see below), but since I won’t build anything with a swastika on it this option was a dead end. Then I considered an operator from the Balkans, e. g. Romania, Bulgaria, Croatia or Slovakia – and eventually settled for the latter because of the national markings.

 

The kit was built almost OOB, and the Airfix Hs 123 is a nice offering. Yes, it’s a simple kit, but its is IMHO a very good representation, despite the many rivets on the hull, a rather bleak interior and some sinkholes (e. g. on the massive outer wings struts). It goes together well, just a little PSR here and there. I just added a dashboard (scratched from styrene sheet) and modified the OOB 50 kg bombs with extended impact fuzes with a flat, round plate at the tip, so that the bomb itself explodes above soft ground or snow for a bigger blast radius.

The only major modification is a transplanted ski landing gear from a PM Model (Finnish) Fokker D.XXI, which had to be reduced in length to fit under the compact Hs 123. A small tail ski/skid was scratched from styrene sheet material.

 

Thankfully, the Hs 123 only calls for little rigging – just between the central upper wing supports and there is a characteristic “triangle” wiring in the cowling. All these, together with the wire antenna, were created with heated sprue material.

  

Painting and markings:

Finland had been a favorite because I would have been able to apply a more interesting paint scheme than the standard Luftwaffe RLM 70/71/65 splinter scheme with a low waterline that was typical for the Hs 123 during WWII. However, as a former Luftwaffe aircraft I retained this livery but decided to add a winter camouflage as a suitable thematic supplement to the skis.

The basic colors became Humbrol 65 underneath and 30 and 75 from above – the latter for a stronger contrast to the Dunkelgrün than Humbrol 91 (Schwarzgrün). Thanks to the additional whitewash mottles, which were inspired by a similar livery seen on a contemporary Bulgarian Avia B.534, I did not have to be too exact with the splinter camouflage.

 

The cockpit and cowling interior were painted with RLM 02 (Humbrol 240), the propeller blades became Schwarzgrün (Humbrol 91, further darkened with some black) and the bombs were painted in a dark grey (Revell 77) while the small 100 l drop tank became bare aluminum (Revell 99).

 

However, before the white mottles could be added, the kit received its decals so that they could be painted around the markings, just as in real life. The Slovak national markings had to be scratched, and I used standard white simplified German Balkenkreuze over a cross made from blue decal stripes. Later a separate red decal circle was placed on top of that. The only other markings are the red “7” codes, edged in white for better contrast (from a Heller Bf 109 K) and the fuel information triangles on the fuselage from the Hs 123’s OOB sheet. As an ID marking for an Eastern Front Axis aircraft, I retained the wide yellow fuselage stripe from the OOB, sheet, too, and added yellow tips on the upper wings’ undersides.

The whitewash camouflage was then created with white acrylic paint (Revell 05), applied with a soft brush with a rounded tip. Once this had dried, I treated the surfaces with fine wet sandpaper for a weathered/worn look.

 

Finally, after some soot stains behind the exhausts and around the machine gun nozzles, the kit was sealed with matt acrylic varnish and the rigging (see above) was done.

  

The Hs 123 might not be the sexiest aircraft of WWII, but I like this rugged pug which could not be replaced by its successor, the Ju 87, and served in its close support role until literally no aircraft was left. Putting one on skis worked quite well, and the exotic Slovak markings add a special touch – even though the national markings almost disappear among the disruptive whitewash camouflage! The result looks quite plausible, though, and the old Airfix kit is IMHO really underestimated.

and wavelet filter in RegiStax is used to sharpen the image.

www.astronomie.be/registax/

I was excited to see amazing pictures processed by image stacking software Registax on flickr and have tried it.

www.flickr.com/photos/102709054@N05/15596859098/

Wooden composing stick with WC scratched on front; hole on right hand side. Fixed length of line for type.

 

Accession Number: SH.2009.394.1

 

The compositors job was to set or compose or arrange type in order for printing. In his left hand he would hold a composing stick such as the one shown above.

 

The composing / setting stick is a device which holds the collected type at the required width of the line. This is defined by adjusting the metal screw shown on the right of this image.

 

In his right hand the compositor collects the type from the galley racks and places it in the composing stick. A good compositor would pick up between two and three thousand types an hour. To undertake this job took a great deal of skill and manual dexterity. The type must be placed in the composing stick in the right order and the correct way up to ensure an error free printing.

 

This setting stick is on display at the Writer's Museum, Lady Stairs Close, Edinburgh

 

Miller & Richard were a world famous Edinburgh type foundry. The firm supplied type to print firms all over the globe. The company was established by William Miller, who had trained at Alexander Wilson’s foundry in Glasgow. In 1809 he began operations out of Reikies Court, just off Nicolson Street. It expanded to take in the surrounding buildings including a chapel, a school, a lying-in hospital and finally a street was roofed over to make a woodworking shop.

By 1825 the company was type founders for His Majesty of Scotland and when he was joined by his son-in-law Walter Richard in 1838 the firm became Miller & Richard.

Miller & Richard founded a strong reputation of typographic innovation. They were responsible for founts such as the Miller & Richard Oldstyle and its boldface, now known as Old Style or Century Oldstyle; and Antique Old Style, or Bookman.

The foundry closed in 1952, when the designs passed to the English company Stephenson Blake.

