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From my set entitled “Black Creek Pioneer Village”
www.flickr.com/photos/21861018@N00/sets/72157611538656614/
In my collection entitled "Places"
www.flickr.com/photos/21861018@N00/collections/7215760074...
In my photostream
www.flickr.com/photos/21861018@N00/
Reproduced from Wikipedia, the free encyclopedia
Black Creek Pioneer Village is an historic site in Toronto, Ontario, Canada, just west of York University and southeast of the Jane and Steeles intersection. It overlooks Black Creek, a tributary of the Humber River.
The village is a recreation of life in 19th-century Ontario and gives an idea how rural Ontario might have looked in the early-to-mid 1800s.
The "pioneer" village consists of over forty historic 19th century buildings, decorated in the style of the 1860s with period furnishings. Besides the Historical Interpreters and Craftspeople housed in the restored buildings, the site also features historical reenactments and visiting artisans. Buildings include period houses, the original Stong Family farm buildings, a water-powered grist mill, a general store, a blacksmith's shop along with over 10 other trades buildings, a hotel, a church, and a one-room schoolhouse. A core of buildings built by the Stong family are on their original sites, while others have been moved in from across Southern Ontario.
The majority of the buildings were moved from their original sites (notably the large Halfway House and Mennonite Meeting House), and some re-built on their current locations.
The village is a regular destination for field trips by schoolchildren from the Greater Toronto Area.
It is operated by the Toronto and Region Conservation Authority.
From my set entitled “Iris”
en.wikipedia.org/wiki/Iris_(plant)
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Iris_(plant)
Iris is a genus of between 200-300 species of flowering plants with showy flowers which takes its name from the Greek word for a rainbow, referring to the wide variety of flower colors found among the many species. As well as being the scientific name, Iris is also very widely used as a common name and refers to all Iris species as well as some closely related genera.
The genus is widely distributed throughout the north temperate zone. Their habitats are considerably varied, ranging from cold regions into the grassy slopes, meadowlands, stream banks of Europe, the Middle East and northern Africa, Asia and across North America.
They are perennial herbs, growing from creeping rhizomes (rhizomatous irises), or, in drier climates, from bulbs (bulbous irises). They have long, erect, flowering stems, which may be simple or branched, solid or hollow, and flattened or have a circular cross-section. The rhizomatous species usually have 3-10 basal, sword-shaped leaves growing in dense clumps. The bulbous species have cylindrical basal leaves.
The inflorescences are fan-shaped and contain one or more symmetrical, six-lobed flowers. These grow on a pedicel or lack a footstalk. The three sepals, which are spreading or droop downwards, are referred to as falls. They expand from their narrow base into a broader limb (= expanded portion), often adorned with veining, lines or dots. The three, sometimes reduced, petals stand upright, partly behind the sepal bases. They are called standards. Some smaller iris species have all six lobes pointing straight outwards. The sepals and the petals differ from each other. They are united at their base into a floral tube that lies above the ovary. The styles divide towards the apex into petaloid branches (see pollination, below).
The iris flower is of special interest as an example of the relation between flowering plants and pollinating insects. The shape of the flower and the position of the pollen-receiving and stigmatic surfaces on the outer petals form a landing-stage for a flying insect, which in probing the perianth for nectar, will first come in contact of perianth, three with the stigmatic stamens in one whorl surface which is borne and an ovary formed of three carpels. The shelf-like transverse projection on the inner whorl under side of the stamens, which is beneath the over-arching style arm below the stigma, so that the insect comes in contact with its pollen-covered surface only after passing the stigma, while in backing out of the flower it will come in contact only with the non-receptive lower face of the stigma. Thus, an insect bearing pollen from one flower, will in entering a second, deposit the pollen on the stigma, while in backing out of a flower, the pollen which it bears will not be rubbed off on the stigma of the same flower!
The Taj Mahal
The Tajmahal was built by the Mughal emperor Shah Jahan (reign, 1628-1658 A.D.), grandson of Akbar, the Great, in the memory of his queen Arjumand Bano Begum, entitled 'Mumtaz Mahal'. She was niece of empress Nur Jahan and grand-daughter of Mirza Ghias Beg "I'Timad-Ud-Daulah" vazir of emperor Jehangir. She was born in 1593 and was married to prince Khurram (Shah Jahan) in 1612. She died in 1631 on the birth of her 14th child, at Burhanpur, where she was temporarily buried. Six months later, her body was transferred to Agra and finally enshrined in the crypt of the main tomb. Shah Jahan who died in 1666 was also buried here. The Taj Mahal is the mausoleum of both Mumtaz Mahal and Shah Jahan. Originally styled as 'Rauza-I-Munavvara' and 'Rauza-I-Mumtaz Mahal', gradually it became famous as Tah Mahal and Taj-Bibi-Ka-Rauza (the garden-tomb of the Taj queen).
It is sited on the right bank of the river Jamuna at a point where it takes a sharp turn and flows eastward. This location has a correct orientation for the adjunct-mosque, minimum thrust of water and, above all, a large natural lake to provide it with a continuous protective cover of moisture. The river with 30 geet deep clean water was a constituent of its original design.
Its land was acquired in lieu of four Havelis. The construction began from the foundations. Wells were laid to support the huge building. Artisans were requisitioned from the whole of the empire and from central Asia and Iran, while bricks for internal skeleton were locally make, white marble for externals surfaces was obtained from Makrana. It was completed in 1648 in 17 years, at the cost of about rupees four crore (40 million) when gold was sold at rs. 15 per tola (11,66 grams).
In all, it covers an area of 60 bighas. As terrain gradually sloped from south to north, towards the river, it is laid out in descending terraces. At the southern point is the forecourt with the main gate in front and tombs of Akbarabadi Begum and Fatehpuribegum, two other queens of Shah Jahan, on its south-east and south-west corners. On the second terrace is a spacious charbagh garden divided into four quarters by the broad shallow canals, with wide walkways and cypress avenues on the sides. They are studded with fountains which were fed by overhead water tanks situated in the adjoining Bagh Khan-I-'Alam.
The main tomb is placed at the northern edge of this garden. It integrated the Taj with the blue sky, and provided it with a beautiful natural background, which was constantly changing from sunrise to midnight. The changing colours of the sky descended softly on its white marble and it looked ever new at avery moment. This newness is the secret of its beauty.
The main tomb was designed under the guidance of the emperor himself its perfect proportions were evolved in wooden models. It rises to 285 feet from the river level with 187 feet width. Its geometrical summetry is also unique.
Though it has some wonderful specimens of polychrome inlay art, in the interior: on the dados, on cenotaphs and on the marble Jhajjhari (jali-screen) around them, and on the exterior on the spandrels of the arches, this ornament is sparse and minimal, and it does not play any role in the total aesthetic effect of the building, which is wholly achritectonic.
It was efficiently maintained until it fell on bad days, in the 18th century A.D. [begin defaced section] Its doors, loose fittings and furniture of ebony and sandalwood, costly lamps, stands, utensils, rugs, carpets, curtains and wall hangings of rare textiles, jewelled coverings the entire paraphernalia was plundered successively by the Jats, Marathas and the British of the East India Company who captured Agra in 1803. [end defaced section] The British replaced the original gold Kalash finial in 1810 and, the Taj was once - during the regime of William Bentinck - put to auction only for the value of its marble. Fortunately this sacrilege was averted. The Taj survived, although in bare skeletal form without the imperial coverings. Since the archaeological survey of India was established in 1861, it is being properly maintained and conserved.
One of the most beautiful creations of man on earth, it is variously admired: as a 'materialised vision of loveliness', a 'dream in marble', a 'noble tribute to the grace of Indian womanhood' and a 'resplendent immortal tear drop on the cheek of time' it symbolises India's composite culture. It is reckoned among the wonders of the world and is inscribed as a world heritage site by the UNESCO.
Mural entitled "My son Ían is eating your fries!" by @chicadania with @cranioartes and @pezbarcelona located at 3320 NW 2nd Avenue in Miami Florida.
Photo by James aka @urbanmuralhunter on that other photo site.
Edit by Teee.
Die Werke von Willem de Rooij kreisen um Fragen nach Repräsentation und Bedeutung. Seit den frühen 1990er-Jahren arbeitet der niederländische Künstler in unterschiedlichen Medien wie Installation, Fotografie und Film. Für seine Ausstellung „Entitled“ im MMK 2 des MMK Museum für Moderne Kunst Frankfurt am Main hat er Werke und Werkgruppen aus frühen Schaffensphasen bis zur Gegenwart erstmals zu einer neuen, den gesamten Museumsraum umfassenden Installation vereint.
„Willem de Rooij ist mit wichtigen Werken aus seiner Kooperation mit Jeroen de Rijke in der Sammlung des MMK vertreten. Wir freuen uns, mit dieser Ausstellung das Œuvre von de Rooij noch intensiver und umfassender beleuchten zu können“, sagt Prof. Dr. Susanne Gaensheimer, Direktorin des MMK.
De Rooij studierte an der Gerrit Rietveld Akademie und an der Rijksakademie in Amsterdam. Seit 2006 lehrt er als Professor für Bildende Künste an der Städelschule in Frankfurt am Main. Von 1995 bis 2006 arbeitete er zusammen mit Jeroen de Rijke (1970–2006).
Bei dieser Ausstellung stehen sowohl die einzelnen Arbeiten des Künstlers im Mittelpunkt als auch ihre Anordnung in einer umfassenden Installation, die speziell für die Räume des
MMK 2 entwickelt wurde. „In der Anordnung der Werke zu einer Gesamtinstallation sieht Willem de Rooij einen wichtigen Teil seiner Arbeit als Künstler. Der Raum – ob privat, öffentlich, institutionell oder sozial – ist dabei zentral. Der Raum zwischen den einzelnen Werken und die Aussichten auf den städtischen Umraum schaffen eine Beziehung zwischen dem Werk und dem Betrachter, zwischen dem Museum und der Stadt.“, sagt Klaus Görner, Kurator der Ausstellung.
Durch die bewusste Einbindung von Zwischenräumen und Fensteröffnungen stellt die Installation im MMK 2 Verbindungen zwischen dem Innenraum und der äußeren Umgebung her. Die Präsentation ist dabei nicht als Parcours oder Abfolge aufgebaut, sondern als ein Gefüge verschiedener Zonen, die sich gegenseitig durchdringen und über Blickachsen miteinander verknüpft sind. Dadurch deckt die Installation Referenzen innerhalb de Rooijs Œuvre auf.
Pressemitteilung MMK
From my set entitled “Peonies”
www.flickr.com/photos/21861018@N00/sets/72157607186459134/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
The peony or paeony (Paeonia) is the only genus in the flowering plant family Paeoniaceae. They are native to Asia, southern Europe and western North America.