 

Edinburgh City of Print is a joint project between City of Edinburgh Museums and the Scottish Archive of Print and Publishing History Records (SAPPHIRE). The project aims to catalogue and make accessible the wealth of printing collections held by City of Edinburgh Museums. For more information about the project please visit www.edinburghcityofprint.org

Originally composed in 932 AH / 1525 CE and dedicated to Sultan Süleyman I ("The Magnificent"), this great work by Piri Reis (d. 962 AH / 1555 CE) on navigation was later revised and expanded. The present manuscript, made mostly in the late 11th AH / 17th CE century, is based on the later expanded version with some 240 exquisitely executed maps and portolan charts. They include a world map (fol.41a) with the outline of the Americas, as well as coastlines (bays, capes, peninsulas), islands, mountains and cities of the Mediterranean basin and the Black Sea. The work starts with the description of the coastline of Anatolia and the islands of the Aegean Sea, the Peloponnese peninsula and eastern and western coasts of the Adriatic Sea. It then proceeds to describe the western shores of Italy, southern France, Spain, North Africa, Palestine, Israel, Lebanon, Syria, western Anatolia, various islands north of Crete, Sea of Marmara, Bosporus and the Black Sea. It ends with a map of the shores of the the Caspian Sea (fol.374a).

 

See this manuscript page by page at the Walters Art Museum website:

art.thewalters.org/viewwoa.aspx?id=19195

 

Processed with VSCO with acg preset

Originally composed in 932 AH / 1525 CE and dedicated to Sultan Süleyman I ("The Magnificent"), this great work by Piri Reis (d. 962 AH / 1555 CE) on navigation was later revised and expanded. The present manuscript, made mostly in the late 11th AH / 17th CE century, is based on the later expanded version with some 240 exquisitely executed maps and portolan charts. They include a world map (fol.41a) with the outline of the Americas, as well as coastlines (bays, capes, peninsulas), islands, mountains and cities of the Mediterranean basin and the Black Sea. The work starts with the description of the coastline of Anatolia and the islands of the Aegean Sea, the Peloponnese peninsula and eastern and western coasts of the Adriatic Sea. It then proceeds to describe the western shores of Italy, southern France, Spain, North Africa, Palestine, Israel, Lebanon, Syria, western Anatolia, various islands north of Crete, Sea of Marmara, Bosporus and the Black Sea. It ends with a map of the shores of the the Caspian Sea (fol.374a).

 

See this manuscript page by page at the Walters Art Museum website:

art.thewalters.org/viewwoa.aspx?id=19195

 

Karavostamo is a large beautiful seaside village stretching out from upon the mountain. It is composed of an upper and lower village and is situated in the northern part of the island east of the municipality of Evdilos. It has approximately 485 inhabitants and is a must see for any visitor owing to its small houses amphitheatrically built, two big churches, plethora of chapels, nursery, primary school, modern oil press, streams with the crystal clear waters, old watermills, air filled with butterflies, beautiful beaches, and spring of Kalikas,. The traditional "Pigi tou Kalika," Kalika Spring, stands just off the main road in an enchanting lush landscape. Historically it was the central meeting place of the villagers. Here they would fill their pitchers with water, wash their clothes, rest, and discuss village issues.

This exclusively seafaring settlement has many interesting folklore elements to display. In the upper village with the farm houses surrounded by terraces, some cultivated and some not, one can view scenes from the villagers' daily lives such as the drying of figs in the sun, the making of onion strings for winter usage, and the shelling and drying of nuts and almonds. There is also a place where charcoal is produced, one of the few still existing in Ikaria which has had a long standing tradition in the field since before the war.

The lovely beaches of the community of Karavostamo, with their crystal clear sea, are a delight to every holiday maker. Coming from the southern part of the island you first come across the attractive beach of the Aris River.

Karavostamo retains several old watermills where the villagers once ground their wheat. Such watermills can be found in the gorge of the Aris river a little further behind the beach in the area of Exalima, in the village's green ravines, and by the Milios river where the watermill is over 200 years old. In Exalima, as you walk towards the heart of the ravine after the watermill you reach a dream like place teaming with lovely colorful butterflies in the spring.

A round Chinese incense burner that burns coiled incense behind a ceramic mermaid on a Chinese base.

 

Incense is aromatic biotic material that releases fragrant smoke when burned. The term refers to the material itself, rather than to the aroma that it produces. Incense is used for aesthetic reasons, and in therapy, meditation, and ceremony. It may also be used as a simple deodorant or insectifuge.

 

Incense is composed of aromatic plant materials, often combined with essential oils. The forms taken by incense differ with the underlying culture, and have changed with advances in technology and increasing number of uses.

 

Incense can generally be separated into two main types: "indirect-burning" and "direct-burning". Indirect-burning incense (or "non-combustible incense") is not capable of burning on its own, and requires a separate heat source. Direct-burning incense (or "combustible incense") is lit directly by a flame and then fanned or blown out, leaving a glowing ember that smoulders and releases a smoky fragrance. Direct-burning incense is either a paste formed around a bamboo stick, or a paste that is extruded into a stick or cone shape.

 

HISTORY

The word incense comes from Latin incendere meaning "to burn".

 

Combustible bouquets were used by the ancient Egyptians, who employed incense in both pragmatic and mystical capacities. Incense was burnt to counteract or obscure malodorous products of human habitation, but was widely perceived to also deter malevolent demons and appease the gods with its pleasant aroma. Resin balls were found in many prehistoric Egyptian tombs in El Mahasna, giving evidence for the prominence of incense and related compounds in Egyptian antiquity. One of the oldest extant incense burners originates from the 5th dynasty. The Temple of Deir-el-Bahari in Egypt contains a series of carvings that depict an expedition for incense.

 

The Babylonians used incense while offering prayers to divining oracles. Incense spread from there to Greece and Rome.

 

Incense burners have been found in the Indus Civilization (3300–1300 BCE). Evidence suggests oils were used mainly for their aroma. India also adopted techniques from East Asia, adapting the formulation to encompass aromatic roots and other indigenous flora. This was the first usage of subterranean plant parts in incense. New herbs like Sarsaparilla seeds, frankincense, and cypress were used by Indians.

 

At around 2000 BCE, Ancient China began the use of incense in the religious sense, namely for worship. Incense was used by Chinese cultures from Neolithic times and became more widespread in the Xia, Shang, and Zhou dynasties. The earliest documented use of incense comes from the ancient Chinese, who employed incense composed of herbs and plant products (such as cassia, cinnamon, styrax, and sandalwood) as a component of numerous formalized ceremonial rites. Incense usage reached its peak during the Song dynasty with numerous buildings erected specifically for incense ceremonies.