Most are herbaceous perennial plants 0.5–1.5 metres tall, but some are woody shrubs up to 1.5–3 metres tall. They have compound, deeply lobed leaves, and large, often fragrant flowers, ranging from red to white or yellow, in late spring and early summer. In the past, the peonies were often classified in the family Ranunculaceae, alongside Hellebores and Anemones.
The peony is named after Paeon or Paean, a student of Asclepius, the Greek god of medicine and healing. Asclepius became jealous of his pupil; Zeus saved Paeon from the wrath of Asclepius by turning him into the peony flower
The peony is among the longest-used flowers in ornamental culture and is one of the smallest living creature national emblems in China. Along with the plum blossom, it is a traditional floral symbol of China, where it is called 牡丹 (mǔ dān). It is also known as 富贵花 (fuguihua) "flower of riches and honour", and is used symbolically in Chinese art.[2] In 1903, the Qing Dynasty declared the peony as the national flower. Currently, the Republic of China on Taiwan designates the plum blossom as the national flower, while the People's Republic of China has no legally designated national flower. In 1994, the peony was proposed as the national flower after a nationwide poll, but the National People's Congress failed to ratify the selection. In 2003, another selection process has begun, but to date, no choice has been made.
The famous ancient Chinese city Luoyang has a reputation as a cultivation centre for the peonies. Throughout Chinese history, peonies in Luoyang are often said to be the finest in the country. Dozens of peony exhibitions and shows are still held there annually.
In Japan, Paeonia lactiflora used to be called ebisugusuri ("foreign medicine"). In kampo (the Japanese adaptation of Chinese medicine), its root was used as a treatment for convulsions. It is also cultivated as a garden plant. In Japan Paeonia suffruticosa is called the "The King of flowers" and Paeonia lactiflora is called the "prime minister of flowers".
Pronunciation of 牡丹 (peony) in Japan is "botan". Before the Meiji period, meat taken from quadrupeds was seldom consumed in Japan due to Buddhism. Thus in cases where such meat was handled, it was paraphrased using the names of flowers. The term botan was used (and is still used) to paraphrase wild boar meat. This comes from the flowery resemblance of the sliced meat when spread over a dish. Another example is sakura (cherry blossoms) which stands for horsemeat.
In 1957, the Indiana General Assembly passed a law to make the peony the state flower of Indiana, a title which it holds to this day. It replaced the zinnia, which had been the state flower since 1931.
Mischievous nymphs were said to hide in the petals of the Peony thus causing this magnificent flower to be given the meaning of Shame or Bashfulness in the Language of Flowers. It was named after Pæon, a physician to the gods, who obtained the plant on Mount Olympus from the mother of Apollo. Once planted the Peony likes to be left alone and punishes those who try to move it by not flowering again for several years. Once established, however, it produces splendid blooms each year for decades (Taken from The Language of Flowers, edited by Sheila Pickles, 1990).
Peonies are also extensively grown as ornamental plants for their very large, often scented flowers.
Peonies tend to attract ants to the flower buds. This is due to the nectar that forms on the outside of the flower buds.
Peonies are a common subject in tattoos, often used along with koi-fish.
Private press book entitled 'Treatyse Of Fysshynge With An Angle' by Dame Juliana Berners. Ashendene Press, 1903.
Printed after 'The Boke Of St Albans', 1486. One of the first books on fishing by a woman. Attributed to Dame Juliana Berners who wrote books on hunting, hawking and hearaldry and was thought to have been prioress of Sopwell nunnery near St Albans. Typeset by C H St John Hornby and Meysey Turton at Ashendene Press, Chelsea, London. Cover bound by Katharine Adams fully in green leather with title, publisher and date in gilt.
From the library belonging to Emery Walker. CAGM.1991.1016.996.T6
From my toilet serie entitled "Toiletology".
Model: Isabelle
Toiletology is a 5 month artistic pseudo-documentary taking places into many Montreal bars and restaurants. While toilets are the most common places they're also the most private area, with their part of mysteries. The basic was to shoot boys and girls in different toilets, doing something that could happen in toilets. Sponsored by the AEECUM, it resulted in a calendar and a web exhibit.
Most time, existing light was the only lighting. It explain the lack of sharpness since I had to shoot mostly around 1/60 - 1/100.
Not selected for the calendar.
St Pancras New Church (so entitled to differentiate it from an older building that remains several blocks away to the north east) was built in 1819-22 to the designs of William & Henry Inwood and is a remarkable example of the then prevalent taste for Neo-Classical architecture. Few churches can claim to be as Grecian in style as this one, which boasts the unique features of two porticoes flanking the east end copied directly from the famous caryatid porch of the Erectheum on the Athenian Acropolis, complete with column figures in terracotta (molded in sections around cast-iron columns). The spindly octagonal tower is a major landmark to visitors arriving at nearby Euston Station just over the main road (as it has welcomed me on many visits to the capital).
The interior of the church continues the theme of Classical severity, with a broad flat coffered ceiling spanning the nave with the apse beyond adding a touch of enrichment. The Victorian glass in the windows does make the space a little gloomier than it could be. The galleries remain and create side aisles beneath them but otherwise the interior retains the impression of a large unified space.
I am unsure what normal opening times are for this church but I believe it is usually open in office hours during the day.
Installation of Glen Cinema Memorial entitled Rattle Little Mother at Dunn Square Paisley.
Location Of Names On Rattle Little Mother, Glen Cinema Memorial
Front “ To The Children Of The Glen Cinema “
Left Panel as you face front of memorial which faces in the direction of the Piazza “ Elizabeth Leonard - Samuel McBlane - Sarah McCafferty - Robert McConnell - Nellie McCran - Minnie McCran - Edward McEnhill - Margaret McEnhill - James McEnhill - Denis McGarrity - Robert McGirr - Jeanie McGrattan - Mary McWattie - Margaret Morrow - Robert Niven - Georgina Peacock - Tom Perkins - John Pinkerton - William Pinkerton - Alexander Telfer - William Rae - Thomas Renfrew - George Scott - William Spears - Jane Stevenson - Robert Wingate.
Back of Memorial which faces Paisley Town Hall “ James Gielty - John Gielty - Norman Gillies - John Goodwin - Henry Green - Mary Green - Archibald Grogan - Annie Hamilton - George Hammond “ 31 December 1929 “ Elizabeth Hart - Peter Houston - Thomas Howard - Julia Irvine - William Irvine - Thomas Jackson - James Johnston - George Kennedy - Helen Kilkie - Thomas Kilkie.
Right panel as you face front of memorial which faces towards Forbes Place “ Robert Adams - Robert Alexander - John Bell - William Black - Hugh Blue - John Bowes - David Boyd - Caroline Brain - Lily Buchanan - John Cairns - Daniel Corbett - Elizabeth Corrigan - Agnes Coyle - Robert Craig - Francis Curran - Elizabeth Dempster - Leah Dixon - Mary Dolan - George Elliott - Henry Elliott - Bessie Finlay - Enso Fiori - Janet Fitch - William Fitch - James Gatherer - Margaret Gibson.
N.B All lettering in gold except from “ 31 December 1929 “ on rear of memorial which is in black, both sides contain 26 names whilst there is 19 names on the back.
Libreta Ration Booklet
For the average Cuban however, it’s a constant part of daily life in 2017. The libreta ration booklet was introduced in 1962 by Che Guevara and entitles citizens to a basic ration of groceries such as rice, eggs and beans, which they can buy at their local bodega at 12% of the market value, amounting to less than $2 a month for their monthly rations. Doesn’t sound so bad right? Well sure, if you’re okay with an allowance of say– 5 eggs a month.Here’s how it works. Each household ration book has a number, a list of family members and their dates of birth. What you’re allowed to buy depends on your age and your gender. For example, milk, can only be bought for children below the age of seven or for pregnant women and the elderly. (So your morning bowl of cornflakes is definitely out). The bodega clerk also keeps a book containing the information on each local household and the list of products he is allowed to sell them. A bodega clerk will know if there is or isn’t a child under seven or an elderly member of the household who needs milk. There are penalties for families not reporting any changes in the composition of the household, but you do get extra rations if it’s your birthday or your weddind day. Cakes, rum and beer.Any Westerner walking into a state-controlled bodega would find the shelves strangely empty compared to what we’re used to. Distribution and product delivery is often unreliable in a country that still needs to import about 80% of its food. Some months there can be a shortage of an entire food group and when products finally arrive at random, the bodega queues can be long and disorderly. When (and if) a weekly chicken ration arrives at the market, you can smell chicken cooking in every kitchen in the neighbourhood.The island’s ration allowance has been shrinking over the decades ever since it was introduced when American sanctions placed a sudden burden on the population. It was at its worst when the Soviet Union fell in 1991, known as “the skinny period”, el tiempo de los flacos, when Cuba’s food importation dropped by 75%. Rations were cut in half and the average citizen lost 20 lbs.Things have improved since then, but still, this socialist experiment that costs the government over $1 billion annually, is barely enough to keep its people from starving and it certainly wouldn’t satisfy the average appetite.But for the tourists of course, it’s very different. While finding beef in a state-run bodega is a laughable idea, for the foreigner paying in dollars at government-owned hotels, you can order as many hamburgers as you want. Beef is a pretty taboo subject for many Cubans, who haven’t tasted it since they were children.
Only state-owned luxury butchers can sell beef and serve it in their hotels and private restaurants. Did you hear the one about the cows in Cuba? Under Cuban law, a person can get more jail time for killing a cow than killing a human. Needless to say, there isn’t exactly an entrepreneurial spirit for farmers on this island.If a local ever did feel like having a feast for dinner one night, there are options– if they have the money to burn. Products not freely available at the bodegas can be purchased at the mercado libre (free market), mercado paralelo (parallel market), or any supermarket that sells goods in convertible pesos (formerly known as dollar stores). And of course there’s always the black market. But at these establishments, market prices are so high, a kilo of milk powder for example, costs about $21. The average wage for Cubans is about $16 a month. Most food items that aren’t part of government rationing are simply off-limits to those who can only afford to pay in pesos.Cubans who find jobs in the tourist sector have it easier with access to hard currency and those living abroad often bring back suitcases filled with milk powder to give to their families. But for now, la libreta and the bare-shelved bodega is still a lifesaver for the poor. When the reform-minded President Raul Castro proposed to eliminate the ration, he was met with overwhelming opposition, particularly from low-wage state workers struggling to get by on $15 a month.
Most Cubans have known the ration book all their life and see it as one of the main achievements of the revolution. As more tourists with a big appetite descend on the island however, it remains to be seen how this austere and archaic system will co-exist with the outside influence of an “all-you-can-eat” consumerism heading its way.
Description: 'Photograph (Cinematograph Film) entitled 'With Captain Scott [Royal Navy] to the South Pole (British Antarctic Expedition)'. Steam Yacht 'Terra Nova' with dogs and men standing on ice near by', by Herbert Ponting (1870-1935).
Date: c.1911
Our Catalogue Reference: COPY 1/562/115
This image shows a single frame from the very short (3-4 frame) sections of nitrate film stock accessioned at The National Archives from Herbert Ponting's footage of the Antarctic. For preservation reasons copies were made of of the original nitrate negatives and these were used to produce modern black and white Kodak prints of the clips which we have scanned for the web. The quality of the resultant images is variable.
Feel free to share it within the spirit of the Commons.
For high quality reproductions of any item from our collection please contact our image library.
Mural entitled "Ice Queen" by Caledonia Dance Curry aka @swoonhq located on the wall of Zheng’s Cleaners at 24th & Hampshire in San Francisco, California.
Photo by James aka @urbanmuralhunter on that other photo site.
Edit by Teee.
An artwork entitled When the Animals Speak has been created by Elizabeth Grajales and put up in the station in 1998. The pieces are on the end walls of the express platform and over the stairways. The south-end mosaic features a 9'x14' mural of a lion with a bird on his back facing his mate. The north-end panel features a 15'x13' mosaic of a bear looking toward a deer and her young.
Mural entitled "Balance of Similarities" by POI DAWG aka @poi_dawg for Paint Memphis, seen at 2476 Broad Avenue in Memphis, Tennessee.
Drone photo by James aka @urbanmuralhunter on that other photo site.
Edit by Teee
Woodcut entitled John Tabor's Ride, an illustration in John Ross Browne's 'Etchings of a whaling cruise: with notes of a sojourn on the island of Zanzibar; and a brief history of the whale fishery, in its past and present condition' (1846).
The full LUNA record for this item is here: images.is.ed.ac.uk/luna/servlet/detail/UoEgal~5~5~66948~1...
© The University of Edinburgh Library
message series entitled progress.
i just know it has to do with following the steps of Jesus.
my pastor mentioned the idea of a sky scraper in the process of being built. but i kinda thought that has been overdone. so i went with this. also thinking of doing like a loading screen, or progress bar you would see on a video game loading screen or start up on a mac.
edit* i dont know if this is what im going to use hence the istock photo not having yet been purchased but if i use it i will buy it dont worry:)
This exhibition, entitled 'Nah Poeh Meng' (Along The Continuous Path) is permanently displayed at the Poeh Cultural Center and Museum in Pojoaque, New Mexico. Pojoaque Pueblo is one of the six Tewa-speaking Rio Grande Pueblos. The museum is devoted to the arts and culture of the Puebloan peoples, especially the Tewas in the northern part of the state.
The Nah Poeh Meng display is divided into six rooms with each room based upon both a temporal and seasonal theme. This room depicts the Spring season and is described as follows....
"In the Spring of our lives, we have left our cave shelters
and the ground is soft enough for us to build pit houses,
such as the one the woman is emerging from. Our poeh
travels along that of avanyu, the water serpent. We
welcome the return of avanyu who nourishes our fields by
its meanderings. We acknowledge the importance of
securing fertility in all parts of our lives as part of the
requirements for perpetuation of ourselves and our
communities. Thus, we care for life in all things."
The figurative sculptures are the work of Pueblo artist Roxanne Swentzell and the painted murals are by Marcellus Medina.
This Christmas bauble, entitled "Holly" depicting a sprig of holly with red berries was hand beaded with sequins and pins by me. I have a Christmas tradition. I bead one Christmas bauble for a select group of friends every year.
"Holly" is going to a friend of mine, who like me, is an ex-pat from Britain and we both miss things like holly at Christmas time. His Christmas baubles always feature things from home like snowflakes and winter scenes. This year there was an injection of red for his tree.
He and his wife are expecting in April, and the sex of the child is a surprise, so they received a miniature bauble beaded in netural yellow sequins with gold stars (photos will be uploaded later) for the baby.
Each bauble is 25 centimetres in diameter and contain hundreds of sequins, varying in number depending upon the complexity of the image and the type of sequins I use. Most sequins in this bauble are 5mm in diameter, except the white background ones, the shaded red ones in the berries, and the irridescent green highlights in the leaves which are 8mm. Depending upon the colour of the sequin, I will use either a gold or a silver pin to attach it to the bauble. The white, green and black sequins all use silver pins, The red sequins are affixed with gold pins.
Each bauble takes approximately 6 hours per side, and this is why my select group of friends only get one each year!
It is however, a labour of love which I do to pass the time throughout the year.
From my set entitled ‘Sumac”
www.flickr.com/photos/21861018@N00/sets/72157607186471302/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
Sumac (also spelled sumach) is any one of approximately 250 species of flowering plants in the genus Rhus and related genera, in the family Anacardiaceae. The dried berries of some species are ground to produce a tangy purple spice often used in juice.
Sumacs grow in subtropical and warm temperate regions throughout the world, especially in North America.
Sumacs are shrubs and small trees that can reach a height of 1-10 meters. The leaves are spirally arranged; they are usually pinnately compound, though some species have trifoliate or simple leaves. The flowers are in dense panicles or spikes 5-30 cm long, each flower very small, greenish, creamy white or red, with five petals. The fruits form dense clusters of reddish drupes called sumac bobs.
Sumacs propagate both by seed (spread by birds and other animals through their droppings), and by new sprouts from rhizomes, forming large clonal colonies.
The drupes of the genus Rhus are ground into a deep-red or purple powder used as a spice in Middle Eastern cuisine to add a lemony taste to salads or meat; in the Turkish cuisine e.g. added to salad-servings of kebabs and lahmacun. In North America, the smooth sumac (Rhus glabra), and the staghorn sumac (Rhus typhina), are sometimes used to make a beverage, termed "sumac-ade" or "Indian lemonade" or "rhus juice". This drink is made by soaking the drupes in cool water, rubbing them to extract the essence, straining the liquid through a cotton cloth and sweetening it. Native Americans also used the leaves and berries of the smooth and staghorn sumacs combined with tobacco in traditional smoking mixtures.
Species including the fragrant sumac (Rhus aromatica), the littleleaf sumac (R. microphylla), the skunkbush sumac (R. trilobata), the smooth sumac and the staghorn sumac are grown for ornament, either as the wild types or as cultivars.
The leaves of certain sumacs yield tannin (mostly pyrogallol), a substance used in vegetable tanning. Leather tanned with sumac is flexible, light in weight, and light in color, even bordering on being white.
Dried sumac wood is fluorescent under long-wave UV light. Mowing of sumac is not a good control measure as the wood is springy resulting in jagged, sharp pointed stumps when mowed. The plant will quickly recover with new growth after mowing. See Nebraska Extension Service publication G97-1319 for suggestions as to control.
At times Rhus has held over 250 species. Recent molecular phylogeny research suggests breaking Rhus sensu lata into Actinocheita, Baronia, Cotinus, Malosma, Searsia, Toxicodendron, and Rhus sensu stricta. If this is done, about 35 species would remain in Rhus. However, the data is not yet clear enough to settle the proper placement of all species into these genera.
Museum de Fundatie Zwolle NL presents an exhibition entitled Giacometti-Chadwick, Facing Fear, to run from 22 September 2018 to 6 January 2019. The sculptures of Alberto Giacometti (1901-1966) and Lynn Chadwick (1914-2003) are manifestations of the sense of fear and disillusionment that pervaded Europe during the Cold War period. Their work bids a final farewell to pre-war romanticism and aestheticism, and lands with both feet in the raw reality of the post-war world. While Giacometti reduced the human form to its bare essentials, Chadwick created powerful archetypal images of both people and animals. The exhibition includes more than 150 works. Never before has the work of Giacometti and Chadwick been so explicitly brought together.
Their paths first crossed in 1956, when Chadwick became the youngest person ever to win the Grand Prix for Sculpture at the Venice Biennale. With only six years’ experience as a sculptor, the British artist snatched the prize from Giacometti, the hot favourite, who was thirteen years older and already a major name in Paris. Giacometti would go on to win the prize in 1962, but which of the two men was awarded it in 1956 is less significant than the fact that these two particular sculptors were the front-runners at that time. Each of them was expressing, in his own individual way, the sense of deep-seated angst that overshadowed day-to-day life in Europe in the fifties and sixties: the fear of a global nuclear disaster that would wipe out human civilisation.
Alberto Giacometti is among the most significant figures in the whole field of modern European sculpture. A member of a notable family of Swiss artists, he moved to Paris in 1922 and would remain there for the rest of his life, working as a sculptor, painter and graphic artist. After training with Émile-Antoine Bourdelle, he discovered modernism and so-called ‘primitive’ ethnographic art of Africa and Oceania. In response to these influences, his work became more abstract. In the early thirties, his Surrealist sculptures expressing subconscious emotions created a furore. From 1935, however, personal psychological tensions triggered a crisis in his life and work that led to a return to the human figure. Initially, his portraits and figures became both increasingly tiny and more and more attenuated. This thinness was to remain the most distinctive feature of Giacometti’s art. After the Second World War, he began to create the elongated, emaciated figures that would bring him worldwide fame. In all their attenuation, they reduce humanity to its very essence and appear both vulnerable and enigmatic.
In the early fifties, up-and-coming artist Lynn Chadwick managed to dislodge Henry Moore and Barbara Hepworth from their dominant position in the field of British sculpture. Born in London, Chadwick had started his career as a technical draughtsman and exhibition stand designer. He took an equally constructional approach to his sculpture: rather than model his human and animal figures in clay or wax, he constructed them by welding steel rods together to create an armature and then filling in the gaps with a kind of cement. The angularity of the work being produced by him and other young British artists was described in 1952 as ‘the geometry of fear’, a reference to the constant dread of nuclear annihilation. Chadwick’s apocalyptic Dancers and stoical Watchers gave powerful expression to this sense of angst. From the early seventies, he broadened his repertoire to include subjects that seem to restore the sovereignty of the human spirit. Sculptures like Cloaked Figure and Sitting Couple no longer look threatening, but emanate a sense of composure and invulnerability.
Giacometti’s pre-war work influenced Chadwick’s development and the two men were keenly aware of each other’s presence. In addition to the vast differences, there are also many similarities between their oeuvres. Giacometti-Chadwick, Facing Fear is the product of close cooperation with the Fondation Marguerite et Aimé Maeght in Saint-Paul-de-Vence and the Chadwick Estate and Blain|Southern gallery in London.
Museum de Fundatie Zwolle NL presents an exhibition entitled Giacometti-Chadwick, Facing Fear, to run from 22 September 2018 to 6 January 2019. The sculptures of Alberto Giacometti (1901-1966) and Lynn Chadwick (1914-2003) are manifestations of the sense of fear and disillusionment that pervaded Europe during the Cold War period. Their work bids a final farewell to pre-war romanticism and aestheticism, and lands with both feet in the raw reality of the post-war world. While Giacometti reduced the human form to its bare essentials, Chadwick created powerful archetypal images of both people and animals. The exhibition includes more than 150 works. Never before has the work of Giacometti and Chadwick been so explicitly brought together.