 

Brought to Japan in the 6th century by Korean Buddhist monks, who used the mystical aromas in their purification rites, the delicate scents of Koh (high-quality Japanese incense) became a source of amusement and entertainment with nobles in the Imperial Court during the Heian Era 200 years later. During the 14th-century Ashikaga shogunate, a samurai warrior might perfume his helmet and armor with incense to achieve an aura of invincibility (as well as to make a noble gesture to whoever might take his head in battle). It wasn't until the Muromachi period during the 15th and 16th century that incense appreciation (kōdō) spread to the upper and middle classes of Japanese society.

 

COMPOSITION

A variety of materials have been used in making incense. Historically there has been a preference for using locally available ingredients. For example, sage and cedar were used by the indigenous peoples of North America. Trading in incense materials comprised a major part of commerce along the Silk Road and other trade routes, one notably called the Incense Route.

 

Local knowledge and tools were extremely influential on the style, but methods were also influenced by migrations of foreigners, such as clergy and physicians.

 

COMBUSTIBLE BASE

The combustible base of a direct burning incense mixture not only binds the fragrant material together but also allows the produced incense to burn with a self-sustained ember, which propagates slowly and evenly through an entire piece of incense with such regularity that it can be used to mark time. The base is chosen such that it does not produce a perceptible smell. Commercially, two types of incense base predominate:

 

Fuel and oxidizer mixtures: Charcoal or wood powder provides the fuel for combustion while an oxidizer such as sodium nitrate or potassium nitrate sustains the burning of the incense. Fragrant materials are added to the base prior to shaping, as in the case of powdered incense materials, or after, as in the case of essential oils. The formula for charcoal-based incense is superficially similar to black powder, though it lacks the sulfur.

Natural plant-based binders: Gums such as Gum Arabic or Gum Tragacanth are used to bind the mixture together. Mucilaginous material, which can be derived from many botanical sources, is mixed with fragrant materials and water. The mucilage from the wet binding powder holds the fragrant material together while the cellulose in the powder combusts to form a stable ember when lit. The dry binding powder usually comprises about 10% of the dry weight in the finished incense. These include:

Makko (incense powder) made from the bark of various trees in the genus Persea (such as Persea thunbergii)

Xiangnan pi (made from the bark of trees of genus Phoebe such as Phoebe nanmu or Persea zuihoensis.

Jigit: a resin based binder used in India

Laha or Dar: bark based powders used in Nepal, Tibet, and other East Asian countries.

 

Typical compositions burn at a temperature between 220 °C and 260 °C.

 

TYPES

Incense is available in various forms and degrees of processing. They can generally be separated into "direct-burning" and "indirect-burning" types. Preference for one form or another varies with culture, tradition, and personal taste. The two differ in their composition due to the former's requirement for even, stable, and sustained burning.

 

INDIRECT-BURNING

Indirect-burning incense, also called "non-combustible incense", is an aromatic material or combination of materials, such as resins, that does not contain combustible material and so requires a separate heat source. Finer forms tend to burn more rapidly, while coarsely ground or whole chunks may be consumed very gradually, having less surface area. Heat is traditionally provided by charcoal or glowing embers. In the West, the best known incense materials of this type are the resins frankincense and myrrh, likely due to their numerous mentions in the Bible. Frankincense means "pure incense", though in common usage refers specifically to the resin of the boswellia tree.

 

Whole: The incense material is burned directly in raw form on top of coal embers.

Powdered or granulated: Incense broken into smaller pieces burns quickly and provides brief but intense odor.

Paste: Powdered or granulated incense material is mixed with a sticky incombustible binder, such as dried fruit, honey, or a soft resin and then formed to balls or small pastilles. These may then be allowed to mature in a controlled environment where the fragrances can commingle and unite. Much Arabian incense, also called "Bukhoor" or "Bakhoor", is of this type, and Japan has a history of kneaded incense, called nerikō or awasekō, made using this method. Within the Eastern Orthodox Christian tradition, raw frankincense is ground into a fine powder and then mixed with various sweet-smelling essential oils.

 

DIRECT-BURNING

Direct-burning incense, also called "combustible incense", is lit directly by a flame. The glowing ember on the incense will continue to smoulder and burn the rest of the incense without further application of external heat or flame. Direct-burning incense is either extruded, pressed into forms, or coated onto a supporting material. This class of incense is made from a moldable substrate of fragrant finely ground (or liquid) incense materials and odourless binder. The composition must be adjusted to provide fragrance in the proper concentration and to ensure even burning. The following types are commonly encountered, though direct-burning incense can take nearly any form, whether for expedience or whimsy.

 

Coil: Extruded and shaped into a coil without a core, coil incense can burn for an extended period, from hours to days, and is commonly produced and used in Chinese cultures.

 

Cone: Incense in this form burns relatively quickly. Incense cones were invented in Japan in the 1800s.

Cored stick: A supporting core of bamboo is coated with a thick layer of incense material that burns away with the core. Higher-quality variations have fragrant sandalwood cores. This type of incense is commonly produced in India and China. When used in Chinese folk religion, these are sometimes known as "joss sticks".

Dhoop or solid stick: With no bamboo core, dhoop incense is easily broken for portion control. This is the most commonly produced form of incense in Japan and Tibet.

Powder: The loose incense powder used for making indirect burning incense is sometimes burned without further processing. Powder incense is typically packed into long trails on top of wood ash using a stencil and burned in special censers or incense clocks.

Paper: Paper infused with incense, folded accordion style, is lit and blown out. Examples include Carta d'Armenia and Papier d'Arménie.

Rope: The incense powder is rolled into paper sheets, which are then rolled into ropes, twisted tightly, then doubled over and twisted again, yielding a two-strand rope. The larger end is the bight, and may be stood vertically, in a shallow dish of sand or pebbles. The smaller (pointed) end is lit. This type of incense is easily transported and stays fresh for extremely long periods. It has been used for centuries in Tibet and Nepal.

 

Moxa tablets, which are disks of powdered mugwort used in Traditional Chinese medicine for moxibustion, are not incenses; the treatment is by heat rather than fragrance.

Incense sticks may be termed joss sticks, especially in parts of East Asia, South Asia and Southeast Asia. Among ethnic Chinese and Chinese-influenced communities these are traditionally burned at temples, before the threshold of a home or business, before an image of a religious divinity or local spirit, or in shrines, large and small, found at the main entrance of every village. Here the earth god is propitiated in the hope of bringing wealth and health to the village. They can also be burned in front of a door or open window as an offering to heaven, or the devas. The word "joss" is derived from the Latin deus (god) via the Portuguese deos through the Javanese dejos, through Chinese pidgin English.

 

PRODUCTION

The raw materials are powdered and then mixed together with a binder to form a paste, which, for direct burning incense, is then cut and dried into pellets. Incense of the Athonite Orthodox Christian tradition is made by powdering frankincense or fir resin, mixing it with essential oils. Floral fragrances are the most common, but citrus such as lemon is not uncommon. The incense mixture is then rolled out into a slab approximately 1 cm thick and left until the slab has firmed. It is then cut into small cubes, coated with clay powder to prevent adhesion, and allowed to fully harden and dry. In Greece this rolled incense resin is called 'Moskolibano', and generally comes in either a pink or green colour denoting the fragrance, with pink being rose and green being jasmine.

 

Certain proportions are necessary for direct-burning incense:

 

Oil content: an excess of oils may prevent incense from smoldering effectively. Resinous materials such as myrrh and frankincense are typically balanced with "dry" materials such as wood, bark and leaf powders.

Oxidizer quantity: Too little oxidizer in gum-bound incense may prevent the incense from igniting, while too much will cause the incense to burn too quickly, without producing fragrant smoke.

Binder: Water-soluble binders such as "makko" ensure that the incense mixture does not crumble when dry, dilute the mixture.

Mixture density: Incense mixtures made with natural binders must not be combined with too much water in mixing, or over-compressed while being formed, which would result in either uneven air distribution or undesirable density in the mixture, causing the incense to burn unevenly, too slowly, or too quickly.

Particulate size: The incense mixture has to be well pulverized with similarly sized particulates. Uneven and large particulates result in uneven burning and inconsistent aroma production when burned.

 

"Dipped" or "hand-dipped" direct-burning incense is created by dipping "incense blanks" made of unscented combustible dust into any suitable kind of essential or fragrance oil. These are often sold in the United States by flea-market and sidewalk vendors who have developed their own styles. This form of incense requires the least skill and equipment to manufacture, since the blanks are pre-formed in China or South East Asia.

 

Incense mixtures can be extruded or pressed into shapes. Small quantities of water are combined with the fragrance and incense base mixture and kneaded into a hard dough. The incense dough is then pressed into shaped forms to create cone and smaller coiled incense, or forced through a hydraulic press for solid stick incense. The formed incense is then trimmed and slowly dried. Incense produced in this fashion has a tendency to warp or become misshapen when improperly dried, and as such must be placed in climate-controlled rooms and rotated several times through the drying process.

 

Traditionally, the bamboo core of cored stick incense is prepared by hand from Phyllostachys heterocycla cv. pubescens since this species produces thick wood and easily burns to ashes in the incense stick. In a process known as "splitting the foot of the incense stick", the bamboo is trimmed to length, soaked, peeled, and split in halves until the thin sticks of bamboo have square cross sections of less than 3mm. This process has been largely replaced by machines in modern incense production.

 

In the case of cored incensed sticks, several methods are employed to coat the sticks cores with incense mixture:

 

Paste rolling: A wet, malleable paste of incense mixture is first rolled into a long, thin coil, using a paddle. Then, a thin stick is put next to the coil and the stick and paste are rolled together until the stick is centered in the mixture and the desired thickness is achieved. The stick is then cut to the desired length and dried.

Powder-coating: Powder-coating is used mainly to produce cored incense of either larger coil (up to 1 meter in diameter) or cored stick forms. A bundle of the supporting material (typically thin bamboo or sandalwood slivers) is soaked in water or a thin water/glue mixture for a short time. The thin sticks are evenly separated, then dipped into a tray of incense powder consisting of fragrance materials and occasionally a plant-based binder. The dry incense powder is then tossed and piled over the sticks while they are spread apart. The sticks are then gently rolled and packed to maintain roundness while more incense powder is repeatedly tossed onto the sticks. Three to four layers of powder are coated onto the sticks, forming a 2 mm thick layer of incense material on the stick. The coated incense is then allowed to dry in open air. Additional coatings of incense mixture can be applied after each period of successive drying. Incense sticks produced in this fashion and burned in temples of Chinese folk religion can have a thickness between 2 and 4 millimeters.

Compression: A damp powder is mechanically formed around a cored stick by compression, similar to the way uncored sticks are formed. This form is becoming more common due to the higher labor cost of producing powder-coated or paste-rolled sticks.

 

BURNING INCENSE

Indirect-burning incense burned directly on top of a heat source or on a hot metal plate in a censer or thurible.

 

In Japan a similar censer called a egōro (柄香炉) is used by several Buddhist sects. The egōro is usually made of brass, with a long handle and no chain. Instead of charcoal, makkō powder is poured into a depression made in a bed of ash. The makkō is lit and the incense mixture is burned on top. This method is known as sonae-kō (religious burning).

 

For direct-burning incense, the tip or end of the incense is ignited with a flame or other heat source until the incense begins to turn into ash at the burning end. The flame is then fanned or blown out, leaving the incense to smolder.