Their paths first crossed in 1956, when Chadwick became the youngest person ever to win the Grand Prix for Sculpture at the Venice Biennale. With only six years’ experience as a sculptor, the British artist snatched the prize from Giacometti, the hot favourite, who was thirteen years older and already a major name in Paris. Giacometti would go on to win the prize in 1962, but which of the two men was awarded it in 1956 is less significant than the fact that these two particular sculptors were the front-runners at that time. Each of them was expressing, in his own individual way, the sense of deep-seated angst that overshadowed day-to-day life in Europe in the fifties and sixties: the fear of a global nuclear disaster that would wipe out human civilisation.
Alberto Giacometti is among the most significant figures in the whole field of modern European sculpture. A member of a notable family of Swiss artists, he moved to Paris in 1922 and would remain there for the rest of his life, working as a sculptor, painter and graphic artist. After training with Émile-Antoine Bourdelle, he discovered modernism and so-called ‘primitive’ ethnographic art of Africa and Oceania. In response to these influences, his work became more abstract. In the early thirties, his Surrealist sculptures expressing subconscious emotions created a furore. From 1935, however, personal psychological tensions triggered a crisis in his life and work that led to a return to the human figure. Initially, his portraits and figures became both increasingly tiny and more and more attenuated. This thinness was to remain the most distinctive feature of Giacometti’s art. After the Second World War, he began to create the elongated, emaciated figures that would bring him worldwide fame. In all their attenuation, they reduce humanity to its very essence and appear both vulnerable and enigmatic.
In the early fifties, up-and-coming artist Lynn Chadwick managed to dislodge Henry Moore and Barbara Hepworth from their dominant position in the field of British sculpture. Born in London, Chadwick had started his career as a technical draughtsman and exhibition stand designer. He took an equally constructional approach to his sculpture: rather than model his human and animal figures in clay or wax, he constructed them by welding steel rods together to create an armature and then filling in the gaps with a kind of cement. The angularity of the work being produced by him and other young British artists was described in 1952 as ‘the geometry of fear’, a reference to the constant dread of nuclear annihilation. Chadwick’s apocalyptic Dancers and stoical Watchers gave powerful expression to this sense of angst. From the early seventies, he broadened his repertoire to include subjects that seem to restore the sovereignty of the human spirit. Sculptures like Cloaked Figure and Sitting Couple no longer look threatening, but emanate a sense of composure and invulnerability.
Giacometti’s pre-war work influenced Chadwick’s development and the two men were keenly aware of each other’s presence. In addition to the vast differences, there are also many similarities between their oeuvres. Giacometti-Chadwick, Facing Fear is the product of close cooperation with the Fondation Marguerite et Aimé Maeght in Saint-Paul-de-Vence and the Chadwick Estate and Blain|Southern gallery in London.
From my set entitled “Mandevilla”
www.flickr.com/photos/21861018@N00/sets/72157607213952426/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Mandevilla
Mandevilla, sometimes also called Dipladenia,[1] is a genus of plants. It consists of about 100 species, mostly tropical and subtropical flowering vines belonging to the family Apocynaceae, the Periwinkle family.
Mandevilla is native to Central and South America and many Mandevillas come originally from the Organ Mountains forests near Rio de Janeiro in Brazil. The genus was named after Henry Mandeville (1773-1861), a British diplomat and gardener.[1]
Mandevillas develop spectacular flowers in warm climates. The flowers come in a variety of colours, including white, pink, yellow, and red. As climbers, Mandevillas can be trained against a wall or trellis to provide a leafy green and often flowering picture of beauty. They have a tendency to attract insects like mealybugs and scales.
While Mandevilla scabra is sometimes as an additive to the psychedelic drink Ayahuasca, there is no evidence that it is psychoactive in its own right.[2] It is, however, considered to be toxic.[3]
Miro's Chicago
Also entitled: "The Sun, The Moon and One Star", 1967
Installed: 1981
Joan Miró (1893-1983)
Brunswick Plaza
West of 60 West Washington Street
(between Dearborn and Clark Streets)
Her shape and pose reminiscent of the famous Minoan snake goddess figurine from Crete, Miro’s Chicago is a 39-foot / 12 meter tall stylized female form fashioned from concrete over a metallic armature, ceramic tile, and bronze, on a travertine stone base.
Placed in a small plaza between the Chicago Temple Building and the Cook County Administration Building, the statue is often overlooked in favor of Picasso's sculpture in Daley Center Plaza on the opposite side of the street.
Originally to be installed the same year as Picasso’s work, the plan was abandoned, due to financial issues, by the Brunswick Corporation, which commissioned the piece. It remained a small maquette for some 18 years until a committee, led by Stanley Freehlin, raised over half of the necessary funds from private donors and the City of Chicago contributed matching funds. The finished figure was unveiled on April 20, 1981, by Chicago’s first female mayor, Jane Byrne. The Art Institute of Chicago maintains Miro's plaster "Chicago" maquette from 1963: www.artic.edu/aic/collections/artwork/100666.
www.chicagopublicart.blogspot.ca/2013/09/the-sun-moon-and-one...
www.chicagoartworld.blogspot.ca/2014/01/1981-joan-miro-brunsw...
www.connectingthewindycity.com/2013/08/sun-moon-and-one-s...
THE LOOP:
Chicago's "Loop" is the city's official downtown area. The second largest downtown business district in the United States, the Loop's boundaries are the Chicago River on the west, Michigan Avenue on the east, Wacker Drive on the north and Congress Parkway on the south. The Loop is known for its famous skyscrapers and historic buildings; it has been the site of architectural creativity and experimentation for years.
From my set entitled ‘Sumac”
www.flickr.com/photos/21861018@N00/sets/72157607186471302/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
Sumac (also spelled sumach) is any one of approximately 250 species of flowering plants in the genus Rhus and related genera, in the family Anacardiaceae. The dried berries of some species are ground to produce a tangy purple spice often used in juice.
Sumacs grow in subtropical and warm temperate regions throughout the world, especially in North America.
Sumacs are shrubs and small trees that can reach a height of 1-10 meters. The leaves are spirally arranged; they are usually pinnately compound, though some species have trifoliate or simple leaves. The flowers are in dense panicles or spikes 5-30 cm long, each flower very small, greenish, creamy white or red, with five petals. The fruits form dense clusters of reddish drupes called sumac bobs.
Sumacs propagate both by seed (spread by birds and other animals through their droppings), and by new sprouts from rhizomes, forming large clonal colonies.
The drupes of the genus Rhus are ground into a deep-red or purple powder used as a spice in Middle Eastern cuisine to add a lemony taste to salads or meat; in the Turkish cuisine e.g. added to salad-servings of kebabs and lahmacun. In North America, the smooth sumac (Rhus glabra), and the staghorn sumac (Rhus typhina), are sometimes used to make a beverage, termed "sumac-ade" or "Indian lemonade" or "rhus juice". This drink is made by soaking the drupes in cool water, rubbing them to extract the essence, straining the liquid through a cotton cloth and sweetening it. Native Americans also used the leaves and berries of the smooth and staghorn sumacs combined with tobacco in traditional smoking mixtures.
Species including the fragrant sumac (Rhus aromatica), the littleleaf sumac (R. microphylla), the skunkbush sumac (R. trilobata), the smooth sumac and the staghorn sumac are grown for ornament, either as the wild types or as cultivars.
The leaves of certain sumacs yield tannin (mostly pyrogallol), a substance used in vegetable tanning. Leather tanned with sumac is flexible, light in weight, and light in color, even bordering on being white.
Dried sumac wood is fluorescent under long-wave UV light. Mowing of sumac is not a good control measure as the wood is springy resulting in jagged, sharp pointed stumps when mowed. The plant will quickly recover with new growth after mowing. See Nebraska Extension Service publication G97-1319 for suggestions as to control.
At times Rhus has held over 250 species. Recent molecular phylogeny research suggests breaking Rhus sensu lata into Actinocheita, Baronia, Cotinus, Malosma, Searsia, Toxicodendron, and Rhus sensu stricta. If this is done, about 35 species would remain in Rhus. However, the data is not yet clear enough to settle the proper placement of all species into these genera.
This cat entitled 'The Tiger who came to Knowsley' based on the two Amur Tigers at the local safari park. The title is a play on the one by Judith Kerr 'The Tiger who came to tea'. This particular cat sculpture is located on platform four, Huyton Station.
As part of the 'Knowsley Borough of Culture 2022' event, the Council have introduced The Owl and the Pussy Cat trail within the borough due to the links it has with Edward Lear who wrote the original poem. Apparently there are about 50 sculpture's doted about. For further information, see: www.cultureknowsley.co.uk/the-owl-and-the-pussy-cat-trail/ 22nd June 2022.
Copyright: Doug Birmingham
This Christmas bauble, entitled "Holly" depicting a sprig of holly with red berries was hand beaded with sequins and pins by me. I have a Christmas tradition. I bead one Christmas bauble for a select group of friends every year.
"Holly" is going to a friend of mine, who like me, is an ex-pat from Britain and we both miss things like holly at Christmas time. His Christmas baubles always feature things from home like snowflakes and winter scenes. This year there was an injection of red for his tree.
He and his wife are expecting in April, and the sex of the child is a surprise, so they received a miniature bauble beaded in netural yellow sequins with gold stars (photos will be uploaded later) for the baby.
Each bauble is 25 centimetres in diameter and contain hundreds of sequins, varying in number depending upon the complexity of the image and the type of sequins I use. Most sequins in this bauble are 5mm in diameter, except the white background ones, the shaded red ones in the berries, and the irridescent green highlights in the leaves which are 8mm. Depending upon the colour of the sequin, I will use either a gold or a silver pin to attach it to the bauble. The white, green and black sequins all use silver pins, The red sequins are affixed with gold pins.
Each bauble takes approximately 6 hours per side, and this is why my select group of friends only get one each year!
It is however, a labour of love which I do to pass the time throughout the year.
This is a rare paleontology book, entitled "Fossils of Korea". It was published in 1987 in Pyongyang by the North Koreans. I obtained a reproduction of the trilobites chapter by borrowing a copy from the Library of Congress (Washington D.C.). Last time I checked, eight American libraries reported owning this book.
Kim Tok-Song [Kim Deog-Sun]. 1987. Trilobita. pp. 8-65, 168-176, pls. 8-26 in: Fossils of Korea 1. Pyongyang, North Korea. Science Encyclopedia Publishing House. 193 pp. 96 pls. [in Korean]
North Korean paleontology literature is difficult to obtain. Only a couple fossil books like this are available. Cited articles about North Korean trilobites are in journals that apparently don't exist in non-North Korean libraries.