 

CULTURAL VARIATIONS

ARABIAN

In most Arab countries, incense is burned in the form of scented chips or blocks called bakhoor (Arabic: بخور‎ [bɑˈxuːɾ, bʊ-]. Incense is used on special occasions like weddings or on Fridays or generally to perfume the house. The bakhoor is usually burned in a mabkhara, a traditional incense burner (censer) similar to the Somali Dabqaad. It is customary in many Arab countries to pass bakhoor among the guests in the majlis ('congregation'). This is done as a gesture of hospitality.

 

CHINESE

For over two thousand years, the Chinese have used incense in religious ceremonies, ancestor veneration, Traditional Chinese medicine, and daily life. Agarwood (chénxiāng) and sandalwood (tánxiāng) are the two most important ingredients in Chinese incense.

 

Along with the introduction of Buddhism in China came calibrated incense sticks and incense clocks. The first known record is by poet Yu Jianwu (487-551): "By burning incense we know the o'clock of the night, With graduated candles we confirm the tally of the watches." The use of these incense timekeeping devices spread from Buddhist monasteries into Chinese secular society.

Incense-stick burning is an everyday practice in traditional Chinese religion. There are many different types of stick used for different purposes or on different festive days. Many of them are long and thin. Sticks are mostly coloured yellow, red, or more rarely, black. Thick sticks are used for special ceremonies, such as funerals. Spiral incense, with exceedingly long burn times, is often hung from temple ceilings. In some states, such as Taiwan,

 

Singapore, or Malaysia, where they celebrate the Ghost Festival, large, pillar-like dragon incense sticks are sometimes used. These generate so much smoke and heat that they are only burned outside.

 

Chinese incense sticks for use in popular religion are generally odorless or only use the slightest trace of jasmine or rose, since it is the smoke, not the scent, which is important in conveying the prayers of the faithful to heaven. They are composed of the dried powdered bark of a non-scented species of cinnamon native to Cambodia, Cinnamomum cambodianum. Inexpensive packs of 300 are often found for sale in Chinese supermarkets. Though they contain no sandalwood, they often include the Chinese character for sandalwood on the label, as a generic term for incense.

 

Highly scented Chinese incense sticks are used by some Buddhists. These are often quite expensive due to the use of large amounts of sandalwood, agarwood, or floral scents used. The sandalwood used in Chinese incenses does not come from India, its native home, but rather from groves planted within Chinese territory. Sites belonging to Tzu Chi, Chung Tai Shan, Dharma Drum Mountain, Xingtian Temple, or City of Ten Thousand Buddhas do not use incense.

 

INDIAN

Incense sticks, also known as agarbathi (or agarbatti) and joss sticks, in which an incense paste is rolled or moulded around a bamboo stick, are the main forms of incense in India. The bamboo method originated in India, and is distinct from the Nepali/Tibetan and Japanese methods of stick making without bamboo cores. Though the method is also used in the west, it is strongly associated with India.

 

The basic ingredients are the bamboo stick, the paste (generally made of charcoal dust and joss/jiggit/gum/tabu powder – an adhesive made from the bark of litsea glutinosa and other trees), and the perfume ingredients - which would be a masala (spice mix) powder of ground ingredients into which the stick would be rolled, or a perfume liquid sometimes consisting of synthetic ingredients into which the stick would be dipped. Perfume is sometimes sprayed on the coated sticks. Stick machines are sometimes used, which coat the stick with paste and perfume, though the bulk of production is done by hand rolling at home. There are about 5,000 incense companies in India that take raw unperfumed sticks hand-rolled by approximately 200,000 women working part-time at home, and then apply their own brand of perfume, and package the sticks for sale. An experienced home-worker can produce 4,000 raw sticks a day. There are about 50 large companies that together account for up to 30% of the market, and around 500 of the companies, including a significant number of the main ones, including Moksh Agarbatti and Cycle Pure, are based in Mysore.

 

JEWISH TEMPLE IN JERUSALEM

KETORET

Ketoret was the incense offered in the Temple in Jerusalem and is stated in the Book of Exodus to be a mixture of stacte, onycha, galbanum and frankincense.

 

TIBETAN

Tibetan incense refers to a common style of incense found in Tibet, Nepal, and Bhutan. These incenses have a characteristic "earthy" scent to them. Ingredients vary from cinnamon, clove, and juniper, to kusum flower, ashvagandha, and sahi jeera.

 

Many Tibetan incenses are thought to have medicinal properties. Their recipes come from ancient Vedic texts that are based on even older Ayurvedic medical texts. The recipes have remained unchanged for centuries.

 

JAPANESE

In Japan incense appreciation folklore includes art, culture, history, and ceremony. It can be compared to and has some of the same qualities as music, art, or literature. Incense burning may occasionally take place within the tea ceremony, just like calligraphy, ikebana, and scroll arrangement. The art of incense appreciation, or koh-do, is generally practiced as a separate art form from the tea ceremony, and usually within a tea room of traditional Zen design.

 

Agarwood (沈香 Jinkō) and sandalwood (白檀 byakudan) are the two most important ingredients in Japanese incense. Agarwood is known as "jinkō" in Japan, which translates as "incense that sinks in water", due to the weight of the resin in the wood. Sandalwood is one of the most calming incense ingredients and lends itself well to meditation. It is also used in the Japanese tea ceremony. The most valued Sandalwood comes from Mysore in the state of Karnataka in India.

 

Another important ingredient in Japanese incense is kyara (伽羅). Kyara is one kind of agarwood (Japanese incense companies divide agarwood into 6 categories depending on the region obtained and properties of the agarwood). Kyara is currently worth more than its weight in gold.

 

Some terms used in Japanese incense culture include:

 

Incense arts: [香道, kodo]

Agarwood: [ 沈香 ] – from heartwood from Aquilaria trees, unique, the incense wood most used in incense ceremony, other names are: lignum aloes or aloeswood, gaharu, jinko, or oud.