North Korea is the # 1 loser country in the world. This book well illustrates that - there's fake information in the trilobites chapter! How pathetic does one have to be in order to falsify info. about fossil trilobites?
The example plate (plate 12 in the book) ostensibly shows Cambrian trilobites from North Korea.
Figures 1-3: Ghwaiella yemjenriensis
Figure 4: Ghwaiella cf. Ghwaiella yemjenriensis
Figure 5: Dinesus chonjuriensis
Figures 6-7: Dinesus madokensis
Figure 8: Solenoparia sp.
Figures 9, 12, 14, 16: Solenoparia triangulata
Figures 10, 15: Solenoparia sobukensis
Figures 11, 13, 19: Solenoparia nodosa tersa
Figure 17: Anomocarella(?) blackwelderi
Figure 18: Poshania cf. Poshania transversa
Figures 20, 21, 25, 26: Crepicephalina ghwairiensis
Figure 22: Crepicephalina dekchonriensis
Figures 23, 27: Olenoides asiaticus
Figure 24: Duamsannella hwanhaiensis
Figure 28: Anomocarella chinensis
The two Olenoides asiaticus figures in the plate are said to come from near Pyongyang, the capital of North Korea. In reality, these two illustrations are copied from a 1930s Japanese reference on Korean trilobites - the specimens are actually from Yongwol in South Korea. Demonstrably false locality information is also present on plate 11 in the book. It is unknown whether any of the photographed trilobites are actually from North Korea.
False fossil information and illustrations are present elsewhere in the paleontological literature, but thankfully are rare. Other examples include Vishwa Jit Gupta's work on Himalayan fossils, Mustafa Iman's work on fossil algae in Africa and the Middle East, and some of Edward Petuch's work on Cenozoic fossil seashells.
It's up to everyone to shine spotlights on scientific dishonesty.
The work, entitled Resolution, is sited at the junction of Shoe Lane and St Bride Street and has been installed as part of a City of London’s Street Scene Challenge initiative.
Nandi is the name for the bull which serves as the mount (Sanskrit: Vahana) of the god Shiva and as the gatekeeper of Shiva and Parvati. In Hindu Religion, he is the chief guru of eighteen masters (18 Siddhar ) including Patanjali and Thirumular. Temples venerating Shiva display stone images of a seated Nandi, generally facing the main shrine. There are also a number of temples dedicated solely to Nandi.
The application of the name Nandi to the bull (Sanskrit: vṛṣabha) is in fact a development of recent centuries, as Gouriswar Bhattacharya has documented in an illustrated article entitled "Nandin and Vṛṣabha". The name Nandi was earlier widely used instead for an anthropomorphic deity who was one of Shiva’s two door-keepers, the other being Mahākāla. The doorways of pre-tenth-century North Indian temples are frequently flanked by images of Mahākāla and Nandi, and it is in this role of Shiva’s watchman that Nandi figures in Kālidāsa’s poem the Kumārasambhava.
ETYMOLOGY
The word “Nandi” is derived from the ancient Indian Language of Sanskrit. The Sanskrit word 'Nandi' in English translates as Happy, Joyous or Happy Person.
BIRTH OF NANDI
There was a sage named Shilada who underwent severe penance to have a boon — a child with immortality. Lord Indra pleased of the austerities of Shilada appeared in front of him to offer a boon. After hearing the request of Shilada and his desire to have an immortal child, Lord Indra suggested he pray to Lord Shiva: nobody else could provide such a boon. Sage Shilada continued his penance for 1,000 years. He was totally immovable for many years, so the termites settled on his body and slowly started to build up their nest. Finally, his whole body was covered up by them. The insects started to eat his flesh and imbibed his blood. At last, only bones remained.
Lord Shiva appeared in front of him and provided the boon for the child. Moreover, Lord Shiva provided Sage Shilada his old form with a single touch. Sage Shilada performed Yagna and a child appeared from the sacrificial fire. His body was clad in armour made out of diamonds. The celestial dancers and singers performed on this auspicious occasion and the deities showered flowers on the child. The boy was named ’Nandi’ — who brings joy. Shilada brought the child home. Immediately the boy lost his divine appearance to an ordinary child. The child completely forgot all about his birth. Sage Shilada was worried about the sudden change. He devoted his time for Nandi's upbringing his education etc. By the age of seven, the boy was well versed in Veda and all sacred texts.
One day the deities Mitra and Varuna visited Sage Shilada. At the first sight of the boy, they commented: Though the boy had all auspicious signs, he would have a very short life. He would not live after the age of eight. Sage Shilada was mortified at this remark. Nandi could not bear his father's sorrow; he began to pray to Lord Shiva. Lord Shiva appeared before him and blessed him. Lord Shiva adorned the boy with a necklace and made him immortal. Lord Shiva blessed the child and declared that he would be worshiped along with Him and become his vahana (vehicle). Immediately the boy got all the divine powers and transformed into half bull-half human. He and Shilada went to Lord Shiva's abode to live.
IN HINDUISM
Bulls appear on the Indus Valley seals, including the 'Pasupati Seal', which depicts a seated figure and, according to some scholars, is similar to Shiva. However, most scholars agree that the horned bull on the Indus Valley seals is not identical to Nandi.
DESCRIPTIONS ON NANDI IN HINDU RELIGIOUS TEXTS INCLUDE:
- Some Puranas describe Nandi or Nandikeshvara as bull face with a human body that resembles that of Shiva in proportion and aspect, although with four hands — two hands holding the Parasu (the axe) and Mruga (the antelope) and the other two hands joined together in the Anjali (obeisance). Brahma Vaivarta Purana mentions Krishna himself to have taken the form of a bull as no one else in the Universe can bear Shiva.
- Vehicle of Shiva: The bull Nandi is Shiva's primary vehicle and is the principal gana (follower) of Shiva.
- Gate keeper of Shiva's abode: The close association of Shiva and Nandi explains the presence of a statue of Nandi at the gate of many temples dedicated to Shiva. It also explains why the word "nandi" in the Tamil, Kannada and Telugu languages is used as a metaphor for a person blocking the way.[citation needed] In Sanskrit, a bull is called vrisha, which has another connotation — that of righteousness or Dharma. It is important to seek the blessings of Nandi before proceeding to worship Lord Shiva.
- Chief in Shiva's army: Some Puranas mention that Nandi lead the Shiva Ganas, Shiva's attendants.
- A Guru of Saivism: In addition to being his mount, Nandi is Shiva's foremost disciple. In the Natha/Siddhar tradition, Nandi is one of the primal gurus. He was the guru to Siddhar Thirumulanathar, Patanjalinathar and others.
- From the yogic perspective, Nandi/Nandhi/Nandikeshvara is the mind dedicated to Lord Siva, the Absolute. In other words, to understand and absorb Light, the 'experience and the wisdom' is Nandi which is the Guru within.
- Spiritually, Nandi represents an individual jiva (soul) and the message that the jiva should always be focused on the Atman (Paramatman).
LEGENDS
According to some puranas, Nandi was born to sage Shilada who got him by the grace of Shiva.
It was Nandi who cursed Ravana (the demon King of Lanka) that his kingdom would be burnt by a monkey (Vanara). And later Hanuman burnt Lanka when he went in search of Sita, who was kept prisoner by Ravana in Ashok Vatika.
In one puranic story, it is stated that once Siva and Parvathi were playing a game of dice. For any game there has to be an umpire, who has to declare who is the winner. Siva and Parvathi agreed to have Nandi (the divine bull) as the umpire. Nandi is a favorite of Siva, as he is Siva's vehicle. Although Siva lost the game, Nandi declared him the winner. It is stated that Parvathi was indignant over Nandi's partiality for Siva and cursed him that he should die from an incurable disease. Thereupon Nandi fell at the feet of Parvathi and pleaded for forgiveness. "Mother forgive me. Should I not show at least this amount of gratitude to one who is my master? Is it not humiliating for me to declare that my master has lost the game? To uphold his honor I no doubt uttered a lie. But am I to be punished with such severity for so small an offence?" Nandi prayed for forgiveness in this manner. Parvathi forgave Nandi and taught him the means to atone for his lapse. She told him. "The Chaturdasi day in the month of Bhadrapada is the day when my son's birthday is celebrated. On that day you have to offer to my son what pleases you most (green grass)". This means that one atones for one's sins when one offers to the Lord what is most pleasing and enjoyable to him. For Nandi the most enjoyable and relishing food is green grass. As directed by Parvathi Nandi worshipped Ganapathi by offering green grass. Nandi was then relieved of his dreaded disease. His health improved and by the grace of Parvathi he was redeemed.
When the positive forces, the devas, and the negative forces, the asuras, joined together on a rare occasion to churn the ocean with a mountain to obtain the nectar of immortality they utilized Vasuki, the serpent, as the rope. The devas pulled from one end and the asuras from the other. Lots of precious herbs and gems were produced during the Churning and one of them was a poison (halāhala) which became human karma. This "poison" was so dangerous that none of the devas or asuras wanted to go near it. It was extremely sticky and coming into contact with this poison, i.e., human karma, would drag the divinity down to the realms of human suffering and ego. As everyone else ran away, Lord Siva, followed by Nandi, came forward to help as he was the only one who could counteract this deadly poison. Siva took the poison into his hand and drank it, the descent of the poison was in turn stopped at His throat, by His divine consort. Siva is therefore also known as Nīlakaṇṭha (the blue-throated one) and Viṣakaṇṭha (the poison-throated one). Nandi saw some of the poison spill out of Siva's mouth and immediately drank if off the ground. The devas and asuras watching were shocked and wondered aloud what would happen to Nandi. Lord Siva calmed their fears saying, "Nandi has surrendered into me so completely that he has all my powers and my protection".
LARGEST NANDIS IN INDIA
1. Lepakshi, Andhra Pradesh
2. Brahadishwara Temple, Tamil Nadu
4. Bull Temple, Bangalore, Karnataka
5. Rameswaram, Tamil Nadu
6. Hoysaleswara Temple, Halebidu, Karnataka
7. Shanthaleswara Temple, Halebidu, Karnataka
8. Vadakkunnathan Temple, Thrissur, Kerala
9. Virupaksha Temple, Hampi, Karnataka
10. Nandi Temple, Western Group of Temples, Khajuraho,
Madhya Pradesh
11. Kedareshvara Temple at Balligavi (Karnataka)
12. Doddabasaveshvara temple, Kurugodu Bellary dist
MISCELLANEOUS
The white color of the bull symbolizes purity and justice.
Women visit images of Nandi, bringing floral offerings, and touch the stone. Their prayers are for fertility. Additionally, it is also considered a custom among some to whisper the fact of their visit, to that shrine, while requesting the faithful attendant to inform his master of the same.
WIKIPEDIA
An image from the exhibit entitled : Everything in Place
It focuses on the preparatory materials kept "at hand"—sketches, diagrams, discoveries, studies, and ephemera—both inspiring and documenting the creative process.
Artists included in the exhibition: Deborah Boardman, Judy Chicago, Virginia Eifert, Fatherless (Corey Hagberg, Jarrod Hennis, Javier Jimenez, David Menard, Greg Lang), James Garrett Faulkner, Susan Frankel, Winifred Godfrey, Shoshana Hoffman, Kate Ingold, Jessie Pixely Lacey, Julius Moessel, John Warner Norton, Olivia Petrides, James Purdy, Milton Rivera, Francois Robert, Flora Schofield, Diane Simpson, Eleanor Spiess-Ferris, Frank Trankina, Rudolph Weisenborn, Rebecca Wolfram, Mary Agnes Yerkes, Betsy Youngquist, R. Scott Long, archaeological sketch maps and journals by W. B. Nickerson and Gwyneth Gillette, and species identification drawings by Don Luce.
My second visual journal entry entitled "Technique." We were supposed to analyze our best technique. But to be honest, I did step away a little bit from that idea. I did more of an analysis on where I got my style and technique from. So, I wrote down my favorite mediums and why I think I choose them. I wrote down my biggest inspirations and included some photos. Then I started to make it more personal. I began to ask "What makes me do what I do?" I began to think about the characters I create and their stories. After looking at all of that, I came to the conclusion that I feel that the things I draw come from something more than just a "technique." I know it sounds corny, but my best technique would be using my heart. I mean that with all honesty. It sounds cliche, but that is the conclusion I came up with. I take powerful emotion and portray it in whichever way I see fit. And I call that using my heart. But it goes even deeper than that. Why do I draw? Because it gives me pure joy and happiness and fulfillment. Again, I call that using my heart.
I just have to give credit to the photos I used.
Rightmost photo: Edward Elric sketches by artist Burge Bug
Bottom right: Painting by Ayami Kojima
Other two photos: I do not know the artists, but I found them on Pinterest :)
8 1/2" X 11"
Sharpie Marker on white paper
Like so many of our youth, these days, Sole believes he's entitled to whatever he wants. He eats his food and then moves Tessa off her dish so he can eat hers too. He wants me to stop flickring and hold him every two minutes and mostly I do. He expects someone to turn the bathroom tap on for him 20 times a day ... and if he wants to use Tessa's back for a pillow he just does it.
Ah to be young again when one is so naive, innocent and cute the world is your oyster.
Mural entitled "Sentries" by Ernesto Maranje in the Wynwood Walls Outdoor Museum in Miami, Florida.
Photo by James aka @urbanmuralhunter on that other photo site.
Edit by Teee.
entitled "caged bird", released 8/5
A different take on Maya Angelou's title of her famous autobiography, I Know Why The Caged Bird Sings. This caged bird, wearing headphones, is singing because it's listening to some incredible tunes.
Buy it here: www.orangemoonapparel.com/store/oma.cgi/oma.orangemoonapp...
This is an image from the exhibition at the Illinois State Museum Chicago Gallery entitled: Pro-Text: When Words Enter Visual Art
The show explores the combinative practices of artists who use language or text in their visual art. This exhibition showcases art that incorporates words, letters, or text, for narrative or graphic impact. The scope of the exhibition ranges from folk/ visionary art, to contemporary works in traditional media such as drawing, painting and sculpture, to experimental installation, mixed media and new media work. Works by emerging and mid-career artists are featured alongside select works drawn from the ISM Fine Art Collection. Exhibition is curated by Robert Sill, Assistant Director of Art, Illinois State Museum. Exhibition runs from September 8, 2014 through February 6, 2015.
Artists: Joanne Aono, George Blaha, Stan Bly, Mark Booth, Shayne Brantley, Jaun Angel Chavez, Michael Dinges, Don Colley, Betsy Dollar, Howard Finster, Indira Freitas Johnson, Ellen Greene, Phil Hanson, Kathy Halper, Jesse Howard, Kate Ingold, Allison Lacher, Gina Litherland , Jim Lutes, Ruth Ann Mazarim, Mike Miller, Michael Nakoneczny, Terry Rathje, Hollis Sigler, Brian Sullivan, Kevin Veara, Thom Whalen, Andrew Young.
Pro-Text is part of Chicago Artists Month 2014, the 19th annual celebration of Chicago's vibrant art community presented by the Chicago Department of Cultural Affairs and Special Events. For more information, visit www.chicagoartistsmonth.org
Through this photographic portfolio entitled “LIQUID SUBURBS” we want to focus on the theme of suburbs understood as both physical spaces and metaphorical dimensions. In the peripheries, in modern times, we have associated in negative terms what Bauman defines as “forced individualism”, as the liberation from any possible social bond and consequent solitary management of “risk”, uncertainty and the fears that derive from it. In a “liquid” society, life, particularly in the suburbs, seems to settle down and flatten itself in an eternal arid present of future prospects, similar to quicksand, amidst increasingly heavy and immobilizing doubts and perplexities, anchored to certainties linked to a past that is not it exists more and instead persists with nostalgia in the memories of flexible men, weakening them transformative capacity of reality. To adapt to continuous change and the structural risks of the second modernity, man has preferred to abandon the thought of introspection by adopting a mentality of “survival” that feeds on a “fast” thought typical of machines. A thought that does not allow for any deep reflection of one's own experiences, which does not provide the possibility of authentically taking care of one's self and which is shown through the construction, reflected by the architecture of the suburbs (as highlighted in the portfolio), of a “patchwork” Composed of many small and fragile fragments, often devoid of ties and connections, which are unable to give meaning and significance to the existential path of the individual as well as of the family nucleus and consequently of the non-community itself.
Memymom's fourth chapter, entitled The Fourth Hatch (2022-2032), is a ten-year creative journey exploring the passage of time and was inspired by a crooked garden shed located in their Brussels home and studio. This shed, representing life's imperfections and idiosyncrasies, is not only a symbol of personal memories and family history but also of changing times when the world is crooked and out of balance. In order to amplify this idea, memymom decided to recreate the shed as an art installation, named "The Fourth Hatch," which was placed in the surreal and ephemeral location of the Salton Sea in Bombay Beach, as a portal to connect both places. This sculpture was created in collaboration with the artist Sean Guerrero for the Bombay Biennale 2023.
Installation of Glen Cinema Memorial entitled Rattle Little Mother at Dunn Square Paisley.
Location Of Names On Rattle Little Mother, Glen Cinema Memorial
Front “ To The Children Of The Glen Cinema “
Left Panel as you face front of memorial which faces in the direction of the Piazza “ Elizabeth Leonard - Samuel McBlane - Sarah McCafferty - Robert McConnell - Nellie McCran - Minnie McCran - Edward McEnhill - Margaret McEnhill - James McEnhill - Denis McGarrity - Robert McGirr - Jeanie McGrattan - Mary McWattie - Margaret Morrow - Robert Niven - Georgina Peacock - Tom Perkins - John Pinkerton - William Pinkerton - Alexander Telfer - William Rae - Thomas Renfrew - George Scott - William Spears - Jane Stevenson - Robert Wingate.
Back of Memorial which faces Paisley Town Hall “ James Gielty - John Gielty - Norman Gillies - John Goodwin - Henry Green - Mary Green - Archibald Grogan - Annie Hamilton - George Hammond “ 31 December 1929 “ Elizabeth Hart - Peter Houston - Thomas Howard - Julia Irvine - William Irvine - Thomas Jackson - James Johnston - George Kennedy - Helen Kilkie - Thomas Kilkie.
Right panel as you face front of memorial which faces towards Forbes Place “ Robert Adams - Robert Alexander - John Bell - William Black - Hugh Blue - John Bowes - David Boyd - Caroline Brain - Lily Buchanan - John Cairns - Daniel Corbett - Elizabeth Corrigan - Agnes Coyle - Robert Craig - Francis Curran - Elizabeth Dempster - Leah Dixon - Mary Dolan - George Elliott - Henry Elliott - Bessie Finlay - Enso Fiori - Janet Fitch - William Fitch - James Gatherer - Margaret Gibson.
N.B All lettering in gold except from “ 31 December 1929 “ on rear of memorial which is in black, both sides contain 26 names whilst there is 19 names on the back.
From my set entitled “Black Creek Pioneer Village”
www.flickr.com/photos/21861018@N00/sets/72157611538656614/
In my collection entitled "Places"
www.flickr.com/photos/21861018@N00/collections/7215760074...
In my photostream
www.flickr.com/photos/21861018@N00/
Reproduced from Wikipedia, the free encyclopedia
Black Creek Pioneer Village is an historic site in Toronto, Ontario, Canada, just west of York University and southeast of the Jane and Steeles intersection. It overlooks Black Creek, a tributary of the Humber River.
The village is a recreation of life in 19th-century Ontario and gives an idea how rural Ontario might have looked in the early-to-mid 1800s.
The "pioneer" village consists of over forty historic 19th century buildings, decorated in the style of the 1860s with period furnishings. Besides the Historical Interpreters and Craftspeople housed in the restored buildings, the site also features historical reenactments and visiting artisans. Buildings include period houses, the original Stong Family farm buildings, a water-powered grist mill, a general store, a blacksmith's shop along with over 10 other trades buildings, a hotel, a church, and a one-room schoolhouse. A core of buildings built by the Stong family are on their original sites, while others have been moved in from across Southern Ontario.
The majority of the buildings were moved from their original sites (notably the large Halfway House and Mennonite Meeting House), and some re-built on their current locations.
The village is a regular destination for field trips by schoolchildren from the Greater Toronto Area.
It is operated by the Toronto and Region Conservation Authority.
Nandi (Sanskrit: नन्दी, Tamil: நந்தி, Telugu: న౦ది) is the name for the bull which serves as the mount (Sanskrit: Vahana) of the god Shiva and as the gatekeeper of Shiva and Parvati. In Hindu Religion, he is the chief guru of eighteen masters (18 siddhas) including Patanjali and Thirumular. Temples venerating Shiva display stone images of a seated Nandi, generally facing the main shrine. There are also a number of temples dedicated solely to Nandi.
The application of the name Nandi to the bull (Sanskrit: vṛṣabha) is in fact a development of recent centuries, as Gouriswar Bhattacharya has documented in an illustrated article entitled "Nandin and Vṛṣabha". The name Nandi was earlier widely used instead for an anthropomorphic deity who was one of Shiva’s two door-keepers, the other being Mahākāla. The doorways of pre-tenth-century North Indian temples are frequently flanked by images of Mahākāla and Nandi, and it is in this role of Shiva’s watchman that Nandi figures in Kālidāsa’s poem the Kumārasambhava.
ETYMOLOGY
The word “Nandi” is believed to be derived from the ancient word “Pandi” meaning bull or its has origins in the Sanskrit language where it means 'of Shiva', 'attendant of Shiva', or happy.