Censer/Incense burner: [香爐] – usually small and used for heating incense not burning, or larger and used for burning

Charcoal: [木炭] – only the odorless kind is used.

Incense woods: [ 香木 ] – a naturally fragrant resinous wood.

 

USAGE

PRACTICAL

Incense fragrances can be of such great strength that they obscure other less desirable odours. This utility led to the use of incense in funerary ceremonies because the incense could smother the scent of decay. An example, as well as of religious use, is the giant Botafumeiro thurible that swings from the ceiling of the Cathedral of Santiago de Compostela. It is used in part to mask the scent of the many tired, unwashed pilgrims huddled together in the Cathedral of Santiago de Compostela.

 

A similar utilitarian use of incense can be found in the post-Reformation Church of England. Although the ceremonial use of incense was abandoned until the Oxford Movement, it was common to have incense (typically frankincense) burned before grand occasions, when the church would be crowded. The frankincense was carried about by a member of the vestry before the service in a vessel called a 'perfuming pan'. In iconography of the day, this vessel is shown to be elongated and flat, with a single long handle on one side. The perfuming pan was used instead of the thurible, as the latter would have likely offended the Protestant sensibilities of the 17th and 18th centuries.

 

The regular burning of direct-burning incense has been used for chronological measurement in incense clocks. These devices can range from a simple trail of incense material calibrated to burn in a specific time period, to elaborate and ornate instruments with bells or gongs, designed to involve multiple senses.

 

Incense made from materials such as citronella can repel mosquitoes and other irritating, distracting, or pestilential insects. This use has been deployed in concert with religious uses by Zen Buddhists who claim that the incense that is part of their meditative practice is designed to keep bothersome insects from distracting the practitioner. Currently, more effective pyrethroid-based mosquito repellent incense is widely available in Asia.

 

Papier d'Arménie was originally sold as a disinfectant as well as for the fragrance.

 

Incense is also used often by people who smoke indoors and do not want the smell to linger.

 

AESTHETIC

Many people burn incense to appreciate its smell, without assigning any other specific significance to it, in the same way that the foregoing items can be produced or consumed solely for the contemplation or enjoyment of the aroma. An example is the kōdō (香道), where (frequently costly) raw incense materials such as agarwood are appreciated in a formal setting.

 

RELIGIOUS

Religious use of incense is prevalent in many cultures and may have roots in the practical and aesthetic uses, considering that many of these religions have little else in common. One common motif is incense as a form of sacrificial offering to a deity. Such use was common in Judaic worship and remains in use for example in the Catholic, Orthodox, and Anglican churches, Taoist and Buddhist Chinese jingxiang (敬香 "offer incense), etc.

 

Aphrodisiac Incense has been used as an aphrodisiac in some cultures. Both ancient Greek and ancient Egyptian mythology suggest the usage of incense by goddesses and nymphs. Incense is thought to heighten sexual desires and sexual attraction.

 

Time-keeper Incense clocks are used to time social, medical and religious practices in parts of eastern Asia. They are primarily used in Buddhism as a timer of mediation and prayer. Different types of incense burn at different rates; therefore, different incense are used for different practices. The duration of burning ranges from minutes to months.

 

Healing stone cleanser Incense is claimed to cleanse and restore energy in healing stones. The technique used is called “smudging” and is done by holding a healing stone over the smoke of burning incense for 20 to 30 seconds. Some people believe that this process not only restores energy but eliminates negative energy.

 

HEALTH RISK FROM INCENSE SMOKE

Incense smoke contains various contaminants including gaseous pollutants, such as carbon monoxide (CO), nitrogen oxides (NOx), sulfur oxides (SOx), volatile organic compounds (VOCs), and adsorbed toxic pollutants (polycyclic aromatic hydrocarbons and toxic metals). The solid particles range between ~10 and 500 nm. In a comparison, Indian sandalwood was found to have the highest emission rate, followed by Japanese aloeswood, then Taiwanese aloeswood, while Chinese smokeless sandalwood had the least.

 

Research carried out in Taiwan in 2001 linked the burning of incense sticks to the slow accumulation of potential carcinogens in a poorly ventilated environment by measuring the levels of polycyclic aromatic hydrocarbons (including benzopyrene) within Buddhist temples. The study found gaseous aliphatic aldehydes, which are carcinogenic and mutagenic, in incense smoke.

 

A survey of risk factors for lung cancer, also conducted in Taiwan, noted an inverse association between incense burning and adenocarcinoma of the lung, though the finding was not deemed significant.

 

In contrast, epidemiologists at the Hong Kong Anti-Cancer Society, Aichi Cancer Center in Nagoya, and several other centers found: "No association was found between exposure to incense burning and respiratory symptoms like chronic cough, chronic sputum, chronic bronchitis, runny nose, wheezing, asthma, allergic rhinitis, or pneumonia among the three populations studied: i.e. primary school children, their non-smoking mothers, or a group of older non-smoking female controls. Incense burning did not affect lung cancer risk among non-smokers, but it significantly reduced risk among smokers, even after adjusting for lifetime smoking amount." However, the researchers qualified their findings by noting that incense burning in the studied population was associated with certain low-cancer-risk dietary habits, and concluded that "diet can be a significant confounder of epidemiological studies on air pollution and respiratory health."

 

Although several studies have not shown a link between incense and lung cancer, many other types of cancer have been directly linked to burning incense. A study published in 2008 in the medical journal Cancer found that incense use is associated with a statistically significant higher risk of cancers of the upper respiratory tract, with the exception of nasopharyngeal cancer. Those who used incense heavily also were 80% more likely to develop squamous-cell carcinomas. The link between incense use and increased cancer risk held when the researchers weighed other factors, including cigarette smoking, diet and drinking habits. The research team noted that "This association is consistent with a large number of studies identifying carcinogens in incense smoke, and given the widespread and sometimes involuntary exposure to smoke from burning incense, these findings carry significant public health implications."