BIRTH OF NANDI
There was a Sage named Shilada who underwent severe penance to have a boon - A child with immortality. Lord Indra pleased of the austerities of Shilada appeared in front of him to offer a boon. After hearing the request of Shilada and his desire to have an immortal child, Lord Indra suggested him to pray to Lord Shiva who could provide the boon; nobody else could provide such a boon. Sage Shilada continued his penance for thousand years. He was totally immovable for many years, so the termites settled on his body and slowly started to build up their nest. Finally, his whole body was covered up by them. The insects started to eat his flesh and imbibed his blood. At last, only bones remained. Lord Shiva appeared in front of him and provided the boon for an immortal child. Moreover, Lord Shiva provided Sage Shilada his old form with a single touch. Sage Shilada performed Yagna and a child appeared from the sacrificial fire. His body was clad in armour made out of diamonds. The celestial dancers and singers performed on this auspicious occasion and the deities showered flowers on the child. The boy was named ’Nandi’ - who brings joy. Shilada brought the child home, immediately the boy lost his divine appearance to an ordinary child. The child completely forgot all about his birth. Sage Shilada was worried about the sudden change. He devoted his time for the bringing up the child, his education etc. By the age of seven the boy was well versed in Veda and all sacred texts. One day the two deities - Mitra and Varuna visited Sage Shilada. At the first sight of the boy, they commented: Though the boy had all auspicious signs, he would have a very short life. The boy would not live after the age of eight. Sage Shilada was mortified at this remark. Nandi could not bear his father's sorrow, he began to pray to Lord Shiva. Lord Shiva appeared before him and blessed him. Lord Shiva adorned the boy with a necklace around his neck which he was wearing, and made him immortal. Lord Shiva blessed the child and declared that he would be worshiped along with Him and become his vahana(vehicle). Immediately the boy got all the divine powers and transformed into half bull-half human. Then he and Shilada went to Lord Shiva 's abode to live.
IN HINDUISM
Bulls appear on the Indus Valley seals, including the 'Pasupati Seal', which depicts a seated figure, and according to some scholars is similar to Shiva. However, most scholars agree that the horned bull on the Indus Valley seals is not identical to Nandi.
The various descriptions on Nandi in the Hindu Religion texts include:
Some Puranas describe Nandi or Nandikeshvara as bull faced with a human body that resembles that of Shiva- in proportion and aspect, although with four hands, two hands holding the Parasu (the axe) and Mruga (the antelope) and the other two hands joined together in the Anjali(obeisance). Brahma Vaivarta Purana mentions Krishna himself to have taken the form of a bull as no one else in the Universe can bear Shiva.
Vehicle of Shiva: The bull Nandi is Shiva's primary vehicle and is the principal gana (follower) of Shiva.
Gate keeper of Shiva's abode: The close association of Shiva and Nandi explains the presence of a statue of Nandi at the gate of many temples dedicated to Shiva. It also explains why the word "nandi" in the Kannada, Telugu and Tamil languages is used as a metaphor for a person blocking the way. In Sanskrit, a bull is called "vrisha", which has another connotation - that of righteousness or Dharma. It is important to seek the blessings of Nandi before proceeding to worship Lord Shiva.
Chief in Shiva's army: Some Puranas mention that Nandi lead the Shiva Ganas, Shiva's attendants.
A Guru of Saivism: In addition to being his mount, Nandi is Shiva's foremost disciple. In the Natha/Siddhar tradition, Nandi is one of the primal gurus. He was the guru to Siddhar Thirumulanathar, Patanjalinathar and others.
From the yogic perspective, Nandi/Nandhi/ Nandikeshvara is the mind dedicated to Lord Siva, the Absolute. In other words, to understand and absorb Light, the 'experience and the wisdom' is Nandi which is the Guru within.
Spiritually, Nandi represents an individual jiva (soul) and the message that the jiva should always be focussed on the Atman (Paramatman).
LEGENDS
According to some puranas, Nandi was born to sage Shilada who got him by the grace of Shiva.
It was Nandi who cursed Ravana (the demon King of Lanka) that his kingdom would be burnt by a monkey (Vanara). And later Hanuman burnt Lanka when he went in search of Sita, who was kept prisoner by Ravana in Ashok Vatika. In one puranic story, it is stated that once Siva and Parvathi were playing a game of dice. For any game there has to be an umpire, who has to declare who is the winner. Siva and Parvathi agreed to have Nandi (the divine bull) as the umpire. Nandi is a favorite of Siva, as he is Siva's vehicle. Although Siva lost the game, Nandi declared him the winner. It is stated that Parvathi was indignant over Nandi's partiality for Siva and cursed him that he should die from an incurable disease. Thereupon Nandi fell at the feet of Parvathi and pleaded for forgiveness. "Mother forgive me. Should I not show at least this amount of gratitude to one who is my master? Is it not humiliating for me to declare that my master has lost the game? To uphold his honor I no doubt uttered a lie. But am I to be punished with such severity for so small an offence?" Nandi prayed for forgiveness in this manner. Parvathi forgave Nandi and taught him the means to atone for his lapse. She told him. "The Chaturdasi day in the month of Bhadrapada is the day when my son's birthday is celebrated. On that day you have to offer to my son what pleases you most (green grass)". This means that one atones for one's sins when one offers to the Lord what is most pleasing and enjoyable to him. For Nandi the most enjoyable and relishing food is green grass. As directed by Parvathi Nandi worshipped Ganapathi by offering green grass. Nandi was then relieved of his dreaded disease. His health improved and by the grace of Parvathi he was redeemed.
When the positive forces, the devas, and the negative forces, the asuras, joined together on a rare occasion to churn the ocean with a mountain to obtain the nectar of immortality they utilized Vasuki, the serpent, as the rope. The devas pulled from one end and the asuras from the other. Lots of precious herbs and gems were produced during the Churning and one of them was a poison (halāhala) which became human karma. This "poison" was so dangerous that none of the devas or asuras wanted to go near it. It was extremely sticky and coming into contact with this poison, i.e., human karma, would drag the divinity down to the realms of human suffering and ego. As everyone else ran away, Lord Siva, followed by Nandi, came forward to help as he was the only one who could counteract this deadly poison. Siva took the poison into his hand and drank it, the descent of the poison was in turn stopped at His throat, by His divine consort. Siva is therefore also known as Nīlakaṇṭha (the blue-throated one) and Viṣakaṇṭha (the poison-throated one). Nandi saw some of the poison spill out of Siva's mouth and immediately drank if off the ground. The devas and asuras watching were shocked and wondered aloud what would happen to Nandi. Lord Siva calmed their fears saying, "Nandi has surrendered into me so completely that he has all my powers and my protection".
LARGEST NANDIS IN INDIA
1. Lepakshi, Andhra Pradesh
2. Brahadishwara Temple, Tamil Nadu
3. Chamundi Hills, Mysore, Karnataka
4. Bull Temple, Bangalore, Karnataka
5. Rameswaram, Tamil Nadu
6. Hoysaleswara Temple, Halebidu, Karnataka
7. Shanthaleswara Temple, Halebidu, Karnataka
8. Vadakkunnathan Temple, Thrissur, Kerala
9. Virupaksha Temple, Hampi, Karnataka
10. Nandi Temple, Western Group of Temples, Khajuraho, Madhya Pradesh
11. Kedareshvara Temple at Balligavi (Karnataka)
12. Doddabasaveshvara temple, Kurugodu Bellary dist
WIKIPEDIA
Mural entitled "Ánimo Sin Fronteras." Subject is Melchor Flores, painted by artist Miles "EL Mac" MacGregor. Corner of E. Mills Ave. and N. Stanton St., El Paso, TX. Fujifilm Instax 300 camera. Desaturated to B&W. Light streak at upper left is real, photographing into the sun.
This creation is entitled “Monster Mash at the Haunted Mansion.” This was the first time I forayed into the world of minifigures and admittedly had a ball transforming them into classic vampires, werewolves, mummies, the Headless Horseman, Frankenstein, the Creature from the Black Lagoon, the Grim Reaper, Freddy Krueger, witches and all variety of zombies inspired by the ever-popular “Walking Dead” series. Of course, no haunted mansion would be complete without a haunted cemetery and haunted gazebo. As Halloween will be here before you know it; it is the perfect time to join the “Monster Mash at the Haunted Mansion.” Have fun!
Binyam Reja (The World Bank Group) makes a point at the press conference hosted by Transport Data Commons Initiative (TDCI) to share progress the Initiative has made in the 12 months since its launch at the 2022 ITF Summit and outline its further aims.
TDCI brings together more than 25 international organisations, multilateral development banks, universities and transport experts who work on creating an open-source data base around the transport-climate nexus. The press conference entitled "Walking and cycling: Are ITF member countries delivering on active mobility goals?" takes place during the International Transport Forum's 2023 Summit on "Transport Enabling Sustainable Economies" in Leipzig, Germany on 25 May 2023.
On display at an exhibition at the N.C. Museum of Art in Raleigh, entitled "Rolling Sculpture: Art Deco Cars from the 1930s and ’40s". On loan from a collection in Suffolk, Virginia.
The Chrysler Airflow was designed using wind tunnel testing to provide improved aerodynamics, and incorporated an array of novel design concepts that were advanced for that time but that subsequently became widely used throughout the industry. Although it was an innovative technological success in that sense, it was a commercial failure. Its main problem seems to have been that Depression-era customers did not like what, in that day, seemed like an unusual appearance.
The Airflow was first produced in 1934 as standard Chrysler, Chrysler Imperial, and DeSoto Division models. It had an in-line eight-cylinder engine, and was available as either a 2-door coupe or a 4-door sedan. Production continued through 1937 for Chrysler (through 1936 for DeSoto), with various body style changes being made each year in an effort to make the car more appealing to customers. So a car that was advanced for its day survived through only 4 model years due to resistance from the car-buying public.
The Airflow in the photograph is a 1935 Chrysler Imperial 2-door coupe. It has the standard 115 hp in-line 8-cylinder engine, and was capable of 95 mph. A total of about 8,000 Airflows were produced in 1935 by Chrysler and DeSoto, but only about 200 of them were Chrysler Imperial coupes. The car in the photo is one of only 10 that survive out of the 200.