 

In 2015, the South China University of Technology found toxicity of incense to Chinese hamsters' ovarian cells to be even higher than cigarettes.

 

Incensole acetate, a component of Frankincense, has been shown to have anxiolytic-like and antidepressive-like effects in mice, mediated by activation of poorly-understood TRPV3 ion channels in the brain.

Composed by Robert Schumann (1810 - 1856)

Composing a sunset was challenging with the changing cloud pattern and the random wind gusts. This was shot on a Sunday evening, so it was just me and my three other shooting buddies.

 

Lee 2 stop hard and 3 stop soft GNDs, stacked

Exposure0.167 sec (1/6)

Aperturef/11.0

Focal Length14 mm

ISO Speed100

Exposure Bias-4/3 EV

Los Angeles County Airshow 2018

 

Media Day / Friday Photo Tour

I had an idea in mind for this week's theme, but when I saw how the clouds were embracing the moon last night, I just had to capture it! It was a beautiful sight... sometimes nature creates amazing compositions that really don't need anything on our part except maybe some appreciation :)

China Arts Population, VivoCity, Singapore, Soligor 135/2.8

Loading images, Please wait...

This may take some time depending on the file size and your

internet connection. To save the Images, right click on the image

and click on "Save Picture As...

*STS-126 Begins!

*

   

Blazing light surrounds Launch Pad 39A and glows in the nearby water as

space shuttle Endeavour leaps into the sky on the STS-126 mission from

NASA's Kennedy Space Center in Florida. STS-126 is the 124th space shuttle

flight and the 27th flight to the International Space Station. The mission

will feature four spacewalks and work that will prepare the space station to

house six crew members for long-duration missions.

  

*Endeavour Lifts

Off!

*

   

Blazing light surrounds space shuttle Endeavour, eclipsing the light from

the nearby full moon, as it roars into space from Launch Pad 39A at NASA's

Kennedy Space Center during the launch of the STS-126 mission. Liftoff was

on time at 7:55 p.m. EST on Friday, Nov. 14, 2008. STS-126 is the 124th

space shuttle flight and the 27th flight to the International Space Station.

The mission will feature four spacewalks and work that will prepare the

space station to house six crew members for long-duration missions.

 

*Kennedy Space Center in Florida.*

    

Endeavour is scheduled to launch on the STS-126 mission, the 27th mission to

the International Space Station on Friday, Nov.. 14, 2008. The shuttle will

carry the Lightweight Multi-Purpose Experiment Support Structure Carrier and

the Multi-Purpose Logistics Module Leonardo, which will hold supplies and

equipment, including additional crew quarters, spare hardware and equipment

for the regenerative life support system.

 

*Illusion and Evolution*

   

What's happening to the galaxies of cluster Abell 2667? On the upper left, a

galaxy appears to be breaking up into small pieces, while on the far right,

another galaxy appears to be stretched like taffy.

  

To start, most of the yellowish objects in the above image from the Hubble

Space Telescope are galactic members of a massive cluster of galaxies known

as Abell 2667. The distortion of the galaxy on the upper left is real.. As

the galaxy plows through the intercluster medium, gas is stripped out and

condenses to form bright new knots of stars. This detailed image helps

astronomers understand why so many galaxies today have so little gas.

  

The distortion of the galaxy on the far right, however, is an illusion. This

nearly normal galaxy is actually far behind the massive galaxy cluster..

Light from this galaxy is gravitationally lensed by Abell 2667, appearing

much like a distant person would appear through a wine glass. Each distorted

galaxy gives scientists important clues about how galaxies and clusters of

galaxies evolve.

  

**

*Neither Perpendicular nor

Parallel

*

   

Most ISS images are nadir, in which the center point of the image is

directly beneath the lens of the camera, but this one is not. This highly

oblique image of northwestern African captures the curvature of the Earth

and shows its atmosphere.

  

The Earth's atmosphere is composed of 78 percent nitrogen, 21 percent oxygen

and 1 percent other constituents, and it shields us from nearly all harmful

radiation coming from the sun and other stars. It also protects us from

meteors, most of which burn up before they can strike the planet. Affected

by changes in solar activity, the upper atmosphere contributes to weather

and climate on Earth.

 

*Happy Halloween From

Cassini

*

   

As the new Equinox mission at Saturn begins, the Cassini-Huygens mission

team sends their best wishes for a happy, healthy and fun Halloween. We've

enjoyed sharing the stunning images and exciting results of Cassini's first

four years at Saturn -- and promise many more treats as the adventure

continues.

 

The Cassini program is an international cooperative effort involving NASA,

the European Space Agency and the Italian space agency, Agenzia Spaziale

Italiana. In the United States, the mission is managed by the Jet Propulsion

Laboratory.

  

*Doomed Moon of

Mars

*

   

This moon is doomed. Mars, named for the Roman god of war, has two tiny

moons--Phobos and Deimos--whose names are derived from the Greek for fear

and panic. These Martian moons may well be captured asteroids originating in

the main asteroid belt between Mars and Jupiter or perhaps from even more

distant reaches of the solar system.

  

The larger moon, Phobos, is a cratered, asteroid-like object in this

stunning color image from the Mars Reconnaissance Orbiter. Phobos orbits so

close to Mars that gravitational tidal forces are dragging it down. In 100

million years or so, Phobos likely will be shattered by stress caused by the

relentless tidal forces, the debris forming a decaying ring around Mars.

 

*Cratered Mercury

*

   

About 58 minutes before MESSENGER's closest approach to Mercury on Oct. 6,

2008, its Narrow Angle Camera captured this close-up image.

  

The features in the foreground, near the right side of the image, are close

to the terminator, the line between the sunlit dayside and dark night side

of the planet, making the shadows long and prominent. Two very long scarps,

or cliffs, are visible in this region, and the scarps appear to crosscut

each other. The easternmost scarp also cuts through a crater, showing that

it formed after the impact that created the crater.

  

*Expedition 18 Lifts

Off!

*

   

The Soyuz TMA-13 spacecraft, carrying Expedition 18 Commander Michael

Fincke, Flight Engineer Yury V. Lonchakov and American spaceflight

participant Richard Garriott, launched Sunday, Oct. 12, 2008, from the

Baikonur Cosmodrome in Kazakhstan.

  

The three crew members are scheduled to dock with the International Space

Station on Oct. 14. Fincke and Lonchakov will spend six months on the

station, while Garriott will return to Earth Oct. 24, 2008, with two of the

Expedition 17 crew currently aboard the International Space Station.

 

*Mirror Images

*

   

Space shuttle Atlantis (foreground) sits on Launch Pad A and Endeavour on

Launch Pad B at NASA's Kennedy Space Center in Florida. At the left of each

shuttle are the open rotating service structures with the payload changeout

rooms revealed. The rotating service structures provide protection for

weather and access to the

shuttle.

 

For the first time since July 2001, two shuttles are on the launch pads at

the same time. Endeavour will stand by at pad B in the unlikely event that a

rescue mission is necessary during Atlantis' upcoming STS-125 mission to

repair NASA's Hubble Space Telescope. The missions is slated to launch Oct.

10.

  

After Endeavour is cleared from its duty as a rescue spacecraft, it will be

moved to Launch Pad 39A for its STS-126 mission to the International Space

Station. That flight is targeted for launch Nov. 12.

 

*Phoenix Provides a Panorama of

Mars

*

   

Combining more than 400 images taken during the first weeks after the

Phoenix arrived on the Red planet's arctic plain gave scientists this view

of Mars.

 

The full-circle panorama in approximately true color shows the polygonal

patterning of ground at the landing area, similar to patterns in permafrost

areas on Earth. The center of the image is the westward part of the scene.

Trenches where Phoenix's robotic arm has been exposing subsurface material

are visible in the right half of the image. The spacecraft's meteorology

mast, topped by the telltale wind gauge, extends into the sky portion of the

panorama.

This view comprises more than 100 different camera pointings, with images

taken through three different filters at each pointing.

 

*Morning Frost on the Surface of

Mars

*

   

A thin layer of water frost is visible on the ground around NASA's Phoenix

Mars Lander in this image taken by the Surface Stereo Imager at 6 a.m. on

Sol 79 (August 14, 2008), the 79th Martian day after landing. The frost

began to disappear shortly after 6 a.m. as the sun rose on the Phoenix

landing site.

 

The sun was about 22 degrees above the horizon when the image was taken,

enhancing the detail of the polygons, troughs and rocks around the landing

site.

 

This view looks east-southeast with the lander's eastern solar panel visible

in the bottom left-hand corner of the image.

  

This false color image has been enhanced to show color

variations.

FR Cinéraire à feuilles de pas-d'âne - ES Tusilago canario

 

Pericallis tussilaginis (L'Hér.) D.Don (inflorescence)

Matorral thermophile (alt. 600 m)

Las Montañas (Ténériffe, Canaries, Espagne)

 

Indigène (Ténériffe, Grande Canarie)

hand written, unpublished music manuscript, oboe, quill pen, conductor's baton by candle light

This manuscript is a legal certification of coats of arms and a genealogical treatise composed in Spain in 1782. It was compiled by Don Ramon Zazo of Ortega, historian and king at arms to Charles III, king of Spain, who signed the work on fol. 25v. The manuscript contains heraldic information, history, and genealogy of the Spanish families of Despuig or Puig, Pallas, Gelabert of Coscoll, and Mora. It was made for a descendent of these families: Don Antonio de Puig y Gelabert de Cascoll, Doctor of Laws and Advocate of the Royal Audience of Catalonia. It is decorated with two notable full-page heraldic miniatures, five heraldic text miniatures, illuminated initials, a fold-out decorated genealogical table, and four illuminated text headings. The illuminations use a palette of bright colors and an abundance of gold. Interleaves of crimson silk cover each miniature. The manuscript still retains two paper seals of the city of Madrid, one of which encloses a very small leaf painted with the coats of the Puig family.

 

To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.

A United States Military Academy at West Point senior teaches new cadets how to salute and march during Reception Day July 2, 2018. The more than 1,200 members of the Class of 2022 is composed of 294 women, 30% minorities, 16 international students and 10 combat veterans. (U.S. Army photo by Michelle Eberhart)

Explosion and Conflict

Pentax FA 31 f/1.8, Provia 100

some memories are like ice needles

FR Épervière en ombelle - ET Sarik-hunditubakas

 

Hieracium umbellatum L. (inflorescences)

Bord de chemin forestier (alt. 60 m)

Konsu (commune d'Alutaguse, Viru oriental, Estonie)

 

Indigène (Régions tempérées d'Eurasie, Canada, Nord des États-Unis, Groenland)

Trays of poster type. This item is on display at the Writer's Museum, Lady Stairs Close, Edinburgh.

Accession Number: SH.2009.392

Wood type answered some of the needs of display advertising during the industrial revolution. It derives its name from the fact that instead of being made of metal, the type is carved from wood, cut perpendicular to the grain. It is distinguished by strong contrasts, an overall dark colour, and a lack of fine lines. It may be unusually compressed or extended. Many wood types have an "Old West" feel, because they are most strongly associated with America in the 1870-1900 period. Some of the wood types most widely available today are those in an Adobe pantheon released in 1990, which includes Cottonwood, Ironwood and Juniper (Buker, Lind & Redick).

 

Edinburgh City of Print is a joint project between City of Edinburgh Museums and the Scottish Archive of Print and Publishing History Records (SAPPHIRE). The project aims to catalogue and make accessible the wealth of printing collections held by City of Edinburgh Museums. For more information about the project please visit www.edinburghcityofprint.org