As can be seen in the photo, the Museum signage refers to this car as a "Model C-2". (Chrysler's terminology in 1935 would have referred to it as a SERIES C-2.) At that time, Chrysler assigned a new Series number to a production car each time there was some meaningful change in its design. Here are the Series numbers that Chrysler assigned to the various cars in its 1935 fleet:
Standard Chrysler Airflow: Series C-1
Chrysler Imperial Airflow: Series C-2
Chrysler Imperial Custom Airflow: Series C-3 or C-W
In 1935, Chrysler also produced the Airstream, a traditional (non-aerodynamic) car design for the era, eschewing the advanced concepts of the Airflow but much preferred by the public. Airstream was manufactured with the following Series numbers in 1935:
Standard Chrysler Airstream: Series CZ or C-6
Chrysler Airstream Deluxe: Series CZ or C-6
1935 Airstream sales far surpassed Airflow sales, by a factor of about 4.
One final observation. The N.C. Museum of Art is an art museum, not an auto museum. It is presenting an art exhibit using vintage cars as its medium. Some of the vehicles in the exhibit would, in my opinion, legitimately qualify as art: they were artistically designed for appearance and produced in modest numbers (often only a few concept cars), with price tags that would be prohibitive for all but a small number of Depression-era Americans. By contrast, the Chrysler Airflow was designed for efficiency and for mass market sales; the car in the photo had a sale price of $1,475 in 1935 dollars (equivalent to about $25,600 in 2016 dollars) -- which may have been within reach for many Americans. If the museum curator sees "art deco" in this car, it was placed there for engineering, not artistic, reasons.
Sculpture installation entitled 1004 Portraits by Spanish artist Jaume Plensa is at the Millennium Park in Chicago. The pictured sculpture is one of the "girls", she is 38 feet tall.
It was love at first sight when I found this gorgeous fabric! The colors and its pattern reminded me of stones or rock sediments. Each shirt has a unique pattern. The colors are fantastic for mixing and matching them.
----------------------------
Dear friends,
While summer slowly comes to an end, Gigi and I wanted to enjoy it a bit longer and made a capsule collection entitled “Forever Summer”, for all those who love summer and would love to let it last a bit longer ; ).
My girls are back at their rock scenery. This time my little modelling helpers were Dahlia (for all Poppy Parkers out there), Henna (representing the Made to move girls), Jade (for the FR ladies), Er Xi (my Model Muse pivotal girl), as well as Valentina and my new girl Tamina for the NuFace 2.0. Not to forget Gigi herself (NuFace 1.0)!
Wishing you all the best, thank you all so much for taking the time and stopping by : )!
Nina* & Gigi
Nandi is the name for the bull which serves as the mount (Sanskrit: Vahana) of the god Shiva and as the gatekeeper of Shiva and Parvati. In Hindu Religion, he is the chief guru of eighteen masters (18 Siddhar ) including Patanjali and Thirumular. Temples venerating Shiva display stone images of a seated Nandi, generally facing the main shrine. There are also a number of temples dedicated solely to Nandi.
The application of the name Nandi to the bull (Sanskrit: vṛṣabha) is in fact a development of recent centuries, as Gouriswar Bhattacharya has documented in an illustrated article entitled "Nandin and Vṛṣabha". The name Nandi was earlier widely used instead for an anthropomorphic deity who was one of Shiva’s two door-keepers, the other being Mahākāla. The doorways of pre-tenth-century North Indian temples are frequently flanked by images of Mahākāla and Nandi, and it is in this role of Shiva’s watchman that Nandi figures in Kālidāsa’s poem the Kumārasambhava.
ETYMOLOGY
The word “Nandi” is derived from the ancient Indian Language of Sanskrit. The Sanskrit word 'Nandi' in English translates as Happy, Joyous or Happy Person.
BIRTH OF NANDI
There was a sage named Shilada who underwent severe penance to have a boon — a child with immortality. Lord Indra pleased of the austerities of Shilada appeared in front of him to offer a boon. After hearing the request of Shilada and his desire to have an immortal child, Lord Indra suggested he pray to Lord Shiva: nobody else could provide such a boon. Sage Shilada continued his penance for 1,000 years. He was totally immovable for many years, so the termites settled on his body and slowly started to build up their nest. Finally, his whole body was covered up by them. The insects started to eat his flesh and imbibed his blood. At last, only bones remained.
Lord Shiva appeared in front of him and provided the boon for the child. Moreover, Lord Shiva provided Sage Shilada his old form with a single touch. Sage Shilada performed Yagna and a child appeared from the sacrificial fire. His body was clad in armour made out of diamonds. The celestial dancers and singers performed on this auspicious occasion and the deities showered flowers on the child. The boy was named ’Nandi’ — who brings joy. Shilada brought the child home. Immediately the boy lost his divine appearance to an ordinary child. The child completely forgot all about his birth. Sage Shilada was worried about the sudden change. He devoted his time for Nandi's upbringing his education etc. By the age of seven, the boy was well versed in Veda and all sacred texts.
One day the deities Mitra and Varuna visited Sage Shilada. At the first sight of the boy, they commented: Though the boy had all auspicious signs, he would have a very short life. He would not live after the age of eight. Sage Shilada was mortified at this remark. Nandi could not bear his father's sorrow; he began to pray to Lord Shiva. Lord Shiva appeared before him and blessed him. Lord Shiva adorned the boy with a necklace and made him immortal. Lord Shiva blessed the child and declared that he would be worshiped along with Him and become his vahana (vehicle). Immediately the boy got all the divine powers and transformed into half bull-half human. He and Shilada went to Lord Shiva's abode to live.
IN HINDUISM
Bulls appear on the Indus Valley seals, including the 'Pasupati Seal', which depicts a seated figure and, according to some scholars, is similar to Shiva. However, most scholars agree that the horned bull on the Indus Valley seals is not identical to Nandi.
DESCRIPTIONS ON NANDI IN HINDU RELIGIOUS TEXTS INCLUDE:
- Some Puranas describe Nandi or Nandikeshvara as bull face with a human body that resembles that of Shiva in proportion and aspect, although with four hands — two hands holding the Parasu (the axe) and Mruga (the antelope) and the other two hands joined together in the Anjali (obeisance). Brahma Vaivarta Purana mentions Krishna himself to have taken the form of a bull as no one else in the Universe can bear Shiva.
- Vehicle of Shiva: The bull Nandi is Shiva's primary vehicle and is the principal gana (follower) of Shiva.
- Gate keeper of Shiva's abode: The close association of Shiva and Nandi explains the presence of a statue of Nandi at the gate of many temples dedicated to Shiva. It also explains why the word "nandi" in the Tamil, Kannada and Telugu languages is used as a metaphor for a person blocking the way.[citation needed] In Sanskrit, a bull is called vrisha, which has another connotation — that of righteousness or Dharma. It is important to seek the blessings of Nandi before proceeding to worship Lord Shiva.
- Chief in Shiva's army: Some Puranas mention that Nandi lead the Shiva Ganas, Shiva's attendants.
- A Guru of Saivism: In addition to being his mount, Nandi is Shiva's foremost disciple. In the Natha/Siddhar tradition, Nandi is one of the primal gurus. He was the guru to Siddhar Thirumulanathar, Patanjalinathar and others.
- From the yogic perspective, Nandi/Nandhi/Nandikeshvara is the mind dedicated to Lord Siva, the Absolute. In other words, to understand and absorb Light, the 'experience and the wisdom' is Nandi which is the Guru within.
- Spiritually, Nandi represents an individual jiva (soul) and the message that the jiva should always be focused on the Atman (Paramatman).
LEGENDS
According to some puranas, Nandi was born to sage Shilada who got him by the grace of Shiva.
It was Nandi who cursed Ravana (the demon King of Lanka) that his kingdom would be burnt by a monkey (Vanara). And later Hanuman burnt Lanka when he went in search of Sita, who was kept prisoner by Ravana in Ashok Vatika.
In one puranic story, it is stated that once Siva and Parvathi were playing a game of dice. For any game there has to be an umpire, who has to declare who is the winner. Siva and Parvathi agreed to have Nandi (the divine bull) as the umpire. Nandi is a favorite of Siva, as he is Siva's vehicle. Although Siva lost the game, Nandi declared him the winner. It is stated that Parvathi was indignant over Nandi's partiality for Siva and cursed him that he should die from an incurable disease. Thereupon Nandi fell at the feet of Parvathi and pleaded for forgiveness. "Mother forgive me. Should I not show at least this amount of gratitude to one who is my master? Is it not humiliating for me to declare that my master has lost the game? To uphold his honor I no doubt uttered a lie. But am I to be punished with such severity for so small an offence?" Nandi prayed for forgiveness in this manner. Parvathi forgave Nandi and taught him the means to atone for his lapse. She told him. "The Chaturdasi day in the month of Bhadrapada is the day when my son's birthday is celebrated. On that day you have to offer to my son what pleases you most (green grass)". This means that one atones for one's sins when one offers to the Lord what is most pleasing and enjoyable to him. For Nandi the most enjoyable and relishing food is green grass. As directed by Parvathi Nandi worshipped Ganapathi by offering green grass. Nandi was then relieved of his dreaded disease. His health improved and by the grace of Parvathi he was redeemed.
When the positive forces, the devas, and the negative forces, the asuras, joined together on a rare occasion to churn the ocean with a mountain to obtain the nectar of immortality they utilized Vasuki, the serpent, as the rope. The devas pulled from one end and the asuras from the other. Lots of precious herbs and gems were produced during the Churning and one of them was a poison (halāhala) which became human karma. This "poison" was so dangerous that none of the devas or asuras wanted to go near it. It was extremely sticky and coming into contact with this poison, i.e., human karma, would drag the divinity down to the realms of human suffering and ego. As everyone else ran away, Lord Siva, followed by Nandi, came forward to help as he was the only one who could counteract this deadly poison. Siva took the poison into his hand and drank it, the descent of the poison was in turn stopped at His throat, by His divine consort. Siva is therefore also known as Nīlakaṇṭha (the blue-throated one) and Viṣakaṇṭha (the poison-throated one). Nandi saw some of the poison spill out of Siva's mouth and immediately drank if off the ground. The devas and asuras watching were shocked and wondered aloud what would happen to Nandi. Lord Siva calmed their fears saying, "Nandi has surrendered into me so completely that he has all my powers and my protection".
LARGEST NANDIS IN INDIA
1. Lepakshi, Andhra Pradesh
2. Brahadishwara Temple, Tamil Nadu
4. Bull Temple, Bangalore, Karnataka
5. Rameswaram, Tamil Nadu
6. Hoysaleswara Temple, Halebidu, Karnataka
7. Shanthaleswara Temple, Halebidu, Karnataka
8. Vadakkunnathan Temple, Thrissur, Kerala
9. Virupaksha Temple, Hampi, Karnataka
10. Nandi Temple, Western Group of Temples, Khajuraho,
Madhya Pradesh
11. Kedareshvara Temple at Balligavi (Karnataka)
12. Doddabasaveshvara temple, Kurugodu Bellary dist
MISCELLANEOUS
The white color of the bull symbolizes purity and justice.
Women visit images of Nandi, bringing floral offerings, and touch the stone. Their prayers are for fertility. Additionally, it is also considered a custom among some to whisper the fact of their visit, to that shrine, while requesting the faithful attendant to inform his master of the same.
WIKIPEDIA